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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.
Let's take a look at the Synthesis section of the EVOC 20. Here we are basically going to be creating either a stand-alone synthesizer sound that sounds really awesome or we are going to be creating the sound that's going to be vocoded. So it's really important to get something that you like here and that sounds good, because it's going to be the basis for everything else. So, place to start. There's two different modes here. There is Dual and FM. Let's take a look at Dual. So what we've got is two different waveforms that you can choose, and you are going to adjust the balance between the two of them. So what I'll do is go ahead and set the balance all the way to waveform 1, so I can play it right now. (music playing) And we here the Wave 1 and I can adjust that.
I mean there are 50 different waveforms. (music playing) So I can scroll from here. And they are all interesting digital waveforms, Digi Waves, as they call them, and you can set the octave right beneath that, here, so 16 feet or 8 feet or 4 feet. And so the terminology comes from pipe organs, because the longer the pipe, the lower the note. So I can choose the octave. And if I bring the balance back down to the bottom here, then we can listen to Wave 2. (music playing) So same thing. I can choose any of those 50 waveforms and I can adjust the semitone tuning of waveform 2, so I can offset it in semitones.
(music playing) So I can tune it up a fifth and then I've got a fine-tuning adjustment, this Detune, which goes 50 cents in either direction. (music playing) You're really not going to notice too much of that until you've got the balance of these waveform 1 and 2. (music playing) So now you can here that difference, and you can make it really out of tune or get it perfectly tuned as a fifth there. So that's the Dual mode. The other mode, FM, is a little bit different. So it's the same type of synthesis that we saw in EFM1, which is FM synthesis. And what happens here is that Wave 2 is going to modulate the frequency of Wave 1.
So Wave 1 in FM Mode is always going to be a sine wave. It doesn't matter what the number is here. It's actually disabled. It's always going to be a sine wave. And Wave 2, which is going to modulate Wave 1, you can choose the waveform and you use what was formerly the Balance slider, which is now our FM Intensity slider, to adjust the amount of modulation. Also notice that the Ratio here is going to control our tuning. So before we had Semitone and Detune, and now it's Ratio course and Ratio fine-tuning. So I'll set our Ratio to 1 so we are just getting the first harmonic, and what we can do is modulate waveform 1 with waveform 2. So I'll play.
(music playing) And notice that if I change waveform 2, it really changes the timbre of the sound. (music playing) So that makes a big difference as well. The next feature that we have in this Synthesizer Mode here, right next to it, is the Noise Oscillator. So this will allow us to introduce some white noise into the sound. (music playing) So I can just control the level of that noise here. And beneath it with the Color knob, we can adjust the color of the noise.
So basically what that's going to do is adjust it from white noise to blue noise. So it's going to filter out the low- frequencies, so it's a high pass filter. (music playing) And that just changes the emphasis of the noise from being evenly spread throughout the spectrum to just focusing on the high frequencies. (music playing) So next to that we've got the built-in Low Pass filter and that's right here and so I can cut out the high frequencies. (music playing) And that has a Resonance control as well. So if I increase the Resonance, what it's going to do is create a little bump or boost around the cutoff point and it's going to emphasize wherever my cutoff is.
(music playing) That's how I can get those vowel sounds and squelchy acid sounds as with a higher amount of Resonance on the filter. Next to that we've got a very simplified Attack and Release envelope, and this is to control the shape of the volume of this sound in the Synthesis section. So if I want a long attack or long fade-in, I can adjust the attack time here, and we'll here the sound fades in. (music playing) And I can give it a long release as well. What that's going to do is once I let go the note, it will take a moment for it to fade back down the silence.
So I let go, you can hear it's still fading down. So that's a long Release. So this Synthesizer section is really important because it's going to be either our super-cool synth sound that stands on its own or it's going to be the basis for the vocoded sound, and the settings here really affect the intelligibility of the vocoded sounds. So in the next video, let's take a look at how the global voice settings affect the performance in the Synthesis section.
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