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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.
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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