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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.
One of the really cool aspects about this ADSR envelope is that it can be used to modulate the filter cutoff as well. So at all times this ADSR envelope is going to be shaping the volume of the amplifier, and so shaping the volume of your signal. If you want to use it to also modulate the cutoff, we that in this area here. I've got this ADSR Intensity control. What that's going to do is that tells us how much do we want this envelope here to modulate filter cutoff? So when it's in the center position, there is no modulation happening.
If I turn this to the right, it gets me a positive amount of modulation. So it's going to act and respond like we'd expect a filter envelope to. If I go to the other direction, I go to the left here, I'm giving it a negative amount of modulation, and so this envelope is going to work the opposite that we'd expect, and we'll explore that later. So the first thing we're going to want to do is set our frequency cutoff to an amount that is a good starting place. So let's play a note, and I'll adjust the cutoff. (music playing) So I'm going to increase our Decay and Sustain so we kind of have that note ring out.
(music playing) It's maybe something like this. That's about how filtered down I want it to be. And so for the sake of this envelope here and to get a good response so we can hear both the volume and the filter being modulated, I'm going to take the Sustain and turn this all the way down and then I am going to take the Decay and set it somewhere in the middle here. Let's hear what this sounds like. I want to make sure to give this ADSR intensity a certain amount so we've got modulation happening.
I'll make this decay a little longer so it rings out. So, you can hear there's actually two things happening: One, the volume is being shaped by this amp envelope. So the sound starts instantaneously, and then it decays down and fades back down to silence over this Decay stage of the envelope. At the same time, what's happening is the filter, during the Attack portion, it instantaneously opens up to a further amount here so it's more open, and then during the Decay portion of the envelope, it's fading back down to that initial setting that I set. (music playing) And so you can hear that happening, and you can hear that there's no way to separate what's going on with the amp envelope and the filter envelope; they just work together. (music playing) The way you can actually sort of hear it separately is if I disengage the filter envelope and I just listen to the sound. (music playing) In some ways, it has a lot less character because the whole thing is more static and it's more filtered down.
So I'll engage the filter envelope again. (music playing) So you can hear it's filtering down the same time the volume is decaying. One way to actually make this more musical and more perform-able is to use this velocity control here. So what this is going to do is it means, depending on how hard or soft I play a note, it's going to affect the amount of modulation that's happening with this filter cutoff. So if I set this to full amount, I'll set this decay a little shorter, and then I'll play some notes at different volumes, and we'll get a different amount of modulation. (music playing) So you can hear I can accent some of the notes by playing harder and the filter opens up more; if I play softer, it's more filtered down. (music playing) You can add in resonance and make that a little more dramatic. (music playing) So it's very useful just for making your programming more expressive.
So once you have the filter and amp envelope settings the way that you want, it's a good thing you can add in chorus and overdrive to make sound more lush and more saturated. So let's explore that next.
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