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Virtual Instruments in Logic Pro
Illustration by John Hersey

Employing the Morph Envelope


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Employing the Morph Envelope

So let's take a look at how we can use the Morph envelope to control the movement of the Morph pad. The first what I am going to do is load in a setting here that has different settings for each of the five points in the morph pad. So I go to the Settings menu up top and I'm going to go to Load Setting. In the Preset folder here I've got Sculpture_Morph. The Sculpture_Morph is a sound that I made to help to us demonstrate the Morph envelope. So if I play the sound-- (music playing) --I'll drag around the Morph pad, and here I can get a pretty good range of textures and tones from this. It's nice.
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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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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 lynda.com 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
Subjects:
Audio + Music Audio Plug-Ins Virtual Instruments
Software:
Logic Pro
Author:
Brian Trifon

Employing the Morph Envelope

So let's take a look at how we can use the Morph envelope to control the movement of the Morph pad. The first what I am going to do is load in a setting here that has different settings for each of the five points in the morph pad. So I go to the Settings menu up top and I'm going to go to Load Setting. In the Preset folder here I've got Sculpture_Morph. The Sculpture_Morph is a sound that I made to help to us demonstrate the Morph envelope. So if I play the sound-- (music playing) --I'll drag around the Morph pad, and here I can get a pretty good range of textures and tones from this. It's nice.

I want to be able to control that movement. Taking a look at the envelope down here, you can see that there're two different modes. There is Pad mode and Envelope mode. So right now it's in Pad mode. If I turn it off, notice that our Morph pad, the ball disappears altogether. So I can't do any morphing right now. So I definitely want Pad mode to be on. And I also want to turn on the envelope. So I am going to click on ENV. So now we can see that we have nine points here on the envelope, and what I can do is set our path with each of these points in the envelope.

So what I will do is select point one, and what I want to do is make sure that I have this Pad mode set to Point Set. So you can see that there are a couple of different choices. There is offset here. This just allows me to drag the morph ball around, but it's not really changing our envelope in terms of this particular point; it's offsetting the entire envelope. Since we don't have any other envelope settings yet, it's not really going to be useful, so I am going to set this back to the center, and we will set this to Point Set.

What this allows me to do is to click on an envelope point and set where it's going to be on the Morph pad. (music playing) So you can see I can drag it here. But notice that I am not hearing it. That's because in Point Set mode it progresses through the envelope. It doesn't have the point soloed. Fortunately, the next thing here is Point Solo, so that's just going to solo wherever I have the morph ball. So this is the best way to draw your envelope. (music playing) So I can hear that this point sounds good right here.

Then I will click on the next envelope point, and I can set where I want that to be. So I'll just drag the ball. So we will have that here and then I will click on this next one. (music playing) And I can keep going with this and create a shape that sounds pretty good for our envelope path. (music playing) So I will set the next one here. Let's move it towards the center down here.

That sounds different. And we will set one more. So now if I want to actually hear our envelope, what I will do is just go ahead and set this back to offset. Now it's going to progress through the envelope-- (music playing) --until it reaches the sustain point. And you can see that there's a red line that goes across this envelope that's showing our progress. There is also a little red ball that's on the morph pad that's showing where we are. (music playing) So you can see how that works.

Then what I can do is go ahead and just edit the timing between these different steps of our envelope. So I can click on a node and drag it back and forth, adjust the timing. If I need it to be in a division of the beat, I can press the sync button and then it's going to be in divisions of a beat. So if I move it around, that will be quarter-notes, eighth-notes or other musically relevant values. Furthermore, I can adjust the times scaling of this envelope. So if I know I want this all to play back about twice as fast, I can adjust the Time Scale parameter to about 50% and then we can hear that. (music playing) So it goes through it much faster.

Now notice that when I play a note-- (music playing) --and it reaches the sustain point, and I let go, you can hear that it continues on to the envelope. So these are the release points. So I've got a couple of different sustain modes that I can use at this envelope. So in addition to Sustain, I can use the Finish mode, which is like a one-shot mode. So the sustain point disappeared. It's not playing. Even when I release it, it just continues going through the envelope. Notice I have a couple of different loop modes here. We have Loop Forward, Loop Backwards, and Loop Alternate.

So Loop Forwards is just going to play through the loop forward, and the start of my loop is where this L marker is. So I am going to move the L marker over a little bit and then what it's going to do is it's going to loop between the L marker and our sustain point. So let's hear that. (music playing) So that's forward looping. I could also set this to loop backwards, and you can see the arrows pointing in other direction. So that means it's going go from our sustain point and loop back to the loop start point in a backwards motion.

Then we have Loop Alternate, where it's going to loop forwards and then backwards. So the last setting that we have here is actually pretty neat. This is Scan via Ctrl B. This will allow me to progress through the envelope using Ctrl B down in this MIDI Controller assignments area. So what I am going to do is change CtrlB to something else. Right now it's set to foot controller. What I want to do is learn it to a knob or slider on my MIDI controller. So I am going to go ahead and click Learn, and then I am going to move a slider on my MIDI controller.

So now you can see when I move the slider, that the red line on the envelope, it's progressing through. So if I play a note-- (music playing) --I can use this controller that just scrub through this envelope, and I can go either direction. So I have very discrete control over every aspect. That's really cool because that makes it really good for performance, because sometimes just progressing through the envelope is not quite enough control, and sometimes looping can sound repetitive. So this gives me a lot of control to move back and forth through the envelope in a very natural and organic way.

(music playing) So that's one way that we can use these envelopes. Another way is I can actually record my movements of the morph pad. So that's interesting to do as well. So what I am going to do is go ahead and clear this envelope. So I am going to Ctrl+Click and hit Clear Morph Envelope. So now it's kind of a blank slate again. So we just have the nine points. I am actually going to just turn off the Envelope mode altogether and what I am going to do is record our movements in the Morph pad with this Record parameter over here.

So first I am going to do a little practice run. So I am going to play the note. (music playing) And move the morph ball around to just kind of figure out where I want to move it to. I like it sort of here near the center here. So what I am going to do is I can hit this record button here and that will record my movements. First I've got a couple of options though, in terms of what's going to trigger the recording. So it can be NoteOn, so that's when I play a note. Note+Move Morph Point. So that means when I play note and then I move the morph ball, it will start recording. Or it could be Note+Sustain Pedal.

So I am going to set it to Note+ Move Morph Point, and we will turn on Record button. So it's in record pause. I can see that it's flashing red. So when I play a note-- (music playing) --and start moving the morph ball now it's recording. It's a solid red. So I will move this around in whatever path that I want. (music playing) So that's good. So I let go, and I can turn off the recording by pressing the R button again. So that recorded my envelope. We don't see it right now. What I have to do is actually turn on the envelope.

So now when I turn it on, you could see, okay, here's the whole path that I did with the morph ball. If I play a note-- (music playing) --you can see in here that it's following that path. So remember, before, we looked at different pad modes and we had offset. So offset is actually pretty useful when I have my whole envelope shape, because what I can do is offset the focus of this envelope. So I am offsetting the starting point and moving it all closer towards C. That way we are getting a little bit of different sound from that. (music playing) So over on the right we have a couple other envelope parameters here. We have Envelope Depth, and what I can do is reduce the depth of this.

(music playing) You can see it's making the paths smaller. It's closer towards where my starting point is. Or I can increase the depth and get much bigger. (music playing) Next to that we have Modulation. What this is going to do is we can have some kind of parameter, so velocity, KeyScaling, or MIDI Ctrl A or Ctrl B, to modulate the depths of the envelope. So I am going to set that to velocity, and then we will adjust the amount here.

Then if we play softly, we will have less envelope depth. (music playing) It's going to have a smaller range in its path. And if play with more velocity, it's going to be a wider path. So the last feature I want to show you is this transition control right here. So this has to do with how it's going to get from each point of my envelope. So right now you can see it's pretty smooth because it followed exactly what I did with my mouse when we recorded the envelope. If I adjust the Transition here, you can see it kind of makes it more linear and when I get this all the way to the center, it's completely linear.

So if I play it now-- (music playing) --it sort of averaged my movements to get a linear path. And if I move this transition control all of the way to left, it's just going to jump between each step of the envelope. (music playing) As you can see, there is a ton of expressive and creative possibilities with the Morph envelope and Morph pad. It's truly one of the most unique and special features of Sculpture. In the next video, let's hear Sculpture in the context of a musical example.

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