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Virtual Instruments in Logic Pro
Illustration by John Hersey

Modulating sound with the Leslie Rotor Cabinet


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Modulating sound with the Leslie Rotor Cabinet

One of the most distinctive features of the EVB3 is the Leslie Rotor Cabinet emulation. So the classic Leslie speaker design features two drivers: there's a treble driver with horns and then a bass driver. So the treble drivers rotates, and then the bass driver is stationary, but it has a rotating sound baffle that moves around it. So the result of these rotating speakers is a very distinctive modulation often associated with organ sounds, and so this is all emulated in the EVB 3. So first what I will do is is set up our drawbar registration.
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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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Virtual Instruments in Logic Pro
13h 10m Intermediate Nov 09, 2011 Updated Mar 14, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Setting up Logic Pro for using virtual instruments
  • Configuring MIDI controllers
  • Composing with virtual instruments envelopes
  • Tweaking the overdrive and chorus
  • Creating movement with LFOs (Low Frequency Oscillators)
  • Understanding FM synthesis basics
  • Changing the timbre and shifting the formants of the vocoder
  • Constructing custom sampler kits
  • Exploring the tonewheel organ, electric piano, and Ultrabeat drum synthesizer
Subjects:
Audio + Music Audio Plug-Ins Virtual Instruments
Software:
Logic Pro
Author:
Brian Trifon

Modulating sound with the Leslie Rotor Cabinet

One of the most distinctive features of the EVB3 is the Leslie Rotor Cabinet emulation. So the classic Leslie speaker design features two drivers: there's a treble driver with horns and then a bass driver. So the treble drivers rotates, and then the bass driver is stationary, but it has a rotating sound baffle that moves around it. So the result of these rotating speakers is a very distinctive modulation often associated with organ sounds, and so this is all emulated in the EVB 3. So first what I will do is is set up our drawbar registration.

So I am going to hit this key right here, so now we have sound. And notice that we now have the basic features for our rotor cabinet right here, so I can turn it on. But let's open up the hood, so we can see all of the parameters. So here we have the advanced features of our rotor cabinet. So I am going to go ahead and just turn this on and if we take a look, we have three different modes here: we have Chorale, Brake, and Tremolo. So essentially those are referring to the speed of the speaker rotations. So Chorale is a slow speed, and then Brake is stopped. and Tremolo is a fast speed.

So let's take a listen. So I will play a chord, so now it's in Chorale mode. So you can hear this is slow modulation. Let's switch this to Tremolo. You can hear it's faster modulation. And if I hit Brake, it stops the rotation, but if you notice, it slows down. It's not an instantaneous change. So the first thing we will want to take a look at is the type of cabinet for our rotor cabinet, so right now it's set to Wood, but we have a couple other options here, so we have this Proline one.

This is an open-back cabinet, so it's a little bit more airy, so let's just hear that. (music playing) So I will just switch it to Tremolo mode. And then we have a Single mode, so this actually only has one rotating speaker in it, so it's just slightly different. Next we have Split mode, so what Split mode does is it's going to move the bass speaker to the left and the treble speaker is going to be rotating on the right, so it's just going to be more of a stereo sound. (music playing) You can hear that the bass is over on the left now.

So beneath that what we have is a couple of high-quality models of both Wood, an open-back one, and split. So let's set it to the Wood and Horn impulse response. (music playing) So this is just a higher quality emulation of the wooden cabinet than the one that's up here, the Wood one. So let's take a look at some of the other features here. One thing that we are going to want to do is be able to use a MIDI controller to adjust the speed. So right now it's set to sustain pedal and if I look in the speed control menu here, I have got a couple of other options. So I am going to set this to ModWheel.

And so now when play a note and move my ModWheel, you can see I can switch between the three speeds, so Tremolo, Brake, and Chorale. So beneath that what we have is this ModWheel toggle. So what's that going to do is allow me to switch between two of the modes. I can either switch between Tremolo and Chorale or Tremolo and Brake. What I am going to do is I will play a note, and when I move my ModWheel, it switches to Chorale. And then when I move it up and down again, it switches it back to Tremolo.

Now if I wanted to switch between Brake and Tremolo, I am going to have to actually go ahead and just click on Brake. And so now it's going to transition between Brake and Tremolo. So I have my ModWheel down, so I'll move it up, and now I am on Tremolo, and so then I move it back down and do another up and down, and it's on Brake. The next mode we have here is this ModWhl Temp. So the difference with ModWhl Temp is that I can switch between the two settings with one ModWheel motion, whereas in Toggle mode, I'll have to do entire motions of the ModWheel.

So next, let's take a look at some of the advanced features of the rotor cabinet. So you can see up here we have this Rotor Fast Rate, so this has to do with the speed of the modulation when we are in Tremolo mode. So, if I play, I will put this in Tremolo mode. Let's adjust the speed. And beneath that we have the acceleration and deceleration scale. So what that has to do with is when we are switching speeds, how long it's going to take for it to transition.

So if it is at 0, it's going to be instantaneous. So here is Tremolo. It instantly switches to Brake which is stopped, and then you can switch it to Chorale. If I increase the Acc/Dec Scale, then it's going to take more time to transition. That's kind of a cool sound. So if I am in Chorale now, which is slow, if I switch to Tremolo, you can hear it slowly speeds up. (music playing) So that's kind of a distinctive effect. The next set of parameters we have here is the Mic Angle and Mic Distance. So this adjusts the listener's placement.

So if I move these, you can hear, it sounds like we are moving around our listening position. To the right of that what we have is the Horn deflector. This is for the rotating Treble horns, and so typically at the mouth of the horn it has a sound deflector, so we can either have this on or off. So right now I have the Sound Deflector off and I can click on it and that switches it on. I'll click on it again. It switches it off. So that's just a subtle change in the sound. If we take a look below that, we have the Motor Control parameters.

So right now it's set to Normal and so what that means is that both speakers will rotate about the same speed. If we take a look, there is a couple of other options here. There's Inverse, and what that's going to do is it means that the bass speaker is going to rotate fast when we are in Tremolo mode, but the treble speaker is going to rotate slow, and vise versa in Chorale mode. Beneath that we have 910 mode, and so this is also known as Memphis mode. So what happens here is that the bass speaker stops its rotations at slow speeds and the treble speaker continues to rotate.

So the reason why this is useful is that it allows for a more solid low end, so you don't have the modulation of the movement of the sound, so you can get a solid bass sound, but then your treble notes you're playing still have all the modulation. And the last setting we have here is Sync Mode, and so what that's going to do is it's going to try to synchronize the speeds between the treble and bass speakers when it's accelerating or decelerating. So there are few other hidden parameters for the rotor cabinet, and so I can access those with this disclosure triangle down at the bottom. So we have a couple of features that just relate to EVB 3 in general, but the ones that refer to the rotor cabinet are right here.

So we have Brake, Horn Brake Position, and Drum Brake Position. So this Brake allows us to choose how the Brake function is going to work. So typically it stops the rotor, but we can change that here to switch to the dry sound. So what would happen if we did that is that when we switch to break speed, it will be like as if we bypassed the entire cabinet. So this Horn Brake position has to do with when you brake the sound, so you are stopping the rotations, it's going to set the speaker position. Because what could happen when it's set to free is that when the speaker stops it might be facing the back of the speaker cabinet, and therefore be muffled.

So this allows you to specify a specific position that it is going to stop. Same is true for the bass speaker. That's what this Drum Brake position is. So as you can see, the rotor cabinet emulation can really add a lot of distinctive character to our organ sound. In the next video, let's explore the extended MIDI parameters and how it can set up the EVB3 to control the upper and lower manuals and pedals with one controller keyboard.

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