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Virtual Instruments in Logic Pro
Illustration by John Hersey

Composing with the EFM1


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the EFM1

Let's check out EFM1 in a musical example. I have got six instances of EFM1 that are creating all the synth sounds and bass sounds and pads, and then the drums were created by UltraBeat. So let's hear it and then I will show what's going on. (music playing) All right! The first thing I will show you is this SynthAccent track that we have got here.
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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

Composing with the EFM1

Let's check out EFM1 in a musical example. I have got six instances of EFM1 that are creating all the synth sounds and bass sounds and pads, and then the drums were created by UltraBeat. So let's hear it and then I will show what's going on. (music playing) All right! The first thing I will show you is this SynthAccent track that we have got here.

So let me play that for you. (music playing) We can see on the interface when this one little accent happens-- (music playing) --the FM Intensity knob is moving. That's because of the Track Automation on it that's doing that. (music playing) That's really the only modulation that's happening in this. There is no LFO or envelope amount that you can see. The other thing to take note of is that the Carrier is set to a fixed amount, so it's not tracking the pitches on the keyboard. So when I play-- (music playing) --I can still play notes that will track on the keyboard, but that's because it's tracking the Modulation oscillator.

If I uncheck this, it's going to sound a lot different. (music playing) So it's one of those things we were experimented and it just sounded cool with the fixed setting. And on that particular note, the modulation sounded really good. The other aspect of the sound that gives it sort of the crunchiness that it has is that the Modulator is set to a waveform that's not a sine wave. So if this was all the way to the left, it would be a sine wave. It's much smoother modulation. But as I move this control, so let's hear that again--right, it really changes the texture of sound.

So changing the wave shape of the Modulator really makes a big difference. (music playing) So the next sound in there is this Fretless Wave sound. I will show you what's going on with that. (music playing) It kind of has this vowel quality to it. It's bit of a growling sound. It's also pretty simple in its construction, and you can see that the movement is really happening from this Modulation envelope. We have got the Modulation envelope applied to the FM intensity--that's this control here--and you can see what's happening is that when you play a note, this FM intensity, over the period of attack, it opens up and then over the decay it closes down and remains at the same level.

So if I just play some notes on the keyboard here-- (music playing) --so you can hear how it has that movement just built into it. Part of the character of the sound, too, also has to do with this bus that it's sending to. So there are a lot of things going on in this bus. It's got an EQ, Clip Distortion, Space Designer, Reverb, Phaser. So let me mute some of these, so you can hear them individually. So here is the sound without any of those effects.

The Clip Distortion, what that's going to do is add in more crunchiness and more harmonics. So the Clip Distortion is a really good way to saturate the sound, and you can get both really harsh and smoother types of distortion with it, so it's definitely worth exploring. (music playing) And so I am following that with the Space Designer, which instead of being set to a Reverb setting, it's set to a speaker cabinet. So with Logic there are some impulse responses that come with it that you can load into Space Designer that are models of speaker cabinets, and they have all kinds of other stuff too.

(music playing) That kinds of makes it sound more like it's in a room playing through a speaker, and I like the vibe. That sounds like guitar amp. Then there's a phaser which is just adding a little bit of slight modulation. (music playing) And then finally, it's being shaped by EQ. So now the reason why I have this on a bus is that I didn't want this to be a fully wet signal, meaning I didn't want to apply this distortion and this Space Designer just directly on the signal, so it's a 100% going through it.

I just wanted to add a little bit. So I can control that amount with this send control right here. So if I bring this down, it's not going to this channel strip at all. I can adjust the amount. (music playing) So I could even have it do quite a bit more. (music playing) And then if I didn't want it actually that crunchy, so I have found kind of a nice setting in the middle where it blended well with this SynthAccent sound. (music playing) That sounds pretty good. (music playing) And the next setting we have got here is this FMOrgans.

So I will play that, take a look at the interface - (music playing) So the main thing that's happening here, it's really this Modulator, it's the waveform in the Modulator is set to something other than a sine wave, so that's what's giving it a bit of crunch. There is also the Modulation envelope which is slightly modulating the FM intensity. So if I play a note on the keyboard here, we can hear just a little bit of crunch to it, and that's because of the Modulator waveform.

If I set it all the way to left so it's a sine wave, there's a lot less of that. (music playing) The other, and actually probably more important, aspect of the sound is the Volume envelope, or the Amplifier envelope. You can see that there is little bit of attack, so the sound is fading in, and it also has a bit of a release, so that it takes a moment for it to fade out. And so that's really what gives it the shape of the sound that makes it a pad, in terms of its characteristic. Then we've got the FM Reverb Stretch here, and what this is is at the end it's just sort of a washed-out pad. (music playing) It's in the background. (music playing) So you can see it's a 16-second reverb, fully wet, so it's just puts it in the background, and it's to add contrast and space to the rest of the mix.

You actually really can't hear much of the sound. If I get rid of this reverb, it's going to sound quite a bit different. (music playing) Don't hear that aspect coming through. I just wanted something in the background that was really spacey. So it's got the long reverb. And what the Tremolo effect it's doing is that's working an auto-panner, where it's panning back and forth between left and right. So let's listen to that again. (music playing) So the tremolo is usually going to be modifying the volume on the particular track that you have running through it, but it has a phase control so that's going to make it function like an auto-panning. (music playing) Last but not least, we have got this other pad, this PostRockPad here.

(music playing) And so that's also a really washed-out sounds in the background. (music playing) If we take a look at this here, you can see that this is a pretty long reverb, 17.8 seconds, fully wet. So it's just to push in the background. I will play for you dry so you can just hear what the difference and what it sounds like. (music playing) Kind of a very different setting. So Reverb really pushes it back. (music playing) So the last thing I want to show you is this Percussion part that's up top. So I'll play you that.

(music playing) Not necessarily that much going on in terms of the pitch, but it functions in the background with everything else as part of the percussion. (music playing) So really what's creating this sound, so if I play this, and what gives it the metallic quality is the ratio between the Modulator and Carrier. So notice that it's 4:9 and you can't really evenly divide 9 by 4. So when you have those kind of ratios you end up getting more metallic sound.

(music playing) If I were to change this to 8, it's going to be a little bit more consonant of a sound. (music playing) All right, so there is a little less edge to it, a little less metallic. And then of course a big portion of the sound is the Amp envelope. It has a short decay, instantaneous attack. So I will set this back to 9, so we have got the more metallic sound. (music playing) I felt like that blended in well with the drums. So I'm going to unsolo this track here, and let's listen to the entire mix and try to listen for how all these different EFM1s blend together.

(music playing)

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