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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.
The EVB3 emulates the sound and features of the Hammond B3 organ and Leslie rotating speaker cabinet. The Hammond B3 was manufactured between 1955 and 1974 and popularized by jazz and rock organ players, such as Fats Waller, Jimmy Smith, and Keith Emerson. The EVB3 simulates an organ with two manuals, or keyboards, and a pedalboard, each which can have its own registration or sound setting. Ideally the EVB3 is played with two full-size keyboard MIDI controllers and a MIDI pedalboard.
Of course, not everyone has two keyboards and a pedalboard lying around, so fortunately EVB3 allows you to play all registers with a single master keyboard. The EVB3 generates sound using physical modeling synthesis. It faithfully replicates the tone wheel generators of a Hammond organ down to the smallest detail, including the quirks such as noise, crosstalk, and scratchy key contacts. Fortunately, you can adjust the intensity of these quirks to match your taste, so let's take a look at the layout of the EVB3. So in the top center here we have the Drawbar settings.
These are used to make changes to the basic organ sound. Beneath that we have the Preset and Morph parameters, so we can store the drawbar presets for the upper keyboard and for the lower keyboard, and we have a Morph parameter here in the center. To the left, we have the built- in scanner, vibrato, and chorus. Those can be applied to the upper and lower keyboards individually. Over on the right side we have the Percussion parameters. So now if we move down to the center here, we have some global parameters that have to do with the expression and volume of the instrument.
So now if we open up the hood here, we have more specific parameters to our EVB3 model. So we have the Pitch controls, which are going to adjust the tuning of the instrument. Next to that we have the Condition parameters, and these are going to affect the age of the instrument and how much crosstalk and noise that it has. The next column here is the Organ parameter, so this where we're going to adjust the number of tone wheels and the general tonal balance. Next to that we have our Sustain and Release parameters, and over on the right side we have the Effects section.
So if we look up top, you can see we have EQ and then we have a reverb and beneath that we have a Wah effect and Distortion and we have an emulation of a rotating Leslie speaker cabinet, so that's all these parameters here. On the bottom left we have our extended MIDI parameters. So this is where we can determine how we want our MIDI keyboard controller to interface with the EVB3. So let's hear what the EVB3 sounds like in action. I have a musical example here, where I have a number of instances of EVB3 creating all the sounds, except for the drums which are created by Ultrabeat.
So check out what we can do with EVB3. (music playing) So now that we've heard what EVB3 sounds like and we've taken a tour of the interface, in the next video let's explore how to generate sound using the drawbars.
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