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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 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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