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Composing with the EVB3


Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the EVB3

So, let's check out EVB3 in a musical example. So, I've got a couple of EVB3s here. There're five of them, and that's creating all of the organ and bass sounds and things like that, and then we have an Ultrabeat that's doing the drums. So, let's hear it, and then I'll talk you through what's happening with the sounds. (music playing) All right! So, the first sound we have here is called House Bass, so, let me pull that up, and then what I'll do is, so we can audition that part, I'll solo it and let's listen to it.
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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 EVB3

So, let's check out EVB3 in a musical example. So, I've got a couple of EVB3s here. There're five of them, and that's creating all of the organ and bass sounds and things like that, and then we have an Ultrabeat that's doing the drums. So, let's hear it, and then I'll talk you through what's happening with the sounds. (music playing) All right! So, the first sound we have here is called House Bass, so, let me pull that up, and then what I'll do is, so we can audition that part, I'll solo it and let's listen to it.

(music playing) We've got a pretty simple sound here, just a very simple drawbar registration, the lowest two drawbars out. And a big part of the sound is the percussion parameter, so if I turn them off, you can here the punch really goes away. Because with the percussion sound on, we've got this third harmonic in there. See, if I turn that off to the second, it's much lower. That third harmonic I really think it makes it pop out, so I like that aspect of it.

Also, there's quite a bit of click in that sound too. That has to do with these Click parameters, the Min and Max, and the Click-on. So actually, if I play this and I turn down the Click, it really loses the attack, so that click really helps with it. (music playing) So beneath that what we have is the Trifonic PostRock track, and so what that is is essentially it's a sustaining organ sound. So, let's check that out. (music playing) So, what's going on here is that we're on MIDI Channel 3, so it's the pedals that we're hearing.

And we also have EQ and wah and distortion in this sound as well. So a big part of the sound, too, is the rotor cabinet, so if I turn that off, you can hear the sound is definitely more bright and in your face. There's less movement to it, but I like the movement. I thought this help to push it back and kind of makes it blend in in the mix better, and makes it a little bit more of a moody sound. And so one of the things I really like about EVB3 is just you can get the really crunchy organ sound, but sometimes there's distorted things, like for example guitars, can be really hard to get them to fit in a mix, because they want to take up a lot of space and be really up front.

Now, in organ, because it's so full frequency, it can also take up a lot of space. But with the Effects, and especially with the Leslie cabinet, I feel like you can often find the right place, depending on your settings, and just pushing it back in the mix. Furthermore, to help push it back in the mix, if you look in my channel here, I've got this Channel EQ. So I'm cutting out some of the high frequencies, and we have a little bit of low-mid cut here, just to get rid of some of the boominess of it. So, let's just listen to it without that. (music playing) I'll bypass the EQ. (music playing) You can hear, it sits a bit brighter.

So, this helps to push it back, especially against everything else. (music playing) Essentially, this is functioning as my bass line. And so beneath that we have two sounds here, so there's this Toy Bell and another Toy Bell. (music playing) And so I have those hard panned left and right. If we take a look at the MIDI form, this is the MIDI for the top one. And if I Shft+Click on it, I can see the MIDI superimposed of both of them.

So, it's basically a pretty syncopated part. That's a majority of the sound is just the way that it's programmed. In addition to that, if you take a look at the channel here, I've got this top one panned all the way to the left, and I have quite a number of effects on the channel. On the bottom one there's less effects. It's just high-pass filtered. So, let's take a look at this top one. I'm going to unsolo the bottom one, and I'm going to set the panning back to the center, just so we can hear it in the center. (music playing) And so first what I'll do is turn off the effects.

So, the EQ is cutting out the lower frequencies. The Amp Designer, it's like running it through a guitar amp. So, it just gives it a little bit of a cabinet sound. And we'll turn off the Delay, EQ, and Gate. So, now let's hear what it sounds like. (music playing) So, it's a little bit more in your face. And if we open up EVB3, you can see it's a pretty simple setting here, but there's a movement to the sound, and that's because of the Scanner Vibrato. We've got it set to Vibrato 3, and we also have the rotor cabinet on as well.

There's also the Percussion effect, so that's what makes it punchy, because I wanted these sounds that are so syncopated to have a lot of punch and rhythm to them. So, I'll go ahead and turn back on the effects, and then let's hear what it sounds like once again. (music playing) So that helps to push it back in the mix a little bit. And so I'll pan it back to the left and let's take a look at the one below it here. And so I'll pan this one to the center for a moment. (music playing) And so we have a similar, simple setting, in terms of the drawbar registration, but we have movement with our rotor cabinet, and we also have the percussion parameters, and that's what's giving us punch.

So, if I play this again and turn off the percussion, a little bit less attack. Also, you can hear a little bit of reverb on this as well. So, I'll pan this back to the right, and let's hear those two together for a moment. (music playing) So, you can hear this has this nice stereo back and forth. (music playing) Okay. And next what we have is this Dream Celestra Organ. So, let's hear what that sounds like. (music playing) So, I really like this sound.

It has the strange kind of nostalgic quality to it. And so really a big part of it does have to do with the effects I have on it. I have this vocal transformer. So, this is essentially a type of pitch shifter, and so what I have it doing right now is I have it pitching up 24 semitones, so that's 2 octaves, but I have the harmonic, so the formants, shifting down an octave. So, it's a really weird effect, and what I kind of like is it actually leaves a lot of artifacts, because this pitch shifter can't really keep up with all the conflicting information.

So, if I bypass that, let's hear what it sounds like. (music playing) You can hear the original sound is actually an octave higher. Now, I just have the Tape Delay echo on it, and I have an EQ just to focus and bring out the high end. So, let's just take a look at its settings in EVB3. I'll retrigger this so we can hear it again. (music playing) So, you can see what we have here is just basically one drawbar and we have the rotor cabinet here.

Also, we have the percussion on, but it's set to a very high time value so that it really sustains. Because you remember, if we set this all the way up to its maximum amount, it's in Paradise mode, and so then the percussion itself doesn't ever decay. It will sustain as long as you're holding the note. And that's actually a big part of the sound. So, if I play this once again-- (music playing) --and I turn off the percussion, you can see it's much more mellow. So, that whole higher octave, that's that second harmonic that's playing.

That's it sustaining in Paradise mode. So, I'll turn back on the effects, so this Vocal Transformer and Delay and EQ, and then we can hear it once again in context. (music playing) And so then the one other sound that we have here is this DrawBarGate. So, this is at the beginning and the end of the piece. So, it's kind of a texture, and if we take a look at the setting here, all the registrations are quickly changing.

So this is that special Gate mode where if I'm in the lowest octave of the keyboard, so C0, and I hold down the Cancel key, and then I change registrations it will re-trigger a chord. So that's what's causing the rhythm in this. It's just constantly re-triggering each time it's changing registrations, which is constantly. (music playing) And there's also quite a bit of movement in the sound because of the Leslie cabinet and the filtering that you're hearing is actually the wah-wah, so it's set to the CryBaby mode, and it has quite a bit resonance.

And then I have automation written for that, or it's actually MIDI automation for it, so I can click here and drag this up, and we can see here is my wah settings. Here's how it's automated. So, I thought that added a lot of character to the sound. The other effect that we have on this channel here is a Delay Designer and EQ, and so once again, the EQ is set to a high-pass filter, just to cut out the low frequencies. The Delay is adding the echo to this, so it helps to make it more atmospheric.

So if I turn that off, it's much more of a dry sound. (music playing) So, now that we have taken a look at all the individual settings, let's hear it one more time in context. (music playing)

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