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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 take a look at how we can synthesize a symbol- or hi-hat-type sound. So I am going to load in the empty patch. So I am going to go Load Setting and then Desktop/Exercise Files/Ultrabeat. Then in here the Preset folder I am going to select Ultrabeat_EMPTY. So we will build the cymbal sound on C1, and if you think about a cymbal it's a pretty noisy type of sound, but it's different than obviously a snare-drum kind of noise.
So the best way to re-create a cymbal sound is using resonant noise. So I am going to turn on the noise generator. I just turned off oscillator 2. And I am going to set this to High Pass. Okay, so you hear we have noise. I'm going to adjust the cutoff to bring back in from the low frequencies, and then I am going to crank up the resonance here. So let's just crank this way up, and then I will adjust the cutoff a bit. Okay, so we have a nice resonant noise sound here.
So the next thing I am going to want to do is just play around with the amp envelope. So that's Env 4, which is attached to the voice volume, because that really affects how the sound functions. So for example if I have a short decay, it's going to be like a closed hi-hat. So let's just do that. (music playing) So even with nothing else, it actually sounds quite a bit like a closed hi-hat. And if I get rid of the Zoom to Fit and pull out the decay, it functions a bit more like an open hi-hat.
So there is something missing about this cymbal sound though. It's not quite right, in terms of the attack portion. I want it to have a little bit more punch. Fortunately, what we can do is take advantage of this high resonance value and the cutoff on this filter here. (music playing) Notice when I change that, it really stands out. So if I give this a short envelope, it's going to accentuate the attack portion of the sound. So I am going to add Env 1 to modulate this filter cutoff. So Env 1.
I want a really short setting here, so I am going to zoom to fit so we can see a little bit closer and just drag this way in. And let me give this envelope a little bit of amount here. So I am going to give it a negative amount, because I want the cutoff to close. So I don't want it to open up further. I want it to be closed down. Okay. (music playing) And I am going to make this even shorter, and we will adjust the attack here too. If I want to just zoom in on the attack portion in this envelope, I can hit this A button here. That helps for precision work.
So there we go. (music playing) I think that's good. And I could shape this decay a little bit more. There we go. So first what I am going to do is adjust that Env 4 once again just to make this a shorter decay. (music playing) Okay, and that's sounding pretty good and if I need to tweak that resonance sound, I can adjust the amount of Env 1 here. (music playing) And I can adjust the cutoff in general. (music playing) That's going to create different types of cymbal or hi-hat sounds.
(music playing) So notice that when I get rid of Env 1, which is modulating this cutoff, we lose a little bit in terms of the attack of the sound, so I will turn this off. So here it is without it, and then I will put it back on. (music playing) So that little bit of resonance I think can really make a big difference in terms of the sound. So obviously it's an ongoing process with synthesizing any sound. So it's definitely worth tweaking all these settings and you could adjust the resonance, spending time with the envelopes, and to really craft things to make it perfect.
It's definitely worth exploring some of the other parameters of Ultrabeat in order to make some strange sounds too. So you can use the FM and the Ring Modulator to really bring out the metallic aspects of sounds. So it's definitely worth exploring that. So let's save this hi-hat that we have in progress right now. So I am going to go to the Settings menu up here, go to Save Setting As, then in the Desktop/Exercise Files/ Ultrabeat/Preset folder, I am going to save Ultrabeat_HiHat. So now that I have explored how to synthesize a cymbal and hi-hat sound, in the next video let's explore making patterns and sequencing the different elements of Ultrabeat with the Step Sequencer.
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