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Composing with the ES M

From: Virtual Instruments in Logic Pro

Video: Composing with the ES M

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.

Composing with the ES M

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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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 8832 viewers

Brian Trifon
Author

 
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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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