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Further shaping with the envelopes

From: Virtual Instruments in Logic Pro

Video: Further shaping with the envelopes

Let's take a look at the envelopes in EXS24. So we've got two envelopes here and they're both four-stage ADSR envelopes. And Envelope 1 and 2 work in exactly the same way. The difference is that Envelope 2 is wired to the amplifier, so it's going to control the shape of the volume of the sound. So I am going to load in a sampler instrument so that we can experiment with the envelopes. So I'll click up here and I am going to choose this EXS24 Setup. So these are the sampler instruments that are associated with the EXS24 Setup exercises file.

Further shaping with the envelopes

Let's take a look at the envelopes in EXS24. So we've got two envelopes here and they're both four-stage ADSR envelopes. And Envelope 1 and 2 work in exactly the same way. The difference is that Envelope 2 is wired to the amplifier, so it's going to control the shape of the volume of the sound. So I am going to load in a sampler instrument so that we can experiment with the envelopes. So I'll click up here and I am going to choose this EXS24 Setup. So these are the sampler instruments that are associated with the EXS24 Setup exercises file.

So I am going to choose WaveTable. That's this sound. And let's take a look at our Amp envelope. So we've got Attack, Decay, Sustain, and Release. So Attack is the amount of time it takes for the sound to go from silence to its maximum level. So with a short attack, that's going to be instantaneous. If I increase the attack time the sound is going to fade in. (music playing) The other feature about this Attack slider is that it can be split into two, like this, and I can have Velocity affect the amount of time of the attack.

So if I play soft, I can have a longer attack. (music playing) And if I play with more force, it's going to be an instantaneous attack. (music playing) The next stage of this envelope is Decay. So that's once it reaches maximum level, the amount of time it takes for the signal to decay or fade back down to either silence or the sustain level. So right now the sustain level is full, so I am going to bring that down. And let's up the decay and you'll hear the sound will instantaneously be at its maximum level, and then it will fade down over the time of 1,152 milliseconds.

So let's listen to that. And I make that decay shorter. Then the next stage is Sustain. So this is a level adjustment. So it's not an amount of time. So this is the volume that it's going to sustain it as long as I'm holding the note. So let me bring up the Sustain level. So when I play it will sustain at this volume as long as I hold the note. So if my Sustain level is near its peak level, there isn't really much the Decay stage can do.

So the last stage of this envelope is release. This is once you've let go off the note how long it takes for it to fade down to silence. So I'll up the amount of release here. So I am playing the note, and once I let go, you can hear it takes a while for it to fade out. So that's the release. Envelope 1 works exactly the same as Envelope 2. The only difference is it's not assigned to anything. So I can assign it in the Modulation Router. I'm going to reset our Amp envelope to a shape where we've got a high level of sustain and a short release.

What I am going to do now is assign Envelope 1 to our Modulation Router. So what I want to do is have Envelope 1 modulate pitch. So I'll set our Destination to Pitch, and our Source is going to be Envelope 1. Then I can adjust Intensity here. This is going to be the range of modulation. So I'll set it up to an octave, so 1200 cents. So now Envelope 1 is going to work as a pitch envelope. So if I increase the attack, we'll hear that the pitch will rise. And then it quickly jumps back down to the note I am playing, because the decay is really short.

So if I increase the decay, it's going to rise and then the pitch is going to fall. (music playing) So, the Sustain would just adjust the offset of the pitch from the note that I am playing. (music playing) It's going to sustain at this pitch here. Then for the Release portion to be active on Envelope 1 when it's assigned to pitch, I also have to have Release on my amplifier; otherwise we won't actually hear the Release portion of Envelope 1.

So I'll bring up the Amp release, and so this will be the amount of time the pitch will descend back down to the note that I am playing. (music playing) So here is the Sustain, and then I let go and it releases. You can hear it fade down. So that's envelope as applied to pitch and we can assign it to other parameters, as well, like filter cutoff and any of the destinations in the list. So there's one other feature about both these envelopes that I'd like to mention. There's a Curve slider here, and this adjusts how the attack on both envelopes is going to be shaped.

So when it's in the center it's just linear. So let's check this out as applied to the Amp envelope, because that's going to be the most clear example. So I am going to turn off our modulation. I'll just set it to neutral in the center here. And if I increase the attack, right now it's going to be a linear fade-up. So we'll just smoothly transition from silence to the maximum level. (music playing) Now if I adjust this curve to exponential, it's going to fade up slower, so it's going to be quieter longer, and then the volume will increase faster.

So let's check that out. (music playing) Then we have the opposite of that, which is logarithmic, so where it will start to fade up pretty fast, and then it will slow down its fade until it's reached the maximum level. (music playing) So that applies to both envelopes. The other one we've got here is this Time slider. What this is going to do is depending where we're playing on the keyboard, it's going to modulate how fast it's going to progress through the envelope.

So if I have the Time slider set all the way to its maximum here, what that means is when I play a low note on the keyboard, it's going to go through the envelope slower; and if I play up higher in the keyboard, it's going to go through it faster. So I am going to set a short attack and no Sustain, short Release, and we'll give it a medium Decay. So if I play a low note, you can hear it takes a while for it to decay. And now if I play up higher, it's going to go through this envelope faster, and it will decay quicker.

(music playing) So that's how the Time parameter affects both envelopes. Now that we've explored how Envelopes 1 and 2 work and how they can be assigned in the router, let's take a look at the next video at how the global and voice settings affect the sound.

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This video is part of

Image for Virtual Instruments in Logic Pro
Virtual Instruments in Logic Pro

144 video lessons · 9377 viewers

Brian Trifon
Author

 
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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
      33s
  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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