Virtual Instruments in Logic Pro
Illustration by John Hersey

Composing with the ES1


Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the ES1

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.
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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
  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 21s
  6. 48m 10s
    1. Getting started with EFM1
      1m 52s
    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
      3m 0s
    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 5s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 48s
    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 8s
    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 34s
    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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Watch the Online Video Course 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 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
Audio + Music
Logic Pro
Brian Trifon

Composing with the ES1

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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