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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 check out ES E in action here. So we've got five instances of ES E in this little musical example, and then there's a drum track here. And I can actually zoom in on that if I press the Z key on the keyboard-- you can see that. And so this is actually from an Apple loop that comes with Logic Pro. It's called Analog Drum Machine 10, and as you can see here, I've got a little bit chopped up just to thin out some of the elements. Anyway, let's hear how this all sounds together. (music playing) Okay, so the first track we have up top here is a little accent part.
So I'll play that and take a look at the interface and I've got the MIDI parts here as well. So you can see that. (music playing) So you can hear that the filter cutoff is changing, and that's because these notes have different velocities, and that's indicated by the colors here. Whereas the red is the harder velocities and the light blue is softer and it's sort of a continuous color scale between the two to indicate velocity. But what's happening is that with the different velocities it's modulating the filter cutoff, and that's because of this AR Intensity Control here. And remember what that does is that it takes our Attack/Release envelope and applies it to the filter cutoff.
So the harder the velocity, the more this cutoff is offset, and so you can hear that happening with this track. (music playing) So beneath that what we have is this Wobbler track. (music playing) And so I'll bring up the interface there. And if you take a look at the Cutoff knob, you can see it has quite a bit of activity. (music playing) And really, the filter cutoff is what's shaping the sound; it's giving it that vowel vocal quality it.
So unfortunately, ES E doesn't have anything built in to create those kind of rhythmic patterns with the filter, but what I can do is create track automation to modulate the filter cutoff, and what's I did here. So if I have a track selected, I can press A, and what that's going to do is bring up the Automation window. And I'll move this out of the way for a moment, so you can see I've got all these cutoff automation. And just as a refresher, if you wanted to write some more automation, it's very simple to do.
What I can do is change this automation mode from Read, I'm going to select Latch. And what that's going to allow me to do is when I move the knob on the interface here, it's going to write the automation for whatever my movements are and when I let go, so it's going to continue to write automation at whatever the last value that I left it at. So let's do that with the amount of vibrato. (music playing) I actually want to hear this in context. (music playing) And you can see I am moving this vibrato control. It's writing the automation.
(music playing) So I will just continue to write this to the end. Okay, cool! As you can see, I wrote all that information. And then I want to make sure to switch this back to Read, so that it will follow the automation that I just wrote. And then we can double check here, and you can see now this knob is moving on its own, so it caught that automation.
So beneath this, what we've got is this little meow sound, which is just this little accent, really short notes. And you can hear with that as well that the filter cutoff is changing. That is because of, again, this AR intensity control, which takes the Attack/ Release envelope and applies it to the filter cutoff. And so with these different velocity notes here, it's adjusting this filter cutoff. I've also got some chorus happening, and that's creating some additional modulation in the sound.
And then furthermore, it's sending to a reverb, this little reverb here, and that just gives it a little bit more space. And if you listen to the sound, you can hear that it has a tail at the end of it. (music playing) And so even when I stop the not, you can hear it's still ringing out--and that's not just the release of the sound; it's both the release mixed with the reverb. And beneath that we've got sort of what I think of as the quintessential ES-E- type sound, which is the chorusy pad sound, so I'll play that one.
To me it, has this '80s nostalgic thing going on here. So most of this sound is really because of the chorus effect, and we've got a long release as well. And then to add even more modulation to that, there's some pulse-width modulation that's happening here, and that's because we've got the pulse width amount set somewhere in the middle here, and that's going to modulate the pulse width here. And last but not the least, what we have is this hollow pad sound.
(music playing) This is a pretty simple setting here. Again, there is chorus that's happening, but what really puts the sound in the background is that it's sending to that same reverb, that's still reverb. (music playing) And so sometimes on a track where there's a lot of things that are very upfront and dry, I like to put a lot of reverb on something to push in the background. It gives it more of a sense of three-dimensional space, and that's nice to contrast against things that are very upfront and dry.
So let's listen to everything together once more. (music playing)
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