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Composing with the EVOC 20


Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the EVOC 20

So let's check out this musical example. I've got a couple of the EVOC 20s in here. Some are functioning as a synthesizer and others are vocoding the incoming audio signals. So let's check out the example, and then I'll talk through what's going on with sounds. (music playing) So, up top here, we have got our EVOC 20, so I'll open this up so we can take a look.
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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 EVOC 20

So let's check out this musical example. I've got a couple of the EVOC 20s in here. Some are functioning as a synthesizer and others are vocoding the incoming audio signals. So let's check out the example, and then I'll talk through what's going on with sounds. (music playing) So, up top here, we have got our EVOC 20, so I'll open this up so we can take a look.

So this one is just acting as a synthesizer, so this is the growler sound. That's what I'm calling it. So I'll just play you that so you can hear what that's doing. (music playing) So you can see that there are some knobs and things moving here. So what's happening is the FM intensity is being automated and so is this Low Pass Filter Cutoff. So that what's really mostly what's creating this sound. So if I just stop this and play this sound--it's a pretty static sound, so it's the movement of this in conjunction with the filter cutoff here that really give it sort of a vocal quality.

Notice that there is no vocoding happening, nothing coming in through the Side Chain input. So it's all just happening in the Synthesizer section here, and it's in FM Mode, and we've got this Wave 2 modulating the frequency of Wave 1. So that's what's going on. Not too complicated, but it's actually kind of an interesting sound. So if we take a look at the track, here you can see the automation, so it's the FM intensity and then we have also got that filter cutoff. And so you can see how this automation here, it's very consistent.

That's because once I got one of these right, I just copied and pasted it and with that, I copied the automation. So that way I get a very consistent performance, because it'd be really hard to do it that consistent just moving the knobs on the interface. So the other part of this sound is that it's compressed pretty heavily with the compressor here. (music playing) So if I stop that for a moment, bypass it by Option+Clicking, it's a little bit more dynamic, and it's also being bussed to a bitcrusher in an EQ.

So if I get rid of the bitcrusher, it's really going to make the impact less of the sound. So here it's much more subtle, and now it has more of a growl and grit to it. So with this routing here, what I am doing is I'm sending to this auxiliary channel and that has an EQ where I am cutting out the low frequencies and the extreme highs, because really all I want to do is bitcrush and bitcrush is a type of distortion. Just the midrange frequencies. Because if I bitcrush the low end, it's really going to change the character of the sound and when you bitcrush or sample-rate-reduce a sound, what can happen is you can get some harsher high frequencies in there.

So that's why I have another EQ here. You can see I have a pretty steep low- pass filter that's cutting out the high frequencies and I have got this notch in here because there is a frequency that was ringing out. So that all together kind of makes that growler sound. Next, we have this one called Crazy Talk. So if I take a look at this, I can see that it has a Side Chain input that's coming in on Bus 3. So if play this, well, we are not going to hear anything, because I have to activate the track that's going to Bus 3.

So I know that this Mikal's Lyric down here is the one that's coming in through the Side Chain input. So this Mikal's Lyric is just an audio file, and we can actually listen to it. And if you look in the channel here, notice it has no output, so that's why if I solo this track, we don't actually hear it in the arrangement. So it's just being bussed to this Aux 3 here, and I am using that as the input for the EVOC 20. But let's listen to what this sample is first, and then we can sort of listen to what the vocoded sound is, and you will get an idea of the whole picture.

So I'll set the Output here to Stereo Output, and so let's listen to this sample. (Male speaker: It's like a loop machine. It's like a loop machine.) So he is saying "It's like a loop machine." But I can't really tell. It's sort of stretched out in there and kind of weird-sounding. So I just thought this was kind of a interesting source, so I was like, well, what happens if I vocode this? So what I am going to do is once again set that Output to No Output because I don't want to actually hear the dry signal, and I am going to solo the bus.

And that way what I can do is I can actually hear it inputting into this EVOC 20. So now we should be a able to hear this Crazy Talk. (music playing) So it doesn't quite sound like the loop machine dry sample. It's very vocoded and it sounds very different. So what's happening here is that Mikal's Lyric sound is coming in and then we've got 20 bands in this vocoder. And notice that the high and low bands are set really close together, so it's very narrow. And we've got this Formant Shift happening and Formant Stretch also, so it's being heavily processed. Also, quite a bit of resonance as well.

So part of what's really making the sound though is the Shift LFO. Look at the rate of this. It's 100 Hz, so that's a hundred times a second that it's modulating this Formant Shift. So let's just listen to the sound again. (music playing) So now I am going to turn down this LFO rate. So, much different. So here is with none of that modulation. So this is just vocoded on one note. So this shift modulation is happening so fast that it's completely changing the texture of the sound.

I liked the texture of that and that's why I did that, and it also works really well combined with this growler sound, so here is the two of them. So those are those two, and then we've got this Organish sound. Let me make sure that I unsolo that bus. There we are. So I've got this Organish sound here, so let's check this out. (music playing) So this is kind of holding down the low end. There's no vocoding.

It's just synthesis, in dual mode. We have got Wave 15 and Wave 49, and those are detuned from each other by a little bit, 15 cents. And so this is really filterered down, and some of that has to do with EQ and some of it's also this low-pass filter. So let's first bypass this EQ and then take a listen. Okay, so then if I open up this low-pass filter, you can hear the unfiltered sound. But I really wanted to focus on the low energy of it, because this actually kind of makes a good sub-bass sound.

So what I did actually with that Channel EQ, if I open it up, you can see that I have it high-pass filtered to cut out the lowest frequencies and then I have quite a bit of resonance on it so that I get this boost around 60 Hz, and so that really brings out the bottom end. And so let's listen to what that sounds like, so a very deep low end. (music playing) And the next sound in here is called Noise Side Chain, and this one is a vocoded sound, and it's actually the drums being vocoded.

So what I am going to do to listen to this is I am going to solo it and I am going to solo the bus that the drums are going to. So the Ultrabeat that's creating the drum parts is being routed to bus 5. So if I solo that, then I'll hear the drums and I'll also hear the vocoded signal. So what I'd like to do is only hear the vocoded signal. So I am just going to change the Output of bus 5 to No Output. Okay, so let's listen to this. (music playing) So that's the drums being vocoded, and so part of this sound also is that there is all these effects in the channel.

So let's take a look at those. I am going to actually turn these off, so we have got a Space Designer and this Delay Designer. I'll leave the Compressor on, and let's see what it sounds like now. (music playing) So you can kind of hear the drums coming through, and notice that the Sidechain Analysis input has a long attack and a long release. That's part of the reason it's not quite as rhythmic as the drums. It's a little less distinct. So we just get these little accents, and what I did is added the reverb and delay, especially the delay, to just ring out like those accents happen and then this delay just echoes a whole bunch and just keeps that rhythm going with it.

So let's check that out. (music playing) Also notice there's only five bands in this vocoding setting here. So that also makes it a little less distinct, where it sounds less like the actual drums, but still a pretty cool sound. And then let's see. Next what we have is this Silky Strings here. (music playing) So they don't sound too silky.

So this is just synthesis, no vocoding happening. But it sounds like a formant shift is happening, but that formant shift is not happening in EVOC 20. That's on of the effects on the channel strip. So let's take a look. So first what I'll do is I'll just bypass the effects in the Channel just so can hear this without effects. (music playing) So that sounds like silky string. So this is just FM synthesis that's happening here and not too much else, just a very simple setting, a short attack, kind of shortish release.

So what's creating all that texture is this vocal transformer, which is just a plug-in that's part of Logic. It starts over here. There we go. So you can see that I have automated this formant shift in the vocal transformer. So it's kind of neat because if you are not vocoding a sound but you still want to be able to use something that's like this Formant Stretch and Formant Shift, this Vocal Transform is a great tool to do that, and I just have it automated. So if you look at the track here, you can see I have got the Formant automated with each of those hits, and that kind of blends in well with the background and with the drums and everything, so it's definitely kind of a neat sound.

And the last sound we have in here is actually an unprocessed vocal. So this is from EXS24, which is the sampler in Logic, and so it's just triggering this EasternVox, because sometimes it's nice to actually have a real voice that's along with the vocoded sounds, because they tend to all blend well together. So this also has, you can hear there's a delay on it and an EQ after that and that's going to a Bus which has a pitch shifter and then delay so we are getting these pitch-shifted echoes. And the Pitch Shifter is set up an octave, so that's kind of an interesting trick that I have been exploring recently is just putting a Pitch Shifter on some of the buses so I get these pitch-shifted delay.

So that's something to experiment with. So now that we have talked about all this, let's hear it once again and you can pay attention to all the different sounds that the EVOC 20 is making and how they work together. (music playing)

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