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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 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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