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Enabling key follow on the filter

From: Virtual Instruments in Logic Pro

Video: Enabling key follow on the filter

So let's explore the lowpass filter in ES P. So much like the lowpass filter that we saw in ES M and ES E, this has an independent resonance control. And just so you remember, a lowpass filter is going to cut out the high frequencies. So if I'm playing a note here, and I bring this filter frequency cutoff down, you can hear the high frequencies are disappearing. You can see the waveform looks more like a sine wave. That's because all the higher harmonics are getting filtered out.

Enabling key follow on the filter

So let's explore the lowpass filter in ES P. So much like the lowpass filter that we saw in ES M and ES E, this has an independent resonance control. And just so you remember, a lowpass filter is going to cut out the high frequencies. So if I'm playing a note here, and I bring this filter frequency cutoff down, you can hear the high frequencies are disappearing. You can see the waveform looks more like a sine wave. That's because all the higher harmonics are getting filtered out.

So if we take a look at the resonance control, what that is, it is basically, at our frequency cutoff point, it's a little peak, or boost, in the EQ, exactly where the cutoff is. So the way you'll hear that is it sounds more like a valve, or has a resonant ringing quality, especially if you have a lot of resonance. So I'll put this somewhere in the middle. You can hear that. (music playing) And if I give this an extreme amount of resonance, you can hear a lot another pitch happening in there, (music playing) where when I adjust my frequency cutoff, I'm adjusting that pitch as well.

It's one way to sort of visualize what's happening with the lowpass filter in general is to take a look at the channel EQ in Logic. So I'm going to pull that up. And what I want to do is adjust the settings of this so that we've got the amplitude scaled in a way that's a little bit more easy to see things. And I'm going to turn on the analyzer and set the resolution to high-res. All right, so now when I play a note, you can see all the different components of the waveforms, all the different harmonics, showing up on this FFT display.

So if I turn on the lowpass filter--that's this control here-- I can adjust the cutoff. (music playing) You can hear, as I bring this down, so I bring down the cutoff on this lowpass filter, the high frequencies disappear. So this is just like the lowpass filter in ES P. So that's easy to understand. So with the resonance, what's happening is we've got a little boost at this cutoff point. So if I adjust the bandwidth of this here, you can see that this creates a little boost right here.

And if I move the cutoff, it's going to move that with it. So that's exactly what's happening with the Resonance control in the ES P filter. So I'll give this a really strong amount here, so we can really hear it. (music playing) So that's what a lowpass filter and resonance look like if you're using the Logic EQ, and that's just another way that sort of visualize what's happening with it. So I'll put that away. One of the really cool features about the ES P lowpass filter is that it has Key Follow-- so that these controls here--and what that means is that on your keyboard, you can control the frequency cutoff, or you can modulate the frequency cutoff.

So if you're playing in a low range on the keyboard and you have Key Follow activated, then it's going to be more filtered down than if you're playing up in the higher registers on the keyboard. And the filter cutoff will be more open in that case. So the reason why this is useful is it mimics actual real world's organic instruments. So if you're playing an instrument like a piano or guitar and you play a note that's low down on the instrument, it tends to be a little bit more filtered in terms of its sound. It has less higher harmonics, less high frequencies.

And as you go higher up on an instrument, usually it tends to get brighter in its character. And it's not something that we normally think about when you're playing organic instruments; it just doesn't happen. But what does happen is with synths, when you play a sound like this, when we play it pretty low and then when we play it up higher, the low notes sound relatively brighter than higher notes. It's not totally as even as an organic instrument. So what Key Follow does is it mimics the way that an organic instrument will work, where the lower notes are a little bit more filtered down and the higher notes are a little bit brighter.

And let's explore what that sounds like. So I'm going to set the cutoff somewhere in the middle here. And so I'm going to engage the Key Follow right here, this 3/3. And 3/3 is the easiest one to understand because it creates a constant relationship between the cutoff frequency and the pitch. These 1/3 and 2/3 are just a little bit more subtle. So with this 3/3 setting here, when I play that note, it's a little bit more filtered down. When I play up a couple octaves higher, there's less filtering.

So just so you can hear the difference, so here's this low note with Key Follow engaged, and then I'll disengage it. So you hear how that's brighter? Let's do that one more time. So here is it with Key Follow-- it's a little more filtered down; and then without, it's a little bit brighter. So it creates that nice constant relationship. And where that also is useful is when you have really high resonance amounts. Let's set this resonance really high. Hear how it's ringing out? I can actually kind of tune this resonance using my cutoff, and I can play on the keyboard.

So if I don't have Key Follow engaged, that resonant frequency that's ringing out doesn't really follow as well. It just kind of sounds harsh. It doesn't really follow. If I engage the Key Follow, that really extreme resonance is more controllable, and it's actually playable. It kind of adds to the sound, because the filter is a whole another oscillator adding another pitch in there. (music playing) So, Key Follow is a really interesting feature.

It really helps when you're dealing with high resonance, and is an expressive tool. So next, let's explore this amplifier section here, and we'll explore the ADSR envelope, and how that can affect the volume and how that can be used to modulate the filter cutoff as well.

Show transcript

This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 8827 viewers

Brian Trifon

Expand all | Collapse all
  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 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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