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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, I have a musical example here. I've got six instances of Sculpture and so they're creating all the synthetic and textured sounds, and then I have one EXS-24 at the top, and that's what's doing the drums. So let's listen to it and then I'll talk you through the sounds. (music playing) All right! So up top we have this sound called Morphing Can.
So, I'll just solo that real quick. (music playing) You can take a look at it here. (music playing) So, you can hear that it's a syncopated pattern and it definitely has an echo on it. So, I can get rid of that by turning off the Delay. We can still hear there's some movement in the sound, so let me show you what's going on with that. If we take a look down here at the LFO, notice that LFO 1 is modulating the stiffness of the string. So, that makes a big difference. If we look at LFO 2, LFO 2 is modulating the Pickup A position, so that's creating the other movement.
So, check it out when I turn both of these off. So, turn off LFO 2 and LFO 1. I'm also going to turn off the Delay and so let's listen to that sound. (music playing) It's a lot less movement. So, I'll turn back on Stiffness modulation. And here's the Pickup position, and now the Delay is what sort of makes it more syncopated. And so this is kind of a percussion element. It works well with the drums. (music playing) So I just like to have those two work together.
So, beneath that we have this Mini Vintage Bass sound. So, this is kind of holding down a low end. It's a pretty simple sound. There're all three Objects here. So, we've got the Impulse, which is creating the attack at the beginning, and then the majority of the articulation is this Bow Wide. That little bit of grit on the top of the sound, that's the WaveShaper. So, if I turn that off, you can hear that that makes it much less intense. The other thing I want to point out here is that LFO 2 is modulating Pickup A and B position, a really slow rate.
That's creating the subtle change that happens really slowly. So, if I turn that off, it's a little bit more of a static sound. So I thought this blends it in really well with the drums, as well, like it just kind of holds down the whole groove, especially with this weird Morphing Can sound. It just gives a solid foundation for everything. So, next I want to show you this sadtone sound. So, I'm going to solo that, and let's listen to it. (music playing) So, you can see there's a quite a big going on.
If you look at the Morph pad, you can see I've got this point moving around here. Also take a look at the control envelope that's modulating the pitch. A big part of this sound also is the reverb and delay. So, let me turn those off first, just so we can hear this more dry, and then I'll show you that control envelope. So, I've got Echo and I've got a Space Designer, so it's 5 second reverb, and that's really what's giving you the sense of depth. So, I'll turn that off for a moment. Let's just hear what it sounds like dry. (music playing) So, it doesn't have the echo to it, but it still has the main characteristics.
And so a lot of what gives this is a sense of this emotional quality to it is the pitch modulation from this envelope 1. So, if I turn that off-- (music playing) --it's much more of a straightforward sound. So, it's those little pitch vibrations I think that give it the sense of having some sort of humanity to it and make it less synthetic-sounding. And that's what I really like about Sculpture, and just generally speaking, that's what I really like about these control envelopes, because obviously I recorded this with my MIDI controller and you can't draw in the shape this crazy in the envelope, and it just gives it that sense of expression that I think is really hard to get with a lot of synthesizers.
So, I'll go ahead and I'll turn back on the Echo and the Space Designer. And one other aspect I want to point out is notice when I have this playing, take a look at the Morph pad here. You can see how this one point here is moving around. That's because it's automated. So, I actually have this point soloed in the envelope. So, notice I have the envelope in Point Solo mode, and it's this point right here. And so what it was is I was actually creating the envelope for this.
I was trying to create the path for this Morph pad and I realized that I really liked how this one point sounded. So, I just wanted to record me moving that particular point and so I was able to do that through automation. So, if I look at the automation view in the Arrangement, you can see okay, I have lots of automation here. So, the first automation I have is Morph Envelop Selected Point. So, I wanted to make sure to morph point 2 in that envelope. So, I chose that and I'm morphing the X and Y on the Morph pad, and so you can see that there's automation for that.
So, yeah, I really like that sound, and so the next sound is one the below. This is sadtone2. It's based on the same sound. So, basically I actually started with sadtone2 first. I developed that sound and then that evolved into sadtone4. So, let me show you sadtone2. (music playing) So notice it has the same control envelope modulating pitch. (music playing) So, if I just play on my keyboard--I'll play this instrument so you can hear it-- I have a Delay effect happening on it, and notice that I have the Spread and Groove all the way to this corner, so it's really offset the left and right Delay lines.
If I turn that off-- (music playing) --it sounds like it has a lot less space in the sound. That gives it more of a sense of being in a room in a bigger environment. Also, once again, if I turn off this Envelope 1 of this modulating pitch-- (music playing) --it's just a really clean sound. It kind of sounds like a harp. Notice for the Body EQ of the acoustic guitar model, but I really like it with the pitch modulation. (music playing) It gives it that little warble, makes it kind of nostalgic sounding. I really like that and then beneath that we have this Sigur Ros1.
This made me think of the band Sigur Ros. I'm not sure if I'm pronouncing that right. It's an Icelandic band. But nobody knows how to pronounce it. And what we have with this is it sounds kind of like a bowed guitar. And so what I have is Object 1 and it's method of exciting the string is the Blow method here. (music playing) You can hear that that it's a WaveShaper and that's what's creating the crunched the sound. So, if I turn that off, it's more subdued. And I have that set to the Tube distortion type here. (music playing) And also a big part of the sound is having this low resolution amount here, because what that's doing is it is bringing out these odd metallic harmonics.
So, if I have a higher resolution, it's a big cleaner of a sound, but I like the scrapiness with the low resolution. So, the last sound that we have down here is this melodic marbles, which is kind of an interesting sound. It sort of complements this bowed guitar sound above it. I'll just solo that. (music playing) What I'm going to do is just temporarily append this to the center, so you can hear it clear. (music playing) So this is kind of combination of like a marble sound and a flute. And if you actually take a look at the objects here, you can see why it sounds like that.
So I have the Blow excitation method, and then I have Object 2 set to Bouncing, so that's disturbing the vibration of the string. And then the third object is binding the string. So, the string is bound, and so altogether you get this combination flute, bouncing-ball, marble sound. And then we also have the control envelope is modulating the Inner Loss. So, that's changing how much the string is actually ringing out. Furthermore, we have this Morph envelope, which really makes difference with the sound. So, if I adjust the depth of the Morph envelope, it makes a big difference.
So, I'll play a note. (music playing) So, if I adjust the depth, you can hear now it's more like a marble sound, and if I reduce the depth, it's more like a flute type of sound. We can really get a huge range with that, and that's again what I really love about Sculpture. So, now that we've checked out all these different sounds, let's hear them one more time in context. (music playing)
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