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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 I have a musical example here and all of the sounds are made with the EVD6. So let's take a listen and then I'll talk you through the sounds. (music playing) All right! So the first sound we have is this electric bass, and I'm going to go ahead and solo that. (music playing) That sounds quite a bit like electric bass.
Now a big part of the sound is this bass amp, which is just part of Logic and emulates a bass amplifier and cabinet. So if I open up EVD6, let me take a look in the settings, I have it set to the Classic D6. And a big part of the sound is that when I release each note, the pitch falls, and that's because of the Pitch Fall parameter. Also there's some interesting resonances, and that's due to the Tension Modulation. So let's hear it one more time without the bass amp. (music playing) So you can hear it's a much brighter sound.
It kind of sounds like an electric bass that's not plugged into an amplifier. So then I turn on Bass Amp, and it sounds pretty convincing. (music playing) So next we've got this LeadBass track. So I'll play this one. (music playing) I kind of wanted a melody played by electric bass, so I was thinking of like New Order, they often have their melody in electric bass, and I've always liked that. So this is another electric bass sound but just focusing more on the higher notes.
And so if we take a look at the part, so I'll just zoom out a little bit so you can see, basically we have a bunch of pedal tones. It's like two pedal tone parts, so here's the lower one and here's the higher one. And so if we take a look at the sound in EVD6, you can see that I have quite a bit of Stereo Spread. So there's two things happening. We have the pickup spread out between left and right, and then I also have the key scaling. Essentially what that means is that the lower notes that I play on the keyboard are going to be panned more to the left and the higher notes are panned more to the right.
Also take a look at the pickup positions here. You can see that this pickup is splayed out across all the strings and we've got the lower pickup beneath it that's over on this side. So we've got the lower plus upper pickup setting, so that gives it a very full sound. So let's hear the LeadBass and then Electric bass together. (music playing) So you can hear these parts work really well together. And even tonally, they're pretty complementary. (music playing) And so then beneath that, what I have is this Delayed Guitar.
So let's hear what that sounds like. (music playing) So this is kind of a background sound. I was able to put it in the background by cutting out the low frequencies with this channel EQ, and then it has a lot of echo on it, so we've got this Delay Designer. So I just wanted this little movement and busyness in the background. So if I turn those off, here's what it sounds like. (music playing) And notice the settings here were exactly the same as the LeadBass, so the one that we looked at right before.
So the EQ and Delay really push it to the background. And then beneath that, what we have is the Mallet sound, so check out this. (music playing) It sounds quite a bit like a marimba. (music playing) So in EVD6, we can see that the setting is set to StrBells as our instrument model. And so that's the main aspect of the tone, because it brings out a lot of the enharmonic overtones. My pickup settings are also kind of crazy. You can see I have this one pickup that's across all of the strings here.
Then we have the lower pickup just in a normal position. Also there's quite a bit of damping of the sound and that's why it doesn't ring out that long. It's not a long sustaining bell tone; it's more like a marimba which decays faster. So let's listen to that. (music playing) And the other thing you can probably notice is that there's a bit of reverb on this, so I'll turn that off. And so when I get rid of the reverb, it pushes it upfront and also gives it a sense of having less space. (music playing) And beneath that what I have is the Khim instrument.
So a Khim is actually a Thai dulcimer, and so I wanted something that kind of sounds thin and a bit like a dulcimer. So let's check that sound out. (music playing) And I also have a lot of reverb and delay on it. So I'll bypass the reverb and delay, and let's hear what it sounds like without that. (music playing) And if we take a look at the settings, you can see I have this set to the StrBells model.
And then I have the pickups out of phase, and that's why the sound is so thin. Also there's a bit of Tension Mod, and that's what adds those nonlinear and resonant characteristics. Tension Mod could be really useful for recreating ethnic instruments, because of its strange characteristics. So let's hear it one more time with Space Designer and the delay on it. So let's hear what it sounds like. (music playing) So pretty convincing as a dulcimer. So next, we have this BowedGtr sound. (music playing) It's kind of a lush distorted sound that's pushed in the background.
I was thinking of like post-rock bands like Sigur Ros, where they have bowed electric guitar. So you can hear in context it just sort floats over everything. So probably the biggest portion of the sound is actually the space designer reverb, because you can see I have a 13- second reverb, and it's set to only the wet single to come through, so no dry signal. So if I play the sound and I kill the reverb-- (music playing) --you can hear it's just a distorted clav sound. (music playing) So in terms of effects in the EVD6, what I have is Distortion, and there's quite a bit, and we have a Flanger, and that's what's creating the movement, and also a little bit of Wah as well.
You can see that I've got the pickups spread all the way left and right and then this is set to the Domination setting here, so we have a lot of attack, and it's very responsive to the velocity. So let's just hear it once again. (music playing) All right! And then I'm going to turn on the reverb, and then can hear it just pushes in the background and gives it this lush distinct quality. (music playing) So the last EVD6 that I have here is called EdgeGtr and so what I was trying to do is emulate something like the guitarist, The Edge, from U2 would play.
So he tends to play very syncopated, palm-muted kind of lines, and I always like that. And they have a lot of echoes and really beautiful stuff. (music playing) So if I open up EVD6, you can see I have it set to the Wood setting. So the Wooden setting doesn't have much sustain, and that's why I like it. It kind of sounds like palm-muted guitar. And other than that, the settings for it, I have a little bit of damper and then I've got the pickup across the whole range of the strings here. And then what's adding a little bit of movement to sound is the Chorus effect that we have here.
So let's listen to that one more time. (music playing) And the echoes are being created by the tape delay. So if I turn that off, you can hear there's a lot less movement to the sound. (music playing) So now that we've taken a look at all of the individual sounds, let's hear it context one more time. (music playing)
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