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Composing with the EXS24


Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with the EXS24

So here I have a musical example that has several instances of EXS24. So there are six of them right here, and then you can see that I have got an audio track up top, and that's just providing some additional percussion. So let's listen to it, and then I will talk you through the sounds. (music playing) So the first instrument we have here is just this DrumsElectro, and if we take a look, that's just a kick and two snares.
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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 EXS24

So here I have a musical example that has several instances of EXS24. So there are six of them right here, and then you can see that I have got an audio track up top, and that's just providing some additional percussion. So let's listen to it, and then I will talk you through the sounds. (music playing) So the first instrument we have here is just this DrumsElectro, and if we take a look, that's just a kick and two snares.

(music playing) So a very simple map, and nothing really else going on, but it's a cool pattern, so I will just play that for you. (music playing) So that kind of blends in with the other drums that we have got. The next instrument that's right below it is this European Folk kit. (music playing) So this is part of the factory library that comes with Logic, but what I did is I modified this one and I actually tuned this down nine semitones.

So if I tune it back, it kind of sounds like a cowbell, and listen, it kind of stands out in a bad way. (music playing) It's like out of tune with rest of the song. Right, so if tune this back down, then it's in the key of the song and it blends right in. And then I have another instance of that European Folk kit, and this one just providing a kick and this really reverb snare. (music playing) The point of this was to blend with these Electro drums, so check this out.

(music playing) So I get this big reverb blast from this European Folk Kit. So again, this is just part of the EXS24 factory library. That's called European Folk, and then I labeled it Modified, just because I had changed a couple of things. If you take a look, you can see it's a very sophisticated patch: lots of zones, lots of groups. But I didn't really set any of this stuff up.

I just used it. So the next track that we have is this ElectroBass down here. This one is kind of interesting. (music playing) It's this kind of distorted bass sound. (music playing) This one is actually made from a kick drum sample. So if I open up this instrument here and I open up the sample mapping, you can see that I have one zone that's called TrifonKick, and that's actually the same kick drum that's in this DrumsElectro track.

And so I'll pull this up in the Sample Editor just so you can see that. Now if I listen to this-- (music playing) --it's just a kick drum. But notice here is my loop point. So I have got this really short loop point. That's what gives it the pitch sound. So if I pull back up the instrument here, you can hear that there is quite a bit of movement. So if I play a note-- (music playing) --it has this wobbliness to it. That has to do with the filter. So I have got LFO 1 modulating the filter cutoff. I also have quite a bit of drive, so that the input of filter is overdrive.

If I turn off the filter, here is what it sounds like. (music playing) So it's still kind of a thick sound, but not the same amount of movement as now. (music playing) I also have six unison voices happening, so that helps make it thick as well. Then on that same channel I have got an EQ where I'm cutting out the real lows, because even though this is kind of a bass sound, it's really more of a mid-range sound. So I didn't need all this low- frequency energy. But I emphasized the mid range of this EQ boost.

And then beneath that we've got this WeirdSynth. So this is a sampler instrument that I made from a sound that I have in the EVOC 20. So let's hear this. (music playing) And this blends in well with that ElectroBass, right. (music playing) Hear out those, they kind of have a similar tonality. So a lot of this sound has to do with the effects on the channel. So I have got a Ringshifter, which is Logic's frequency shifter and Ring Modulator, and then I have got a Space Designer reverb, a three-second reverb, and then I have a tremolo here, so it's amplitude modulation.

But I have the Phase set apart 180 degrees, so each time it pans back and forth, left and right. So that gives the movement. If I play this sound, you can listen to the panning. It's all over the place. So if I turn off these effects, it's a lot more of a static sound. (music playing) It's still pretty thick though, and that has a lot to do with this source material. Also, I have this Unison mode on in the Detuning. So if I turn off Unison-- (music playing) --that sounds like that. (music playing) So here it is with Unison once again.

If we look at the mapping, very simple. Just one zone. It's from the EVOC 20. So I open this up here. So it shows up in the Sample Editor, and here is the sound. (music playing) In fact, they are pretty long sound, but I just used a portion of it. You can see here is my loop point. It loops from here to here. The next instrument we have here is one of my favorites. This is the Pad_Trifonic. So this is a sound that I have made.

It's a combination of an erhu, which is like a Chinese violin, and a flute. So if we take a look at how this is mapped, you can see I have two groups. I have a group for the erhu and a group for the flute. In each of those groups I have a couple of zones assigned, and these groups have different velocity settings. So my erhu group starts at velocity 0 and goes to 64, and then the flute group is from velocity 65-127.

So when I play soft, I hear more erhu, and when I play louder, I hear more flute. If we go to the Parameter window here, on the instrument, really not much is happening. I just have a long release, because with pad sounds typically you want a slow attack and a long release. The audio files themselves have a slow attack, so I didn't need to set that in the amp envelope. So let's listen to that. I will just play this sound, so I can play it on the keyboard here. (music playing) We hear that's very well blended.

And actually one more thing on the interface. Part of that blend is because I have a cross-fade between the velocity layers. So between the erhu and flute, I have this cross fade, and that helps the transition be really smooth. And last but not least, I have this audio file up top. So this is just small percussion stuff. It's actually from an Apple loop where I cut it up. I have this high-pass filter, so that it just sort of blends in with the background. It just adds like more business to the percussion.

If I get rid of this high-pass filter on the EQ then it takes up too much space, because there is too much low end, right. (music playing) So you can hear that kick drum and all that other stuff, and that's going to clash with the rest of percussion. So with a high-pass Filter, it blends in really well. (music playing) And so I cut slices in here and deleted them so that I have these gaps. That's to make room for the rest of these drums, because I wanted this all to fit together really tightly.

So sometimes that's a good thing to do to tighten things up. (music playing) So hopefully that gives you a sense of the range of what you can do with EXS24, in terms of the sounds and some creative ideas. So let's hear it in context one more time. (music playing)

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