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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 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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