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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.
Here I have a musical example that has a couple of instances of EVP88. So they are all creating different electric piano sounds. And then I have a drum track that's just an audio track here. So let's check it out, and then I'll talk you through the sounds. (music playing) So, cool! I'll show you the first sound that I have here, which is this chord part.
(music playing) I'll open this up. (music playing) As you can see, this is the SuitcaseMK1. It's a Fender Rhodes model. And basically not too much that's changed here. I've brought down the level of the bell because I wanted this to be sort of a mellow kind of sound, with a little bit of tremolo effect and a little bit of overdrive. (music playing) Other than that, there's not too much going on; it's just a really dynamic, good-sounding instrument.
I do have a tape-delay effect on the track, and that's providing the echo. And you can see I have it set to a dotted 8th note here, and I also have those echoes band-pass filtered. So there's a low cut on it at 580 Hz, so there's no frequencies lower than that, and nothing higher than 8900 Hz. That's the way of focusing the echoes so they don't get in the way of their actual sound. I also have a little bit of flutter on this delay. So it's a little bit of pitch modulation that happens with that. I felt like that that just gives it a little bit of character, especially at the end here when I have this peddle section where I just do these (music playing) octaves. It kind of plays with the delay.
I think of it like The Edge, the guitarist from U2, he always does these delay effects with his guitar, and it's part of the rhythm of the sound of what he's playing. So that's what I was trying to do here. And we've got this melody part here. Let's check that out. (music playing) So a big part of this sound is the phaser. And then I also have a tape delay and Space Designer reverb on the channel too.
So if I take off the delay and reverb, it's definitely more of a dryer sound. (music playing) We can still hear the phaser. You can also here the tremolo too, and that's what's doing the auto-panning back and forth. So, this is a Wurlitzer model, but it has nice characteristic, nice warmth to it. So I though that sound blended in well against the chords. It's just kind of a moody thing. (music playing) And so looking this channel once again, I've got the tape delay on it and this long reverb, the seven-second reverb. And this reverb itself has a bit of movement in it, so even if I turn off the Delay, just the reverb alone sounds pretty nice.
(music playing) So it lingers a long time, and it kind of pushes this melody more to the background, because it was a little bit too upfront at first without the effects. I also tend to like things with a lot of wet ringing reverbs and delays as well. So let's take a look at this ostinato one here. This is this sound. (music playing) It's kind of like a palm-muted guitar part.
So this is based on the Hohner Electric Piano model. And I have a little bit shorter decay, and I turned down the bell amount a bit, and then I also cranked up the drive, a little bit of phaser happening, tremolo. Another part of this sound is definitely the delay. So again, going back to that U2's, The Edge guitarist analogy, that's part of this sound is that delay that works with this part. So check it out.
The delay is part of the rhythm of the sound. So it's set it to a dotted 8th, hit Delay once again. Then to give this sound a bit more punch, I use this Enveloper. It's in the Dynamic section in Logic. What it does is it emphasizes the attack portion of the sound. So listen to it without the enveloper; (music playing) a lot less punch. (music playing) So this just shapes the transient of the sound.
So then these three electric piano parts really blend well together. (music playing) Then for the drums, I created a pattern in EXS24 and I ended up bouncing it out to audio to do a little bit more processing with compression. You can hear this drum pattern kind of pumps.
It has a lot of reverb. (music playing) So, I thought that was a nice contrast to all the pretty and kind of somber sounds of electric piano. So, let's hear everything all together in context one more time. (music playing)
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