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Composing with Sculpture


Virtual Instruments in Logic Pro

with Brian Trifon

Video: Composing with Sculpture

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.
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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 Sculpture

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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