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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 M in the example of a song. So what I've got here is a little piece that I made with six different instances of ES M, and they're creating all the melodic and bass and harmonic stuff that's going on. And then the drums are done with Ultrabeat. ES M, one of its strengths is that it's a very simplified instrument. It's also monophonic, so that means that you can't play chords, because you can only play one note at a time. So let me play this example, and then we can listen through what's happening here. (music playing) So the first thing that's going on is up top there's two instances ES M and they're playing basically the root and the 5th.
So it's a simple two-note chord. I had to split that out into two tracks because you can only play one note at a time on ES M. So let's pull those up and just take a look so you can see the settings here. So I've got one of them--that's the root--and second one here is the 5th. So let's just hear what that part sounds like. (music playing) So notice that these two instruments have the same setting. So it's basically got a little bit of Filter envelope that's happening and a pretty short decay on that, a slight bit of overdrive to make it a big crunchier.
That's kind of got the typical progressive House chord thing happening. And the way I did it is I have the root note happening on one track, so you can see the MIDI information for that here. And then in order to get that 5th happening--so with the other note in the chord--I just took everything and literally just dragged it up in this media editor, up seven semitones, so up a 5th. And that's the way I can get those chords happening. The next part here is this wobbly sound. (music playing) So let's take a look at the interface for that.
And now while you're listening to it, watch the Mix control in the oscillator and the filter cutoff. (music playing) So you can see those are both moving together. (music playing) That's what's creating that valve sound, that wobbly bit to it. So the reason why those are moving is I actually have automation data written for this Mix balance and for this Cutoff control so that they move, because in the synth, because ES M is sort of simplified, it doesn't have an envelope for this Mix control or an LFO, which we'll talk about later when we get into some of these other synths.
So I just used the automation in Logic. So if you're on a track, you can press the A button. That shows you the automation. And you can see, I wrote the automation for the cutoff and I also have it for the Mix control here. That was the way to get the movement happening with that sound. So next, we've got these two different lead sounds. And again, these are both similar. I just spread them out on two separate tracks so we could have things that are overlapping. And these sort of have some pitch-bend information happening. (music playing) So we can take a look at the interface for that.
It kind of sounds like the Rolling TV 3OH!3 that's used in a lot of early electronic music and ACID music. So you can take a look and you see it's got a medium amount of resonance here, and that's sort of what gives it that squelchy quality. Also a big part of the sound that's happening here is the contour of the pitch, that pitch bending. So if we look at the MIDI regions here, I can press this little button here to view all the pitch-bend information. If you're not seeing it, what you can do is click on this menu here to go to Pitch Bend, and then you can see that happening.
So if we listen to this again-- (music playing) --you can see all those pitch changes happening. That was in the other track there. (music playing) And so that's essentially what's going on with that part to make that have contour to it. And then last but not least, with the ES M, we've got this pad sound that's kind of distant that gives a sense of space, because everything else is so dry and upfront. (music playing) So normally I don't think of ES M as the type of instrument that's the first call of what I would use to get a long sustaining pad sound, because it's really good for upfront and cutting sounds, but it can be kind of harsh.
So in this case what's happening is I have a reverb on the channel here that's actually probably the biggest part of the sound. Because if you notice, the Space Designer Reverb, which is part of Logic, that the Wet/Dry Balance, so the reverb amount. is pretty much fully wet and there's no dry signal coming through. And if you take a look at the Length here, this is a 21-second reverb, so it's very long. So it's basically just washing out the sound. And that's a great technique to use if you want something to be more in the background.
So for the purpose of this example of trying to use ES M to function as many things as possible, this is a way that I could put it more in the background and give sort of a three-dimensional quality to everything that's happening. So one more time, we can hear a little bit of this, and then you should explore on your own. (music playing)
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