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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, so far we have looked at the sound engine sculpture. That's this whole area up top. So down below that, we have got the Modulation section. So we've got a couple of LFOs, the Morph envelope and the Control envelopes. Let's focus on the left side, the LFOs. LFO stands for Low Frequency Oscillator. So what it does is it generates a periodic waveform, much like an oscillator you'd have on a synthesizer. But instead of being an audible signal, it's sending a control signal to modulate a particular parameter. So in the case of Sculpture, it's going to modulate some aspect of our sound engine.
So first what I want to do is set up a sound that we can modulate. So I have got object 1, on and I have got this plucked sound, but what I want to do is have it a little bit more sustain. So I am going to give it less media loss. (music playing) There we go! So now looking at this LFO, I have to decide, okay, well what do I want to modulate? So I can go over here to the target area of the LFO, and I can choose just that. So I am going to choose Target 1. So if I press this button and turn it on, then under this Target menu here, I can choose what I want to modulate with the LFO.
So I am going to choose Pitch, and then I have got this Amount slider here, and I can choose the amount of modulation. So I will adjust this, and I will move it to the right. (music playing) You can hear now that I have pitch modulation, and when I increase the amount, it's a wider range of pitches. So if I give it a small amount, it's more like a subtle vibrato and if I give it more amount, it's more extreme. Now, if I want to scale the amount of this modulation, I can use the via parameter right here. So I can use Velocity or a MIDI controller to scale it.
So let's go ahead and choose Velocity. So what I am going to do is set the Amount back to the center. So I am going to Option+Click so that there is no amount, and what I am going to do is set an amount of Scaling here. So I am going to adjust this via amount here. So what this means is that when I play with a soft velocity then I am going to have a small amount of pitch modulation, in order to play with a harder velocity I am going to get more pitch modulation. So let's check that out. So here's soft velocity. (music playing) So it's a little bit of pitch modulation and then I play with greater velocity, (music playing) you can hear it's a much wider range of pitch modulation.
So I will go ahead and disable this via parameter. So I will set it to off. and I will give the pitch modulation a little bit of amount here. So let's just hear that. (music playing) There we go! And notice that I have a second target here. So let's use the LFO to modulate something else. So I will enable Target 2 by clicking on the number 2, and then I can choose the target here. So let's choose something else. How about let's modulate the Pickup Position of PickupB? So that's this Pickup right here. So you have to imagine this LFO is going to be moving it back and forth depending on the amount of modulation that we give it.
So let's adjust the amount right here. (music playing) So you can hear there is a little bit of phasing now. That's that pickup moving back and forth. Now, let's take a look at the other parameters of the LFO. So one thing we might want to adjust is the Rate. Right now it's pretty fast. This is ten cycles per second. So I can adjust this Rate knob here-- (music playing) --and make it be slower, or I could make it much faster. This LFO goes all the way up to 100 hertz. (music playing) So I will set this to something that's just sort of medium. (music playing) And if I wanted to synchronize this to the tempo of my song, I can just hit the Sync button here and the Rate is now in divisions of the beat.
So let's go back to Free mode for a moment, and let's explore some of the other parameters of this LFO. So right beneath the Rate knob we have this Envelope. So I can delay the onset of the modulation or I can have it decay. So that means that it will start with more intensity and then the intensity of the modulation will fade down. So let's try the Delay. So basically the modulation will fade in. (music playing) You could hear the Pitch modulation and the Pickup modulation, both of those fade in.
So when I am in the center, I have no Envelope applied and if I move this to the left, it's going to decay. So what that means is that it will start with kind of intense modulation and the intensity will fade down. So let's listen to that. (music playing) You could hear at first it had a lot of pitch modulation and you could hear the Pickup being modulated as well, and that faded down. So let's set this Envelope back to 0, so I can Option+Click. So let's take a look at the Phase parameter here. So this LFO can work mono or polyphonically.
If it's in Poly mode, what that means is that each different voice that I am playing will have independent LFO cycles. So if I play an arpeggio some of the notes might be pitching up, while other ones are pitching down. So let's check that out. (music playing) You can hear some notes are pitching up while others are pitching down. So that's polyphonic. Now, if I turn this all the way to the left here, so it's in Mono mode, then what's going to happen is when I play that arpeggio all of those modulations will be phase-synchronized.
So let's hear that. (music playing) So you can hear the pitch modulations all line up, so they are all pitching up and down together. So, notice that this can go anywhere from Mono all the way to Poly. So when you're in the middle, in this random mode, what that means is that some voices will synchronize and other ones won't. So I will set this back to Poly, and then let's take a look at the waveforms that we have for this LFO. So right now we have a sine wave, and I can choose other waveforms as well, so like Triangle for example or something different like we have a Rectangle bipolar, where it's going to jump between values, and I have a Curve setting for my wave shape.
So that's right here, so I can adjust the curvature in both a positive and negative direction. So sometimes, like for this one for example, the negative direction doesn't do anything. But if we go to a sine wave, we can modulate in the positive direction and the negative, you can see it effects the wave shape here. (music playing) So those are the features of the LFO. So I am going to go ahead and turn off both of these targets here, because I don't want this LFO modulating anything at the moment, and let's see what we have with LFO 2.
So LFO 2 notice is exactly the same, so we can just assign different targets and modulate different parameters. Next to that you can see that we have the two jitter generators, and so jitter is much like an LFO in the sense that it's a type of modulation, but it's a little different in a sense that it's very random. So for example let's assign pitch to Jitter 1. So I am going to hit this 1 button here to turn on this target, and I can choose my destination here. I am going to choose Pitch, and then I just give it the amount right here.
(music playing) All right? So if I increase the amount, you can hear that there's pitch modulation but it's very random in nature. So in this case it sounds good with a very little bit. It gives it almost a naturalness, like the imperfection of actual acoustic instruments and things like that. So I will crank up the amount. I can adjust the Rate, just so you can hear how that affects it. So I can slow it down. (music playing) It's very random. There is no way to synchronize this to the beat either.
It's just free. And then I can set another target down here, so target 2, let's do that to Object1 Position. (music playing) Then I have to give it a little bit of amount right here. (music playing) So now the position of Object1 is moving around a little bit in this random fashion along with the pitch modulation. So we have a second jitter generator right here, and we can assign other targets and set a different rate and add a little bit of randomness with this Jitter Generator. So as you can see with the two jitter generators and the two LFOs, we can add a lot of life and modulation and movement to the sound.
In the next video, let's explore the other modulation features, such as the vibrato, velocity controls, and MIDI controls A and B.
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