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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.
All right! This is a little musical example using ES 1 where I've got five instances of ES 1 for the different melody and bass sounds and lead sounds and things. The drums are made with UltraBeat, and then they're rendered out to audio. And UltraBeat is Logic's built-in drum machine, which we'll take a look at in one of the later chapters. So here's the example. (music playing) Okay, so let's show you what's going on with each different instance of ES 1 here.
So in the beginning, it has this kind of funky lead sound that's going on, so I'll just play that part so you can hear it. (music playing) And notice that actually the instrument below it is playing the same thing. I'll play those together. (music playing) So they're just layered. They are playing exactly the same MIDI part, but this one below, this deep bass one is more filtered down==it's just a sub-tone underneath. So they're kind of combine together to make one sound.
So first let's take a look at this top one, and then I'll show you the bottom one more. So essentially, what's going on here-- (music playing) --is mainly this ADSR via velocity is modulating the filter cutoff. So if we take a look, this filter, it's pretty far down. So depending on the velocity of these notes--and if we take a look at the MIDI part, down here you can see by the different colors, that there is a lot of different velocity strengths that are happening, and so that's modulating the Cutoff and that's really what gives the dynamic to this particular sound.
Also, I'm going to close this interface for a moment, but let's take a look at the channel strip. See, I've this sending to a bus here and on this bus, there is distortion and reverb. So if I don't send to this bus, it sounds a little bit different, right? To me, it sounds a little bit more synthetic, and I like the sound of that, but I want it to do is I want it a little bit more crunchy and controlled in a way. So this bus that I'm sending to here as has a clip distortion and the Space Designer reverb, and I'll show you what's going on with both of those.
So first if I mute the Space Designer, let's do it what this sounds like with this clip distortion here. (music playing) So, pretty crunchy. So I thought that was a little bit much. So the Space Designer, it's actually not set to a reverb setting. One of the really cool things about Space Designer that can easily be overlooked is that it has impulse responses that are part of the built-in Logic library that are speaker cabinets. So depending on if you have the full Logic suite installed, there is actually a category here called Warp Spaces and underneath that, there's a category for Speaker Cabinets.
So that's where I found this one, this Amp Cabinet Speaker, and this is included in the exercise files. So you'll have this impulse response even if you don't have the full set of Logic content installed on your computer. But what this does is it makes it sound like it's running through a speaker cabinet or an amplifier. So I though that was cool, but it's lacking a little bit low ends, but beneath that have exactly the same MIDI part, but it's really filtered down, and this is just creating this sub-bass aspect. You can see the lowpass filter's all the way down, so that's cutting out all of the high frequencies.
Then you combine the two and they just blend together. So that's one way you can layer things and get stuff sounding good. The next synth that we've got here is this ES 1 called filteredSynth, and that's this sound. (music playing) It takes a moment for it to kind of rise up. If you watch the Cutoff knob, you can see that it's automated. (music playing) You can hear there is a lot of movement in this sound.
What's creating the movement is this LFO here. We can look, it's set to full intensity for this Mix control. So you imagine this Mix slider here between the primary and sub-oscillators moving really, fast back and forth every 8th note. So that's what's creating that sense of pitch change because remember, the sub-oscillator here is an octave lower than the primary oscillator. So every time this slider moves up and down, you are hearing a change in octave. So every 8th note, there's this octave change that's happening, and then there is also, of course, the filtering that's going on.
So you can take a look at the automation for that. So if I'm in my Arrange window here and I press the A key on the keyboard, it brings me to automation view, and so then I'll make sure to select ES 1: Cutoff. If you don't see it here, you can just always go to the instrument for ES 1 and you can see all the parameters that you can automate. So I'll just go to Cutoff, and that's where I wrote that automation. If I wanted to add some more automation--which I'll do-- I'm going to set the Automation mode something other than Read, because Read is just going to read back whatever automation I already have.
So I'm going to set it to the Latch parameter. That means anything I move on the ES 1 interface, it's going to write the automation for that and when I let go off it, it's just going to stay at the last value I had it set to. So we'll open up the interface here, and I am going to automate the amount of drive. So I'll just start it from here. So you can see, as I move this Drive control, it's writing the automation for it. So it's very simple to do.
Remember, this Drive is the input level into the filter. (music playing) Okay, so that's enough for that, and you can see it just kept it where my last value was there. And then I want to make sure to switch this back to Read; otherwise, it's just going to continue to write automation if I touch anything. So I don't want to do that. So that wrote the automation, which is cool. And the next thing I've got is this LittlePluck sound here, and that's this one.
(music playing) So you can hear a really short decay, and it's obviously going through reverb. because it's got that long tail to it. Sure enough, when we look at the interface-- take a look at the ADSR, the amplifier envelope here-- you can see that the decay is pretty short. That's mostly what's going on with the sound; it's just the shape of it's short, and the reverb here. We've got a pretty long reverb, 6.7 seconds, Marble Church reverb. And beneath that, this next ES 1, and the last one we've got in here, has kind of a chorusing '80s sound.
And you can see if we look at the global section of ES 1, I've got the Chorus 1 engaged for it. It also has somewhat of a long release. You can hear that aspect of the sound because it naturally kind of fades down. And also there is a little bit of filter FM happening that's being modulated depending on the velocity. So that's adjusting the Cutoff. Remember, that's the triangle wave. From this oscillator, it's hardwired so it can modulate the cutoff at an audio rate, so you get some interesting little distortion artifacts with that.
So let's hear the entire thing one last time. (music playing)
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