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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.
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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