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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 one of the most useful features of Ultrabeat in terms of shaping drum sounds is its multimode filter. So I'm going to pull up the initialize patch and then we'll take a look at how the filter works. So under the Settings menu, I'm going to go to Load Setting and then Desktop/ Exercise Files folder/Ultrabeat, and then in there in the Preset folder filter, this Ultrabeat_EMPTY. So I'm going to use this first voice, so that's C1. (music playing) I'll turn up the volume a little bit.
Because we're going to be filtering, I'm actually going to increase the Saturation to give this more harmonics, so we've got more sound to actually filter down. (music playing) Okay, there we go. So there we have more of a saw tooth type of sound going on. (music playing) So in order to get the signal into the filter, we have to use these Signal Flow buttons. So you see these screws all along the edge of this center filter area. That's going to route signal into the filter. So right now with it not pressed, my signal is going directly to the amplifier.
So if I press on the screw right here, you can see it becomes a little arrow pointing at the filter. (music playing) So now we know it's going through the filter. The same can be true with the Noise Generator. I'm going to press on this screw right here. And with Oscillator 1 up top, so we'll have that route into the filter. And then our Ring Modulator, which we'll take a look at in a little bit, but I can route that into the filter as well. So now I've got all signals flowing into the filter. (music playing) But if I actually want to use the filter, I have to actually turn it on.
So I have to click where it says filter and it lights up in red. So we have a couple different modes for the filter. We have Low-Pass, which is going to cut out the high frequencies; High- Pass which is going to cut out the low frequencies; Band-Pass, which is going to let a certain frequency band of the sound through and block out everything else; then we have Band Reject, which is like a notch filter, so it's going to filter out just a small frequency range that we can sweep around. So let's take a look at the Low-Pass filter for a moment. We've got the Cutoff parameter here and then we have Resonance.
So Cutoff is going to adjust the high frequencies. It's going to eliminate them as I bring it down. (music playing) And Resonance is going to be a boost at my Cutoff point. (music playing) So with a High-Pass filter, the more that I open up this Cutoff, the less low frequencies we're going to have. So it's the opposite of a Low-Pass filter. (music playing) Band-Pass, we can hear that frequency band move around. And Band Reject, we can hear this little notch-- (music playing) --that I'm moving around.
So a better way to visualize this is actually on an EQ. So I'm going to pull up Logic's Channel EQ, drag that in here. And what I'm going to do is actually adjust some settings here. So I'm going to drag up to change the Scale of the view in EQ. I'm going to turn on the Analyzer and set it to high resolution. So now when I play a note, you can see all the various harmonics that it has. So a Low-Pass filter, what that's going to do is that's going to cut out the high frequencies. (music playing) That looks like this.
And Resonance is that boost around the cutoff point right here. And then the Slope--because you can see we've got the Slope button, 12 dB per octave or 24 dB per octave--hat's going to adjust how steep the slope of this filter is. So with a steeper slope, it's going to cut out more high frequencies. (music playing) So now a High-Pass filter is the opposite, and that's going to cut out the low frequencies. (music playing) So as I bring up the Cutoff or open it up-- (music playing) --it's going to get rid of the low frequencies.
And same thing. I can increase the Resonance-- (music playing) --and that makes a little boost around our Cutoff point. (music playing) And then a Band-Pass filter, what that's going to look like is like this High-Pass and Low-Pass together. So I'll set them to the same slope actually. Then what we've got is this little window here. You can call that a band, where the sound will come through and everything else is filtered out. So when you move the Cutoff on a Band-Pass filter, this band area here moves also.
So it's not that easy to do on an EQ. It's actually much more elegant just on the filter itself. But you can see here up the band is moved here, so on and so forth. And then the notch filter, what that's going to be is just this dip, this little notch. (music playing) And they call it the Band Reject filter here, but that's interchangeable with the term notch filter. (music playing) So that's how that works. And so with the filter settings that we have in Ultrabeat, I can also modulate the parameters of the Cutoff and Resonance.
So I can assign an envelope to it, for example Envelope2. And you can see when I did that, I have this little blue flag that appears here. And so what I can do is set the minimum amount that I want and then I adjust the range for the filter, so for Envelope2. (music playing) Set this to a Low-Pass for a moment. (music playing) All right! So you can hear that emphasizes the attack stage of the sound. I can increase the Resonance as well. (music playing) And then like we saw before, I can also scale the amount of modulation here with Velocity, and then I get this green flag and I can set the range for that as well, so that Velocity is controlling the amount of-- (music playing) --filter envelope.
So that's definitely useful as well. The other feature that we have with this filter is the distortion circuit. So down here we have a Bit Crusher and Distortion. So those are both two different types of distortion actually. With Bit Crusher, I have to press the Crush button here. (music playing) And then I can increase the Drive amount. (music playing) And that distorts the sound. And if I adjust the Color parameter-- (music playing) --it's going to reduce the sample rate. So we get this digital- distortion thing happening. And then Clip is basically adjusting the level of the sound.
So that's Bit Crush, and then we have Distortion, which is more of like an analog type of overdrive. So what that's going to do-- (music playing) --it's going to saturate the signal a bit, and I can adjust the color, which is sort of the tonal center of the distortion. And I can adjust its level as well. (music playing) And so the thing that's cool about the Distortion Circuit is it can either happen before or after filtering. So right now, you can see with this big arrow in the center that it's happening after filtering. So signals are all coming in to this filter and then they're flowing down to this distortion circuit. (music playing) If I click on that, I can switch it.
So now what's going to happen is the signals will come in through the distortion unit first and then go into the filter. (music playing) So you get different results depending on which direction you have that flow. So one little thing that I like is if you have a Band-Pass filter and you have that flowing into the distortion, so you're filtering the sound first and then it's going into a Bit Crusher, you can end up getting this kind of talking vowel sound sort of thing happening. So what I'll do is-- (music playing) --if I adjust the Color here and drive amount and move this Band-Pass, you just get these lo-fi kind of vowel sounds and things. It's sort of neat to mess around with.
One other element that's actually attached with the filter and that can flow into it is the Ring Modulator. So the Ring Modulator essentially works with Oscillators 1 and 2 and it multiplies their outputs and it ends up sounding a little bit like FM synthesis. You get this sort of metallic sound, so let's explore that. So I'm going to turn off the Distortion, set this back to Low-Pass filter for a moment, and I'm actually going to turn on Oscillators 1 and 2, because without it, the Ring Mod doesn't do anything. I've to make sure my Ring Mad is on, so I want to make sure this is highlighted in red, so I click on it to turn it on and off.
I'm going to turn down the Levels of Oscillators 1 and 2. So we're only hearing the Ring Mod signal. So I can play a note and I just bring up the level here. (music playing) So that's my Ring Mod signal and if I adjust the pitches of Oscillator 1 and 2, it's going to change the characteristic of the sound quite dramatically. And so that can be blended in with the dry signals. (music playing) Going to the filter and the noise signal, and all of that can be filtered down here.
This is the master shaping center, is this Multimode filter. So now that we explored how to shape the sound with a Multimode filter, in the next video, let's add some periodic movement and shape the sounds further with the built-in LFOs.
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