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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.
You can use the ADSR envelope to also modulate the filter cutoff. So before we were taking a look at how the controls up here determine how the amplifier envelope is going to work. So when I have this AGateR that means, for the amplifier, it's just going to follow the attack portion and the release. So it doesn't matter what I do with decay and sustain. What I can do is use this Decay and Sustain of this ADSR to modulate the filter cutoff. Now when I use this ADSR as a filter envelope, the filter is going to follow all the different stages of this ADSR; it's not going to only follow Decay and Sustain. But for this particular setting that I have right now with an instantaneous attack and a longer release, basically these are going to function pretty independent in terms of the sound.
So I'll set the cutoff to something little less. And if I want these to work as a filter envelope, I can adjust this slider right here, this ADSR via Velocity. What this does is it adjusts the intensity of this ADSR, acting as a filter envelope for this cutoff here. (music playing) So the amplitude shape is still exactly the same, but when I adjust my decay, you can hear that it's adjusting the filter. And if I have the filter actually even more filtered down, you will really notice it more.
So I give this a short decay and I adjust the filter sustain as well because remember, the sustain, it's not being used by the amplifier, but it is being used by the filter. So I now have the sustain level for my filter pretty low. If I make that higher, it's basically going to open the cutoff on the filter. So I just want to set it to the place where I want the filter to remain as long as I am holding the note. But I like it kind of filtered down. So I can give this a longer decay, and see, you can hear that filter happening, and then I let go and I get the release, and that's happening from the amplifier.
So it's kind of a clever way to have this ADSR doing more than one thing at a time. Now if I change the attack, it's going to do two things, because this is going to change the attack both of the volume and the sound so it's affecting the amplifier, but it is also going to affect the filter too, because this is changing the attack for this filter modulation as well. So you can hear the sound fade in. You can also hear the filter open up, and you'll hear the filter more if I increase the resonance. And then you can hear it close down afterward, until it reaches its sustain.
So it's a very clever implementation. One way that you can take this another step further is to have velocity affect that as well. So this slider here, it can split into two, and this sets a velocity range that's actually a modulation range. So I set my maximum--that's this part of the slider here. You can set the minimum here, and what this allows me to do is when I play softly, I will get less filter modulation from this ADSR envelope. (music playing) If I play harder, I get more modulation. (music playing) So it makes it much more dynamic.
So I will decrease the attack, just so we've got a more punchy sound. You can hear how we can get a wide range of sounds out of that. So this is definitely useful. We can also give a negative range as well, and so then the filter envelope is going to act in reverse, and sometimes you can get some interesting results with that. It's good to explore with the cutoff, and it's going to work contrary to what you have in the amplifier envelope. So they are kind of working in opposite directions. The filter envelope is working in an inverted capacity, and the amplifier envelope is working in its normal way that you would expect, but sometimes you can get some pretty cool sounds out of that.
So next, we will explore how we can actually modulate the filter, and actually a lot of other parameters, with the low-frequency oscillator.
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