Viewers: in countries Watching now:
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.
One way to increase the intelligibility of vocoded sounds is to use the UV detection aspect of the EVOC 20. UV detection stands for unvoiced detection. So human speech consists of voice sounds, which are tonal sounds or formants, and unvoiced sounds, which are more noisy. So voice sounds are typically produced from oscillations of the vocal cords, whereas unvoiced sounds are produced by blocking or restricting airflow via either your lips, tongue, palate, throat, or larynx. So in most good vocoders we will have two different ways of synthesizing voice sounds and unvoiced sounds.
So that's why I have got this whole UV detection aspect right here. So let's run some audio through here. We have got that same good old Nothing to Say audio your track. And I have got that routed through the Side Chain input, like you have seen before. And then to make sure that we are monitoring this properly, I want to make sure I have got to set the vocoder so that I can hear the vocoded signal. Okay, so if ahead and hit play and I'll play notes on the keyboard, (music playing) so we have got the vocoded sound.
So I can increase intelligibility in the first place by just upping the number of band pass filters. Okay, there we go. So now to recreate the unvoiced sounds, I am going to turn on this Noise mode in this UV detection area. So what it will do is synthesize the unvoiced sounds with just noise. And it's a whole separate noise generator than the noise oscillators that's in our Synthesis section. So let's hear that. So you can hear the S is much more clear. I can adjust the Sensitivity, like if I was getting too much noise, I can bring it down, or if that wasn't enough, I could increase it, and then I could adjust the volume and the level of it.
So now that S is really pronounced. It sticks out probably too much. So the next mode we have got in here is Noise+Synth so this will be the noise plus the synthesis engine together. So that sounds good. It's pretty similar to the previous one. A lot of it depends on your source material. So if we had a different voice sample that was going through, it might react differently. So you kind of have to adjust the sensitivity and level and such accordingly.
The last mode that's in here is Blend mode, and what this will do is it will mix in a high-pass filtered version of our voice in with the vocoded signal. So let's listen to that. So you can hear, we've got the dry signal in there, but has no low frequencies in it. So I can adjust the level of that. When I am in Blend mode Sensitivity control doesn't do anything. It's not affecting anything, so I can just leave it where it is. And once I have got that all set and I have got a vocoded sound, the sound is pretty accurate, one thing I might want to do is add a chorus effect to make this more lush.
So fortunately, in our Amplifier section here, there is two different types of chorus. We have got Ensemble 1, and then we have got Ensemble 2, which had a little bit more modulation. So that's pretty cool, and then down here, too, we can also control the stereo width of the vocoded sound. All right, so I can make it more narrow, so it's focused in the center, or I can turn this all the way to the right and we have sort of an exaggerated stereo image of our sweet vocoded sound.
So as you can see, the unvoiced detection really helps intelligibility and then you can widen things up in this Amplifier section with the chorus and stereo width. So, so far we have covered most of the typical uses of a vocoder and how that works in synthesizing voices, so in the next video let's explore some creative sources that we can vocode and what that sounds like.
There are currently no FAQs about Virtual Instruments in Logic Pro.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.