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Composing with the EVD6

From: Virtual Instruments in Logic Pro

Video: Composing with the EVD6

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.

Composing with the EVD6

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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This video is part of

Image for Virtual Instruments in Logic Pro
Virtual Instruments in Logic Pro

144 video lessons · 9069 viewers

Brian Trifon
Author

 
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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
      33s
  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 20s
  6. 48m 8s
    1. Getting started with EFM1
      1m 51s
    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
      2m 59s
    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 4s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 47s
    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 7s
    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 33s
    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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