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Adjusting the Organ and Sustain Parameters

From: Virtual Instruments in Logic Pro

Video: Adjusting the Organ and Sustain Parameters

Let's take a look at some more of the model characteristics of the EVB3. So I'm going to open up the hood. And we've already taken a look at the Pitch and Condition columns, so now let's take a look at the Organ and Sustain columns. So the Organ parameters have to do with the tonal balance of the organ and a lot to do with the tone wheel emulation. So what I'm going to do is set up a drawbar registration so that we have a basic sound to work with. So I've got this one here. (music playing) And so the first parameter we have is the number of tone wheels that the EVB 3 is going to emulate.

Adjusting the Organ and Sustain Parameters

Let's take a look at some more of the model characteristics of the EVB3. So I'm going to open up the hood. And we've already taken a look at the Pitch and Condition columns, so now let's take a look at the Organ and Sustain columns. So the Organ parameters have to do with the tonal balance of the organ and a lot to do with the tone wheel emulation. So what I'm going to do is set up a drawbar registration so that we have a basic sound to work with. So I've got this one here. (music playing) And so the first parameter we have is the number of tone wheels that the EVB 3 is going to emulate.

So the parameter is called Max Wheels, and right now it's set to 91, so that's a number of tone wheels. (music playing) So I can bring this all the way down to 1, and so now it's just emulating 1 tone wheel. There's a lot less for harmonics. It's a much smaller sound. (music playing) So I can increase that number, and the maximum is 91. So the reason why you might want to decrease it is that it uses more CPU to emulate more tone wheels, but obviously you also lose out on sound quality. So the next control we have here is the Tonal Balance.

So what this adjusts is the mix between higher and lower tone wheels. So if I move this to the positive value, I have a brighter sound. If I move it to negative value, it's a bit darker. (music playing) The next parameter is Shape. The tone wheels in the EVB 3 generates sine wave forms, although they have a little bit of noise and artifacts, but generally speaking, it's very close to a sign wave form. So what Shape allows us to do is adjust the waveform the tone wheels are generating. Some of the other electromechanical organs of the time generated different wave shapes, so this helps us emulate those types of organs.

So I'm going to adjust a shape, so that's this parameter right here. (music playing) This waveform is definitely brighter and if I move it the other direction here, it's a little bit darker of a sound. So beneath that what we have is the Bass Filter, and this is going to apply to our foot pedals. So in order to hear this, what we're going to have to do is change our MIDI Controller to MIDI Channel 3, and that way we can hear the bass pedals, so I'm going to do that. So now I have it set to MIDI Channel 3, and what I'm going to do is go ahead and pull out these drawbars for the pedals.

So now if I play, you can hear we've got our bass pedals. I can adjust the filter here. So I can open it up and then we get more higher frequencies, or I can close it down and it's a more focused lower end. The reason why I have this Bass filter is sometimes when you have the pedals versus the upper drawbars and lower drawbars and the pedals can sound relatively bright and that's usually not what you want, because you want it to be holding down the lower end, so this allows you just to set that bass filter to have the bass be more focused.

So beneath that what we have is Ultra Bass, so this actually refers to the upper and lower manuals. What it will do is it will extend the range by an octave, so it will give us one more octave lower down. So I'm going to set our MIDI Controller back to Channel 1, because I want to use the Upper drawbars. And in order to hear this parameter, what I'm going to have to do is turn off our Preset keys, because remember, our preset keys are in the range of C0 up to B1. So because I've extended the range of our bass now, I don't want it to interfere with our preset keys.

So I'm going to turn off MIDI to Preset key, so down here. So I'll turn it off and so now when I play the keyboard, so I can play C1, which is typically the lowest note of the Upper manual, and I can continue to go lower, so I get that extra octave, which is nice. So I'll turn that off and turn back on the MIDI 2 Preset key. Next what we have is a couple of volume controls. So we have the Lower Volume and the Pedal Volume. With the Lower Volume, we can balance the lower manual with the upper manual, and with the Pedal Volume we can adjust the Pedal Volume.

Just down at the bottom we have this Percussion option. So this is going to affect our Percussion parameters that are up here. So right now it's set to Always, and what that means is that any drawbar registration that I have set, it will let me use the Percussion effect. Now the original B3 only allowed you to use the percussion sound if you had it set to the B preset registration, so this one here. So we can emulate that mode with Only B. And so now when I'm on this B present, I can turn on the Percussion mode and we can clearly hear it. But if I go to another preset registration, the percussion isn't active.

Typically, I like to leave this on Always, because it's nice to build these percussions with any of our drawbar registrations. So I'll turn off the Percussion. And next we have the Sustain parameters. So the Sustain parameters are technically release parameters, so that means that that's to do with once we let go over the note, how long they'll ring out. So I can have discrete control over the sustain for the Upper manual, Lower manual, and Pedals. So let's increase the Sustain/Release. Okay, so now if I play a note, you can hear it takes a long time for it to fade out.

(music playing) One interesting thing happens. If I play a couple of different notes-- (music playing) --when I play a new note it cuts off the sustain of the previous note, but then the last note that I play rings out for the full length. That's because we have it set to Smart mode. And if I change that, we can set it to Normal mode. And what that's going to do is when I play notes they will sustain over each other. (music playing) So sometimes that's useful and other times you wanted to be in Smart mode, and so I think the best reason to use Smart mode is for lower notes or especially the pedals, because you don't want lower frequencies overlapping.

You can really build up and get a lot of mud in the sound. As you can see, there's a lot we can do to customize our organ model with the Organ and Sustain parameters. In the next video let's explore how we can use the Effects section to add life and thicken the sound.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9044 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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