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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.
So let's take a look at the EFM1 interface and signal flow. EFM1 is a little bit different than what we have seen so far, because it's an FM synthesizer. So FM stands for frequency modulation. So it's going to react a little bit differently and the signal flow is going to be different than the subtractive synthesizers that we've taken a look at so far. So what we have is a Carrier oscillator that's going to generate sine waves, and we have a Modulation oscillator over on the left side. The Modulation oscillator is called the Modulator. What that's going to do is send pitch modulation information to the Carrier, and the way that we control the intensity of that is with this FM Intensity dial that's in the center.
So basically what's happening is a really fast pitch modulation. That's how we are going to generate all the different tones in EFM1 is by pitch modulation or frequency modulation and controlling the amount of intensity. If we look down below in the Amplifier section here, we've got the Master Level Output and the ADSR Envelope, which is going to control the shape or the volume of the sound. We also have a velocity control with that, so what that's going to allow us to do is depending how hard we are playing the notes on the keyboard, so if we are playing soft or loud, to give some dynamic range.
So it will respond to the volume of our playing. So up at the top of the interface we have the Modulation envelope. The Modulation envelope is going to control the shape of the depth of the FM intensity and that's going to work in conjunction with the FM Depth knob. Or it's going to control the shape of the modulator pitch, so for the modulator that's over on the left-hand side. Above that we've got our global controls for EFM1. So there is a Unison control here and when that's engaged, what it's going to do is, when we are playing a note on the keyboard, it's going to double up the voices.
So you will be hearing the notes stacked on top of themselves, so it just creates a thicker sound. To the right in the global section we have the Voices parameter, and this is where we can control the polyphony of EFM1, so it can have sixteen voices or go all the way down to one where it would be monophonic. And it also has a Legato mode, much like we saw in ES 1. Beneath that is the Glide parameter, and this allows us to transition between pitches on the keyboard. So if we set some glide time, you will hear it slide between the different pitches. Over on the left, we've got the Transpose for the whole instrument, so we can transpose down two octaves or up two octaves. And we have the Fine-Tuning control beneath that, where we can offset the tuning of the instrument by twenty cents in either direction.
If we take a look at the hidden portion of the interface down at the bottom--so I will open this disclosure triangle-- here you can assign MIDI controls to the FM Depth, so that's that knob in the center, or a MIDI control to the vibrato. The last feature that I want to show you on this interface that's actually sometimes overlooked but really useful is the Randomize control. This allows us to randomize all of the parameters on the EFM1 interface by a certain percentage. So sometimes it's cool if you have a preset and you like it and you just want to have a variation of it, to randomize by something like 7 percent. Or if you want to create an entirely different patch that's completely different and set the randomization to 100% and get a completely different result.
So the next movie let's take a look at the Carrier oscillator and how we can set the pitch for that.
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