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Virtual Instruments in Logic Pro

Composing with the ES E


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Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the ES E

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.
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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 ES E

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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