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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.
One of my favorite aspects of ES2 is it's extensive modulation capabilities. So in the bottom half of the interface we've got the modulation section, so we have a modulation router, two LFOs, and three envelopes. So all this modulation stuff, what it's going to do is it's going to bring life to the sound. Because what we can do is automate things like the Filter Cutoff or Oscillator Pitch and all sorts of other parameters and have periodic or just one-time movement that's happening and that helps create more expression with our synthesizer sound.
So let's take a look at this Modulation Router. Essentially what you've got is ten different channels where you can assign different modulations. So the target is the thing that's going to be modulated. So that might be like Filter Cutoff or Pitch, so let's take a look at the list here. So we have got this long list of targets, all sorts of things that can be modulated. Let's just start with something simple. Let's modulate the pitch of Oscillator 1, so I'll choose that as the target. And then we've got the source down here.
And this is the thing that's going to be doing the modulating. So it could be an envelope or an LFO or the X-Y Planar Pad, which we'll take a look at, or Velocity. Let's have LFO 1 modulate Oscillator 1's pitch. So now if I play a note-- (music playing) --well, I don't hear any pitch modulation. That's because I have to give it a certain amount of intensity. So this slider right here with this green triangle is the Amount slider, so when I increase this-- (music playing) --you can hear I get more pitch modulation.
Bring it back down. (music playing) I can go in a negative direction too. (music playing) It just inverts the modulated signal. (music playing) So that's all great. And then the other menu we have here is this via parameter. This is where we can modulate the amount of modulation. It sounds confusing to say, but the concept is not that confusing. So what I could choose here is something like ModWhl. This will allow me to scale the intensity of the modulation with the ModWhl. So when I selected this, you can see it split the Amount slider into two parts.
So I have got the green and the orange part. So the orange part is going to be the top of the range, so let's just click on that, drag it. So this is going to be the maximum intensity of my modulation, and then the green portion down here is set to minimum. So I will set that at 0 and my maximum, we'll set it to around .5. So now the ModWhl will control this range of pitch modulation. So if I play the note now and my ModWhl is completely closed, (music playing) I have no pitch modulation.
So now I'll play the note and slowly open the ModWhl, and I will hear the amount of pitch modulation increases. (music playing) And so now it's fully open, and then I'll close back down the ModWhl. So it's pretty neat. And then you can have ten different modulations all happening at the same time. So another thing we could do that's actually pretty cool is one of the sources is this Planar Pad-- you can also refer to as an X-Y Pad--where we can have different modulation targets, either for the horizontal or vertical axis.
So let me show you what I mean. So I want to modulate the cutoff of filter two. So I am going to set my target as Cutoff 2. I want the Source to be the X axis of this Planar Pad, so I will choose Pad-X as my Source. And then here's where I adjust the intensity of the modulation. Let's just do it full on. So now when I play and I move this horizontally, you can hear it's filtering the sound.
(music playing) And so I could assign a completely different modulation target to the vertical, or the Y, axis here. So let's do that. So maybe just because we're already dealing with it, let's assign Pitch 1, so the pitch of Oscillator 1, to the vertical axis. So I will do Pad-Y, and then let's give it the full amount. It's a really dramatic effect. So now what happens, I move horizontally and it filters the sound. (music playing) I move vertically and it changes the pitch of Oscillator 1.
So you can get this complex interaction, basically between two unrelated things, with this X-Y Planar Pad. So you can get a lot of fun and expressive sounds by assigning modulation targets to the X-Y Pad, and in general just assigning different modulation targets to sources in the router here. So next let's take a look at how we can use the two LFOs in conjunction with the router to add more periodic modulation and life to the sounds.
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