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Virtual Instruments in Logic Pro

Advanced zone editing and looping


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Virtual Instruments in Logic Pro

with Brian Trifon

Video: Advanced zone editing and looping

So let's explore some of the sample- editing and looping features in EXS24. So I am going to create a simple one-zone instrument. I am just going to drag in that synth hit that we were working with before. So I am going to go to the Finder, and I will go to the Desktop, and Exercise Files folder, and EXS24. And then we have the Audio Files folder here. So, in Synth_Velocity, I am going to choose one of these, and we will make our kit based on that. So let's listen to the C2_bass_med-hard.
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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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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

Advanced zone editing and looping

So let's explore some of the sample- editing and looping features in EXS24. So I am going to create a simple one-zone instrument. I am just going to drag in that synth hit that we were working with before. So I am going to go to the Finder, and I will go to the Desktop, and Exercise Files folder, and EXS24. And then we have the Audio Files folder here. So, in Synth_Velocity, I am going to choose one of these, and we will make our kit based on that. So let's listen to the C2_bass_med-hard.

So I can just hit the spacebar to audition it in the Finder. (music playing) That sounds cool, so let's use that. So I am going to drag and drop it into the arrangement. So back in Logic, I am going to open up EXS24 and open up the sample instrument editor. And then to make this map across the keyboard, I am just going to drag and drop the audio file right here, and it will map it across the range of the keyboard.

So now when I play the keyboard, you can hear we've got the sample. So now I want to adjust the start and end point of this sample. So what I am going to do is set our View settings to View All. Then I will scroll over, and you can see that I've got the Sample column here. So there is Start, End point, and then Fade. So Fade is going to be the amount of fade-out time if I have a one-shot sample. So let's just focus on start and end point. So I can adjust the start and end point just by dragging here.

So if I am playing, I can audition it while I am doing this. But this isn't really the most efficient way to edit the start and end points, because the time unit here is in samples, which is a really, really small amount of time. So it's better if I can see what I'm doing. So the way I can do that is if I scroll back over to left, where it says Audio File and so here is the audio file in our zone, if I double-click on it, it opens it up in the Sample Editor. So that's behind this window.

Here's the Sample Editor, and then now I can adjust the start and end point visually. So I can drag this anchor here, and then here's the end point, and so now when I open back up the Editor and take a look, you can see it updated the start and end point and now, when I play it, I can hear that it's different. So there we go! So what if I want this to loop because I want to be able to hold this note and want it to sustain forever? It doesn't have to necessarily be a perfect loop, but I just want this to ring out for longer. So what I can do is turn on the Loop mode, and then I can adjust my start and end points of the loop right here.

Again, this is probably easier to edit visually. So we can do that by going back over to where we have the zone and the audio file name, and I am just going to double-click on it. Now, when I go back to Sample Editor, you can see that it has this green bar down here. So this is my loop's start and end point. So I am going to go ahead and set that. Let's just set our loop point to something that's rather small, and let's see what it sounds like. (music playing) So you can hear it's repeating. You can really hear the loop.

So I will play it somewhere else. (music playing) So if I play it up higher, because it's playing back through the audio file faster, the loop points are then smaller. So it's kind of a cool sound but for certain contexts, it's not going to sound good. So it depends on the type of music and other stylistic considerations. So let's try experimenting with different-sized loop points. So what if I have a really small loop point? So if I do that, I can get kind of a buzzy sound from the loop. (music playing) It kind of sounds like it's freezing time. (music playing) So that's kind of interesting! But it's not very smooth. All these loop points right now, you can really hear it looping.

So one way to help ease the transition between the loop start and the loop end is to do a cross-fade between them, and the EXS24 Editor can do that. So I will bring it up and if we go back over to our Loop parameters, you can see I have got this XFade parameter here. So that's where I can adjust the amount of time that's going to cross-fade between the start and end point of the loop. (music playing) So you can already hear it's a lot smoother, and if I increase the time even more, it's going to even it out, because what a cross-fade is doing is it's taking part of the end of the loop point and it's folding it over to the beginning and taking part of the beginning and tacking it onto to the end, and so that overlap creates a smoother transition. (music playing) If there is a difference in amplitude, so a difference in volume between your start and end point, it is good to also try an equal-power cross-fade.

So I can select that here. It's just a different cross-fade shape. Sometimes that makes a difference; sometimes that makes it work better. Also, another thing that can happen when you're looping a small segment of audio, it can sometimes sound out of tune. So you have this fine-tuning adjustment here that could go in 50 cents either direction. So I can listen to it while I am tuning. So I can fine-tune it. And that's if I was playing against something else, and it just was sounding out of tune. This is how I can make up for it. Now that we've explored how to set our start and end point of sample--we can also set up loop points-- let's try sculpting the sound with the filters in EXS24.

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