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Exploring the amplifier section and ADSR

Exploring the amplifier section and ADSR provides you with in-depth training on Audio + Music. Taugh… Show More

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Exploring the amplifier section and ADSR

Exploring the amplifier section and ADSR provides you with in-depth training on Audio + Music. Taught by Brian Trifon as part of the Virtual Instruments in Logic Pro
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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
  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 21s
  6. 48m 10s
    1. Getting started with EFM1
      1m 52s
    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
      3m 0s
    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 5s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 48s
    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 8s
    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 34s
    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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Exploring the amplifier section and ADSR
Video duration: 7m 42s 13h 11m Intermediate Updated Mar 14, 2012


Exploring the amplifier section and ADSR provides you with in-depth training on Audio + Music. Taught by Brian Trifon as part of the Virtual Instruments in Logic Pro

Audio + Music
Logic Pro

Exploring the amplifier section and ADSR

Let's take a look at the amplifier section in ES 1. So what we have got here--it looks very basic at first--is just a slider. So this controls the output level. (music playing) So it makes it louder or softer. But notice this slider splits. What this allows us to do is actually set a velocity range. So much like we saw with some of the earlier synths with ES M and ES E and ES P where they had velocity control, like a dial that you could adjust that would give it velocity sensitivity, it's exactly the same thing; it just gives you more fine-tuned adjustment.

So I can set an exact range that I want that the velocity will be. Instead of it being extremely quiet to full-on volume, I can set it something in the middle. So it's always going to be this minimum level and if I play really hard, it's going to be this maximum level that I have set here. So I can set a range here, and then I can play on my keyboard. You can see I can get the whole range of different velocities. So a really nice feature. It helps make playing more expressive and useful. Also one thing to keep in mind that this volume slider here that's in the amplifier works in conjunction with this output level.

This output level is the maximum this amplifier level slider can be. If this is set of -3.0 dB, that means when I have this all the way up, it's going to output at -3.0 dB. The next feature that we have in the amplifier here is this ADSR gate selection here. That refers to how this ADSR envelope down here is going to work. This ADSR envelope is attached to the amplifier and it shapes the volume of the sound. We have taken a look at some envelopes before, so this is much like the one that we looked at in ES P.

It's a four-stage envelope: Attack, Decay, Sustain, and Release. Let's first explore this envelope in each of the four stages, and then you can take a look at what these buttons do up here. So the attack stage, basically that's how long it takes for a sound to go from silence to its maximum level. Decay is amount of time, once it's reached that maximum level, how long does it take for the sound to fade down to whatever your sustain level is, or back down to silence, if your sustain is 0? Sustain is not an amount of time; it's actually level. So do I want full intensity here, or do I want it to be silent. And notice that in terms of the labeling of the sliders, that for the ones that are based on time, like attack and decay and release, the range is short to long.

And sustain, which is different, gives you the amount of 0 all the way to full. So that's how you can remember that there is something different about sustain is just take a look at how those are labeled. Now then the release is once you let go of the note, how long it takes for it to release, or fade down to silence. So let's explore each of these just while playing a sound. So right now the setting I have, the attack is instantaneous and so is the release, and the sustain is set at the full level. So as long as I am holding the note, it's going to sustain at that volume until I let go.

If I were to just adjust the attack, give us a longer attack time, the sound is going to fade in over this period of time. So you can see that happening on the oscilloscope. And so now let's check out the decay parameter. So to make things simple, I am going to sustain level and put it at 0. So right now I have got the instantaneous attack--it's really short. And I am going to make her decay time shorter too. So you can see what happened there is that the sound started immediately and then it fades out.

It fades back down to silence over the amount of time this decay is set. So if I set this for a longer decay, it's going to fade out over a longer period of time. If I set it shorter, it's going to be shorter. So the next aspect here is sustain. That's the level it's going to remain at as long as I am holding down the key. So if I have a medium-length decay and sustain at this particular level, the sound is going to start, it's going to be at its full volume right away, and then it's going to decay over a pretty long period of time, and then it's just going to settle on this particular level, that's sort of half way.

So let's see what that looks like. And actually, to make this a little bit easier, I am going to make our decay time shorter. So you can see this is the sustain level here. What I am actually going to do is capture this on the oscilloscope so we can just look at it. (music playing) So here we have got the attack, in the very beginning, and that happens right away, and the decay is the portion where you can see it reaches maximum level, and then it's fading down. And then it reaches this plateau where it just stays, and that's the sustain level.

And then the release is once I let go of the note, how long does it take for it to fade back to silence? So let's explore that. So I'll turn off this freeze on this and move this back. So give this a release time. And so now I let go of the note, and it takes a moment for it to fade down to silence. It will be easier to hear actually if I have a higher sustain level. So we'll do that. So I am holding the note. I'll let go, and it takes a moment for it to fade out.

If I make the release longer, it is going to be a longer fade-out. So holding down the note on the keyboard, and I will let go. You can hear it's slowly fading down. So that's how this ADSR envelope works, in terms of it being attached to the amplifier, but that's not the only more mode that it can work with the amplifier. So we have got these buttons up here, and these determine how this ADSR is going to work with the amplifier. So right now, it's set to ADSR. That means that all four stages of this envelope are active.

If I set this to AGateR, what that means is that the attack and release portion will be active, but it doesn't matter what my decay and sustain portions are set to; it won't be listening to those. So let's try that. So if I have my decay set at 0 and my sustain at 0 and I have sort of short attack and medium release, typically if we had this all four stages engaged, we really won't hear anything, because my decay is so short that the sound immediately decays. So in this AGateR mode or Attack Release mode, the attack is instantaneous and the release takes a moment.

So the decay and sustain, it doesn't matter. I am going to prove my point. We can move these around and it doesn't make any difference. So this one again, we have got all four stages active. This GateR, what that means is that only the release stage is active. So I can give this a very long attack where normally it would fade in, take a very long time to fade in. The sound is going to start instantly and let go, and it has a long release. So you might be wondering, well, why? Why wouldn't you always want this control? The thing that's interesting about this ADSR is that it can also be used to modulate the filter cutoff.

So what we can do is if you are making a sound and you decide okay, I don't really need to customize the decay and sustain portion of the sound because I know it's just going to sustain, you can set this envelope to AGateR, and then you could use the decay and sustain setting to modulate your filter cutoff. So we'd use that with this ADSR via Velocity, and that's what we will be exploring in the next video.

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