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Modulating with the LFO's

From: Virtual Instruments in Logic Pro

Video: Modulating with the LFO's

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.

Modulating with the LFO's

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.

Show transcript

This video is part of

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

144 video lessons · 9109 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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