New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Start learning with our library of video tutorials taught by experts. Get started

Virtual Instruments in Logic Pro
Illustration by John Hersey

Adding movement with the LFOs


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Adding movement with the LFOs

Let's take a look at the two LFOs in Ultrabeat up here. Generally speaking, LFOs, or Low Frequency Oscillators, are a great way to add movement to a sound. The two LFOs in Ultrabeat are not only great for adding movement but they're also quite special in that they allow you to specify a certain number of cycles that the LFO will complete. This allows for periodic movement but for a finite duration. This is particularly useful for recreating claps, flams, and other percussive sounds with multiple transients that occur close together during the attack stage of the sound.
Expand all | Collapse all
  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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
please wait ...
Virtual Instruments in Logic Pro
13h 10m Intermediate Nov 09, 2011 Updated Mar 14, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Setting up Logic Pro for using virtual instruments
  • Configuring MIDI controllers
  • Composing with virtual instruments envelopes
  • Tweaking the overdrive and chorus
  • Creating movement with LFOs (Low Frequency Oscillators)
  • Understanding FM synthesis basics
  • Changing the timbre and shifting the formants of the vocoder
  • Constructing custom sampler kits
  • Exploring the tonewheel organ, electric piano, and Ultrabeat drum synthesizer
Subjects:
Audio + Music Audio Plug-Ins Virtual Instruments
Software:
Logic Pro
Author:
Brian Trifon

Adding movement with the LFOs

Let's take a look at the two LFOs in Ultrabeat up here. Generally speaking, LFOs, or Low Frequency Oscillators, are a great way to add movement to a sound. The two LFOs in Ultrabeat are not only great for adding movement but they're also quite special in that they allow you to specify a certain number of cycles that the LFO will complete. This allows for periodic movement but for a finite duration. This is particularly useful for recreating claps, flams, and other percussive sounds with multiple transients that occur close together during the attack stage of the sound.

So let's take a look at the features of this LFO. And what I want to do is pull up our initialize patch. So I am going to go to Load Settings up top here. And then we'll go to our Desktop, in the Exercise Files folder. And then we'll go to Ultabeat, and in there, there is the Preset folder, and there is the Ultrabeat_EMPTY patch, so I am going to go ahead and hit Open for that. What I am going to do is use Voice 1, so that's the note C1 on the keyboard. I am going to go ahead and bring up the Volume of this. There we go.

And I am also going to increase the Pitch as well, just so it's a little easier to hear. Okay. (Music playing) So what I want to do is I assign LFO 1 to modulate the pitch of Oscillator 2. So I've got this Modulation Menu right here, so I can select Lfo1. So you can see now there is this blue flag here, and so I can use this to set the range for the LFO. And the awesome thing about Ultrabeat is its very precise in terms of its modulation system, so it tells you specifically the number of semitones it's going to modulate. So let's set it to 3 semitones.

So now if I play the note, so you can clearly hear that pitch modulation. You can hear the sound just kind of fades out, so I am going to adjust our envelope. So envelope 4 is the one that's applicable. And I am going to turn on the Sustain Mode so that as long as I am holding down the note, it will sustain. (music playing) There we go. So the first parameter that we have on the LFOs is the Rate. So it can go from basically 0 hertz, stopped, to all the way to a 100 cycles per second, or 100 hertz, and anything in between.

So that's in Free mode, I also have Sync mode here, and that's where I can have it be synchronized to the beat. So half notes. And it can go all the way as fast as 64th note triplets. (music playing) So I am going to set it back to Free. And then let's explore the wave shape. So right next to it I've got this wave shape here. And if I move this to the left, it starts with a triangle waveform, and then it can continuously evolve to a saw tooth, sine wave, to a pulse waveform, and then it can modulate the pulse width. And then I've got two random waveforms here, these last two ones.

So I'll take this back to a sine wave. And next to that we have the cycles parameter. So this is how many times it's going to play through this LFO. So you can see there are a couple of different markings on here. There is 1, 50, 100, and then (infinity). So the two distinctive ones are basically anything below a 100 and infinity. So let's talk about infinity first. So infinity means that it's just going to cycle forever, so as long as you are holding the note. It also means that when I trigger a note, it's not going to restart the phase of the LFO.

So if I play a note at different times, I might catch the LFO in a different cycle. Now, when I am at a 100 or below, it means that every time I trigger a note, it's going to restart the cycle of the LFO. So it's key synchronized; that's the term for that. That's particularly useful for percussive sounds because you want a consistency in terms of the attack of the sound. So one reason that you might want to limit the cycles is just because certain sounds, you just want them to cycle the beginning of this sound, to really focus in the attack, and we'll talk about an example in a moment.

So the other feature about these LFOs is the built-in envelope here, so it's called Ramp. Essentially what the Ramp is it allows you to fade in the intensity of the LFOs or fade out. So for example, if I increase the attack here, then the modulation, so the pitch modulation is going to fade in. So let's listen to that. (music playing) So if I turn this the other direction, so it's now decaying, then the pitch modulation is going to fade out.

(music playing) So it's useful to have this envelope built-in right there. And again, this can be really useful for percussive sounds, especially the attack portion. So if I increase the rate here and then I have a relatively short decay, so let me make this decay a little shorter-- (music playing) --you can hear, it creates a little bit of a punch at the beginning of the sound. So that's pretty neat! So let's take a look at how we can use this LFO in a practical example. So I am going to make a clap sound, and we're going to limit the cycles of the LFO to emulate the attack portion of the sound.

So if you think about a clap sound or a group of people clapping, typically the attack portion is a bit sloppy, and that's actually what makes it sound big and what makes it sound good is that people's hands aren't coming together exactly at the same moment. It's very close, but there's a couple of milliseconds difference, and that makes all the difference in terms of the attack portion of the sound. So what I am going to do is set our LFO to a pretty fast rate. So I am going to have it about 50 cycles per second. And I am going to turn down the cycles on this LFO, so the number of times it's going to play through it, to just 2.

And the Ramp I am just going to get rid of. And then I am going to set the shape of this to, close to a saw-tooth waveform. So the base of this sound is going to be the noise generator. So what I am going to do is go ahead and turn off Oscillator 2, I'm going to get rid of the sustain parameter on envelope 4, and I am going to turn on the noise generator. Okay. So right now we just have noise, and I wanted this to be filtered noise, so I am going to use the High-Pass mode on this noise generator. And then I am going to just set the general color that I want for this clap sound, so that sounds all right. (music playing) And what I am going to do is increase the resonance, so that's boosting around the cutoff point here. (music playing) Then we've got resonant high-pass- filtered noise, and then I'm going to use this dirt parameter to change the timbre a little bit of the noise.

(music playing) I think just a little bit sounds good. So really where a lot of this clap portion is going to happen is with the volume of the sound, so that's where I am going to apply this LFO. So under this Modulation menu right here, I'm going to select Lfo1. I'll turn down the initial level of the sound, and I am going to increase the LFO amount here. (music playing) So that sounds pretty good! And so I want to actually make sure that my cycles is set to 2. Tight now it's just 1, so it sounds like a little bit weak of a clap.

(music playing) There we go. So we've got two cycles. (music playing) And then the next thing I want to adjust is just this amp envelope here. So I am going to zoom to fit by pressing the Zoom button, and I am mainly going to adjust the decay here. (music playing) So I am going to kind of make this bulge a little bit at the top of the decay. (music playing) There we go. Okay. So that's starting to sound like an okay clap, but really what it needs is a little bit of polish. So what I am going to do is go ahead and save this here. So I am going to go to the Settings menu up top and go to Save Setting As, and we'll go to Desktop/Exercise Files/Ultrabeat.

Then we'll go to the Preset folder. I am going to call this Ultrabeat_LfoClap. So we have that setting saved, and we've explored so far the features of the LFO and how it can provide periodic modulation, and also how it could be used to shape the attack of a sound. In the next video let's explore how we can use the EQ, spread, and pan modulation of the output section to help polish our clap sound.

There are currently no FAQs about Virtual Instruments in Logic Pro.

 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Virtual Instruments in Logic Pro.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.