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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.
Let's explore this oscillator section of ES P. The first thing I actually want to do is change this default setting that we've got here to a different preset, because like we've seen before with both ES M and ES E, when we open up ES P, it has a lot going on in terms of modulation and lots of different things, so sometimes it's better to start with a more neutral setting. So what I'm going to do is go to the Preset menu--that's up top here--and I'm going to select ES_P Start. If you don't see ES_P Start, make sure to refer back to the video "Using the Exercise Files," where I show you where to place the preset files so they show up to properly in the Preset menu.
So taking a look at this oscillator section here, things look a little different than we've seen before. You can choose between a bunch of different waveforms that we have got here. So we've got this sawtooth waveform, and this slider here is actually a level control, so I have this all the way down. We don't have any signal. So, with any of these different types of waveforms here, I can just bring up the slider to increase its level. So first let me show you what different waveforms we've got. So all the way on the left we've got a triangle waveform, so you can hear that's more of a hallow sound, has a little bit less harmonics than the sawtooth waveform.
So I'll bring that sawtooth again, so you can hear it. (music playing) Then over to right we've got a square waveform. (music playing) So this isn't quite a perfect square. (music playing) There's a little bit of asymmetry to it, and so it's called a pulse waveform. So anytime you're looking at any synth and you see square wave or pulse waveform, usually they're kind of interchangeable, but a pulse wave means that there's a little bit of asymmetry.
Over to the next one to the right, we've got another pulse waveform, but this one's an octave lower. And you can see on this little graphic for it, that it's a little pulse waveform. It's says -1, so that's how you know it's going to be an octave lower. And next to that, you can see it's a pulse waveform with -2. So as you might guess, that's going to be two octaves lower than this pulse wave that's in the center here. So I'll bring that up and you can hear that's pretty low. And then another cool waveform that we haven't seen so far is noise generator here.
So this is white noise. (music playing) So you might think, okay, well, what's white noise going to be good for? It's a good way to actually add a little bit of chaos to a really clean sound, just adds a small amount, or you can shape it into a lot of different types of percussion sounds as well. So really the trick with the oscillator section here is to get the right balance between these different types of waveforms. But before you even do that, you are probably going to want to set the octave, so let's just get one of these waveforms enough signal. (music playing) And over on the left here, we've got these 4, 8, and 16. And so this is the same terminology that we've seen with ES M and ES E, and we'll probably see a lot more with these other logic instruments.
So these numbers refer to feet--so 4 feet, 8 feet, 16 feet--and that terminology comes from pipe organs, because the longer the length of the pipe, the lower the note. So if we choose 4 feet, we get a higher octave, then 8 feet, which is lower, and then 16 feet. So for right now, because some of these waveforms go two octaves below some of the other ones, I'm going to set this to the highest octave, so 4 feet. Let's get a little blend happening here of the sawtooth, and let's bring in some of these lower octaves as well. (music playing) If I wanted to bring in an octave below that, just get a really wide range of frequencies, and of course, I could bring in the noise oscillator as well.
You can hear, just having a little bit of that kind of goes a long way, but it definitely adds to the sound. So really the goal when shaping the sounds is to try to find a nice balance between these different waveforms. So next, let's explore the filter section.
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