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Adjusting the Pickups and Global Voice Settings

From: Virtual Instruments in Logic Pro

Video: Adjusting the Pickups and Global Voice Settings

So after the objects are set and the string is vibrating, the next step in the signal flow is the pickups. So the pickups--there is A right here and we have pickup B right here-- they're like electric guitar pickup. So they pick up the string's vibration. From there the signal goes to the amp envelope. So let's take a look at what we can do with the pickups. First, I am just going to try to create some sort of simple sound and then we can explore the features of the pickups. I am going to change object 1 to a different type of excitation method.

Adjusting the Pickups and Global Voice Settings

So after the objects are set and the string is vibrating, the next step in the signal flow is the pickups. So the pickups--there is A right here and we have pickup B right here-- they're like electric guitar pickup. So they pick up the string's vibration. From there the signal goes to the amp envelope. So let's take a look at what we can do with the pickups. First, I am just going to try to create some sort of simple sound and then we can explore the features of the pickups. I am going to change object 1 to a different type of excitation method.

So we will set this to a GravStrike. And I will just adjust some parameters here. And let's just have one more object affecting this string as well. So let's have object 3 disturb the string's vibration, and we will use the Mass. (music playing) Then of course, I can adjust where they're happening on the strings. (music playing) Okay, I will just give this sound a little bit less Media Loss, so it rings out more.

So there we go. If I take pickup A here and I move it, you can hear that changes the character of the sound. When I move past an object, you can really hear that it emphasizes the sound of that object. (music playing) So I can move pickup B as well, and determine where I want its positioning. And other thing to take note of is the sound it's making as I am moving it. It sounds kind of like a phasing or chorus sound.

Actually, one thing that we might want to do later when we get into the modulation system of sculpture is to modulate the pickup positions. You can get a really nice wide chorus sound out of that. So it's really a cool feature. The other feature of the pickups is that we can invert the phase of pickup B. So there's this Invert button right down here. The reason why we might want to do that is it's going to help thin out the sound. Because if I invert the phase of pickup B, it means there is going to be some amount of phase cancellation or frequencies between pickup A and B. So here it is phase-inverted, and now if I un-invert it, you can hear it's a much thicker sound.

So sometimes you actually want to thin out the texture of the sound a little bit, so inverting the pickup can be really useful. So I'll invert pickup B. You can hear when I have them on top of each other and I play, we don't hear anything, because pickup B is entirely out of phase with pickup A when I have the Invert button pressed. So therefore, we don't get any sound. If I want a very thin sound, I can offset pickup B or pickup A just slightly, and here we get a really small sound. (music playing) The further I get away from pickup A then it gets a bit thicker.

So I will go ahead and have it not be inverted. So I will click on it, and let's take a look at some of the other features of the pickups. Over on the right side of the interface, right next to the amp envelope, you can see we have this Key and Pickup spread parameter. First, I will talk about the Pickup spread. So the way this works is I am going to click on where it says Pickup and then I am going to drag up with my mouse. So I am going to move upward and you can see it's going to spread the stereo image of pickup A and pickup B.

So now when I play, pickup A is going to be on the left and pickup B is going to be on the right. So I can move these. So I will move the pickups and you will hear them. I'll move around in the stereo field. (music playing) So imagine if you're modulating the position of the pickups to get that chorusing or phasing effect, and you have a very wide stereo spread. It can be a very dramatic effect. So maybe I will narrow the stereo spread of that. So I am going to click on it and now I am dragging down with my mouse, so to just make it a little bit more towards the center.

I can also modulate the stereo spread of the keys in the keyboard. So what I mean is if I am playing lower notes on the keyboard, that's going to be panned a little bit towards the left and if I'm playing higher notes in the keyboard, they are going to be panned towards the right. So that's called Key spread and I click on Key and then drag my mouse up, and this is going to spread out the stereo image of the different ranges of my MIDI keyboard. Okay. So now I am going to play up higher on the keyboard. You can hear that's more towards the right. If I play lower, it's more towards the left.

So that's how that works. So again, I can press on that and now I am dragging down, and I am reining in the stereo image for that one. Next, let's take a look at the global parameters. So that's this whole row that we have up top, at the very top of the sound engine of Sculpture. The first thing they have here is Glide Time. This is going to adjust the amount of time it takes to transition between the pitches of notes that we are playing. So right now, I have 0 Glide Time, but if I increase the Glide Time to, say, something like close to 1 second, when I play a note and I play another note, you can hear the transitions between those notes, and it happens over the course of a second.

So I am going to set this to something much shorter. You can hear a shorter Glide Time. (music playing) So you can hear that's transitioning over the course of 220 milliseconds. So sculpture the Glide Time can go all the way up to 5 seconds long. So you can have a really long Glide Time. So I am going to set this back to no glide. Next we have the Tuning offset. So this is globally, so for the whole instrument and this is in cents. You can tune it up or down 50 cents and the reason why you might want to do that is if you have another instrument that's maybe slightly out of tune and you need to match it, here is where we can just globally adjust the tuning of the instrument.

If I want to set this back to 0, I can just Option+Click. So next we have the Warmth parameter, and this is going to introduce a little bit of pitch modulation, like a slight amount of randomness when I trigger a voice. So if I increase the amount of Warmth, what that means is that each note I play is going to have slight pitch variations. (music playing) So it's a very subtle kind of adjustment, but what it's good for is if you're playing chords and things like that, it helps thicken the sound of it, because you just get a little bit more of a slight random detuning.

So I can Option+click on that and set that back to 0. And then we have Transpose. So if I want to transpose the whole instrument down an octave, I can do that. I can go down two octaves or up two octaves. So we will set the transpose to none. Then if we go over to the right side of the Global settings we've got our Voice settings. So this is the amount of polyphony. So I can have four voices right now. That means I can play four notes at once. I can set this all the way up to 16 voices. Next to that what we have are the various keyboard modes, and this is where we can adjust whether it's going to be polyphonic, monophonic, or if we are going to be in legato mode.

So polyphonic, like it's set now, that means I can play several voices or several notes at once. So I can play chords. (music playing) If I am in mono mode, I can't do that. I can just play one note at a time. But one of the side effects of being in mono mode is if I play a note and then I play a note that's higher, and then I let go of that higher note, it retriggers the lower note. That's kind of neat for creating pedal- tone type melodies where it's pedaling on the lower note.

So that's the mono mode. Then we have legato mode. So what this is is it's also monophonic keyboard mode, but what it allows for is to not retrigger the envelopes when I am planning notes that are adjacent to each other, in terms of their timing. So if I am playing in a legato style, it's not going to retrigger the envelope. So let me play. (music playing) So you can hear the each other note I am planning, it doesn't retrigger the envelope, until I completely let go of the note and then when I play again, then it retriggers the envelope.

So we explored the Global parameters and saw how the pickup position and the stereo spread of the pickups can really shape the tonal characteristics of the sound. In the next video, let's explore how we could shape the volume of sound with the amplifier envelope.

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This video is part of

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

144 video lessons · 8946 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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