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Virtual Instruments in Logic Pro
Illustration by John Hersey

Composing with the ES P


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the ES P

So let's hear ES P in action. I've got this little song here that's basically five instances of ES P that's creating all of the synth and melody and pad sounds and things like that, and then the drums are made with Ultrabeat. So let's check it out, and then I'll talk you through what's going on. (music playing) So in this example here, I've got a couple of things going on.
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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 P

So let's hear ES P in action. I've got this little song here that's basically five instances of ES P that's creating all of the synth and melody and pad sounds and things like that, and then the drums are made with Ultrabeat. So let's check it out, and then I'll talk you through what's going on. (music playing) So in this example here, I've got a couple of things going on.

The great thing is that ES P has such a range, because it has all the different waveforms in the oscillator section, so it can serve a lot of different functions. So the first track that I've got up here is just this sub-bass sound. So I'll play it for you. It might be hard to hear if you have small speakers because it's very filtered down. And I'll open up the interface so you can see, I've got this filter cutoff. It's very far filtered down. So let's listen to that. (music playing) So this is happening simultaneously with the kick drum. It's just an accent.

It's supposed to sort of blend in. Now I'll actually play the two together so you can hear them together. (music playing) So the kick drum is happening simultaneously with this sub sound, and they sort of come together to make this one thing. And I just have this one little offbeat accent that sort of move things forward that's not happening with the kick drum. So the next sound that's happening, I called this ESP_Euphoria. It's sort of the cliche trancey sound that's growing over time.

So I'll play that, and I'll open the interface as well. (music playing) You can see one of the things I'm automating is the intensity of this ADSR envelope modulating the filter cutoff. So that makes it very dynamic where I can get all these accents that kind of jump out. And so as this goes on, it increases in energy because I'm sending to a reverb, and I increase the amounts that send and so that just makes this more dramatic, euphoric kind of thing that happens with it.

So again, sometimes if there's no, for example, there's no envelope for this envelope amount for the filter cutoff, nor is there an LFO, but I can always use track automation to make something move around. So if we can just take a look here, so if I click on the track and I press A so you can view the automation, there's a couple of things that are automated actually. The reverb send is, that's as this is building, there's more amount sent to the reverb. And then with ES P, I've got this ADSR intensity for the filter.

That's modulating as well. And that helps so that I can get more accents or less accents happening. And so I just sort of did it as I was listening to it, just move this knob here. And show you how to use automation if we wanted to add more, we can add something else here too. Maybe what I can do is ride the levels of one of these oscillators as well, because that's something else that we can automate. So what I'll do is change the automation mode from Read to Latch. What that allows me to do is to move any parameter on the interface here and it will write the automation.

When I let go of the parameter, it will just continue to write whatever that last value that it set. So I'm going to automate in some sawtooth waveform into the sound. Now let's do it in context. (music playing) So you can see that it's writing this automation. Currently, it's behind the interface. (music playing) I'll increase the amount of sawtooth waveform. (music playing) And then just so you can see, even when I'm moving this, even if there's not a region there, it will continue to write the automation.

So it follows all my movements. And then when I'm done writing the automation, I want to make sure to switch it off of Latch and back to Read. And if I move this out of the way then it's going to follow all those automations that are written. So it's very useful thing to do. So the next track beneath that we've got, it's kind of a lead sound. It's functioning in a couple of different ways. It starts out as the initial sound here. It's this little wobbly sound. It's on its own and then everything else kind of kicks in. If I hold this track, it's actually just really filtered down, so the cutoff frequency, and so now you can hear it kind of come in.

(music playing) So I've automated that cutoff, and it grows over the course of this. And notice that there's a lot of overdrive in this. This is a pretty crunchy sound, and it also has a lot of noise in it, because I've got this noise oscillator. So the reason why that's useful is as the energy builds and I open up the filter, the noise just gives it a lot of chaos to it and energy. So it's kind of nice, because the white noise can be pretty harsh, but when it's really filtered down, you don't notice it, because the signal is very filtered.

So like in the beginning and as it's building, you don't really hear the white noise until the filter is all the way open. So now we can start to hear the signal is coming in. We can hear all these different waveforms playing together. And you can hear the overdrive. It's giving that little edge to it, a little bit of bite. We still don't really hear the noise too much until the filter reaches until about now. And it just gives you that extra edge when all the energy of the rest of this has built up.

And so I also automated that frequency cutoff there. Typically, I could use this Wah parameter to modulate the filter cutoff to have it do a consistent pattern, but I wanted it to sort of speed up, so I just wrote that as automation. So I'll show you that. So if you look at the cutoff here--and I'll just zoom in--so you can see it's kind of this crazy pattern. So I just use the mouse to write automation as well. So if I wanted to add a node, I could just click and add a node.

Click again to get rid of it. So if you're patient, you can write any automation pattern that you want. So this sort of thing just takes a little bit of time, but sometimes it's worth the result. So then the other sound that we've got in here is this Moody Pad sound, and you might notice that this is kind of a theme with most of these little example songs that it'll have some sound that's kind of off in the background that's creating more three dimension. (music playing) So the sound here is just kind of filtered down. (music playing) It has a lot of chorus on it so that it pushes everything in the background.

It's just a triangle waveform, so there's not many harmonics in it, and it's filtered down. (music playing) It has a lot of resonance. And because of that, we're getting that extra strange frequency in there that gives it a bit of dissonance. So I'm going to adjust the cutoff filter so you can hear what that sounds like, because that's going to change the pitch of the whole thing. (music playing) So when I've got my resonance this high, it's basically the filter is oscillating a whole nother signal that I can try to tune.

So it's subtle, but it's just a nice thing in the background, just to give it contrast against everything else that's all euphoric. So that's ES P in action.

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