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Customizing the Pitch and Condition Parameters

From: Virtual Instruments in Logic Pro

Video: Customizing the Pitch and Condition Parameters

In the center of the EVB3 interface, we have a couple of global parameters here. So I'm going to go ahead and set up a drawbar registration. I'm going to press this Preset key. (music playing) Now I can play a sound. And on the left here we have a fine-tuning adjustment, so I can tune the whole instrument up, plus or minus 50 cents. (music playing) And to reset any of this settings back to the original, I just Option+Click. Next, we have Click On and Click Off parameters. These are there to re-create the scratchy key contacts on the original B3.

Customizing the Pitch and Condition Parameters

In the center of the EVB3 interface, we have a couple of global parameters here. So I'm going to go ahead and set up a drawbar registration. I'm going to press this Preset key. (music playing) Now I can play a sound. And on the left here we have a fine-tuning adjustment, so I can tune the whole instrument up, plus or minus 50 cents. (music playing) And to reset any of this settings back to the original, I just Option+Click. Next, we have Click On and Click Off parameters. These are there to re-create the scratchy key contacts on the original B3.

So click on as to do with when I hit a note, and it's the click that makes the beginning of the sound. So I'm going to turn up the Click On. (music playing) You can hear there is a quite bit a click. If I turn it down, there is a lot less. (music playing) Click off has to do with the release click, so that's when I let go of the note and makes a second click. So if I turn that up, you can hear when I let go of the note it makes a little scratch or click. Notice if I've Click on and Click off set to the same value, the Click off is always quieter, and that's true with the actual B3 as well.

So if I play, here my Click on is definitely louder then the Click off. Next, we have Pedal Click, so this is a click caused by using the foot pedals. Here we have the Expression sensitivity control. So what this refers to is if you have an expression pedal that's hooked up to your MIDI keyboard, this will adjust the sensitivity of it right here. At the very center we have the Volume control, so here's where we can control the output level of the EVB3. So now if we want to dig in deeper and customize the model a bit more, what we have to do is open up the hood here, and you can see we have more parameters.

So we have this column here, and these are pitch parameters. Then we have condition parameters that have to do with the physical condition and the age of the instrument. Next to that we have the organ parameters that have to do with the tonal color and balance of the sound. We have the sustain and release parameters here, and then this whole right side is our Effects section. So let's focus on the left side here. With the pitch parameters, we've got upper stretch, and so what that refers to is the amount of deviation from equal-tempered tuning. So if we are playing high notes on the keyboard, what it's going to do when I give this more upper stretch amount is it's going to tune them further sharp.

Lower stretch works in the opposite way, so it's also deviating from equal- tempered tuning, but it's going to take the low notes and it's going to make them more flat. The warmth parameter introduces a random amount of deviation from equal-tempered tuning, so the more warmth I give it, the more deviation it has. This allows for a bit more character of the sound, so we get a bit of detuning between the notes. Sometimes you can have too much warmth parameter and stretch-tuning and the instrument it can actually sound out of tune, so you just want to be aware of that.

Beneath that we have pitch bend, so we have pitch bend up and pitch bend down. The original B3 do not have any pitch band, but in the EVB3 we can bend up, up to an octave, so 12 semitones, and we can pitch down also in semitones, so down an octave. If I go past an octave here, you can see the setting is called Break. So if I move the pitch wheel down, it's going to stop the tone wheels from spinning, and we get an extreme pitch change, so let's check that out. (music playing) Right, so it's pretty extreme.

Beneath that, we have the transposition for the upper manual, the transposition for the lower manual, and the transposition for the pedals, so you can transpose each of those, either up two octaves or down two octaves. So in this condition row here, we have a number of parameters that have to do with the age and the physical condition of the instrument. So first we have these Click parameters. These work in conjunction with our click parameters that are above. So what we can do is set a Click Min and Click Maximum, so this is the decay time for the clicks that are caused by the bad key contacts in the B3.

So Click Min I can set all the way up to 20 milliseconds or down to 0 milliseconds. I'll set it in the middle. And Click Max I can set the same distances. So what I'm going to do is set that to its maximum, so 20 milliseconds. Click Color is going to adjust the frequency emphasis of the click sounds, so let's hear what these sound like. (music playing) Now I've got a brighter click. So each time I play a note, the click sound is going to be between 10 milliseconds and 20 milliseconds in length. Beneath that we have the Drawbar Leak parameter.

When you have an actual B3 and the drawbars are all the way pushed in at the minimum, it's not silent. You can still hear a little bit from the drawbars, so that's called drawbar leak. So if I set a registration here where all the drawbars are at the minimum and I play a note, we have absolute silence. Now if I increase the drawbar leak right here, you can hear faintly in the background, there is a little bit of sound from the drawbars. So I'll go back and change our registration to something different, and we'll move on. So I'll turn down the drawbar leak.

So next, we have Leakage. So this is leakage from the tone wheels. So notice when I increase this, you just get a lot more noise in the signals, so this is tone wheels and we can hear that sound leaking to other tone wheels, so I can turn that down. Next we have crosstalk. Crosstalk refers to an interaction between low and high tone wheels, so we get a little bit of crosstalk between the two. So if I play a high note on the keyboard-- (music playing) --you can hear a little bit of low rumble underneath it. So that's the crosstalk between the low and high tone wheels. So if I turn this down, then we don't have that rumble anymore.

So Random FM emulates grease and grime on the tone wheels. So the more Random FM I give it, the more grimy our tone wheels are. We'll notice this on higher notes, so if I play, we get a little bit of pitch modulation and pitch warble. That's the Random FM. That's from grease and grime. So I'll reduce that, and we can hear there is less warble now. And the last parameter we have in this condition section is the Filter Age. So what this emulates is the age of the capacitors that act as band-pass filters on the original B3 organ.

So what happen is over time the center frequency of the band-pass filter that's filtering the tonewheels, it would change, so this Filter Age emulates that characteristic. So I can adjust this here. (music playing) You can hear the band-pass filters are changing their tonal center. (music playing) So you can see by combining these condition characteristics and customizing our pitch parameters, we can really bring out some of the character and quirks of the original B3. In the next video, let's customize our organ model further by adjusting the organ, sustain, and effects parameters.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 8956 viewers

Brian Trifon
Author

 
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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
      33s
  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 20s
  6. 48m 8s
    1. Getting started with EFM1
      1m 51s
    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
      2m 59s
    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 4s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 47s
    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 7s
    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 33s
    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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