New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Start learning with our library of video tutorials taught by experts. Get started

Virtual Instruments in Logic Pro
Illustration by John Hersey

Organizing zones with groups


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Organizing zones with groups

Let's take a look at using the groups in EXS24. So you can assign multiple zones to a group, and that way that gives you editing control over many zones at once. What I want do is pull in the sound that we were experimenting with before. So it's a sampler instrument. I'm going to load it here, and it's in this ESX24_Setup menu. So these are the instruments that are associated with the exercise file ESX24_Setup. So I'm going to select this one, Synth_Velocity. So this is the sound from before. I'll play it. (music playing) There are different velocity layers, and the higher velocities have more reverb and are louder, but the problem is when I play the note at a high velocity, and I let go of it, that reverb tail cuts off.
Expand all | Collapse all
  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

Watch this entire course now—plus get access to every course in the library. Each course includes high-quality videos taught by expert instructors.

Become a member
please wait ...
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

Organizing zones with groups

Let's take a look at using the groups in EXS24. So you can assign multiple zones to a group, and that way that gives you editing control over many zones at once. What I want do is pull in the sound that we were experimenting with before. So it's a sampler instrument. I'm going to load it here, and it's in this ESX24_Setup menu. So these are the instruments that are associated with the exercise file ESX24_Setup. So I'm going to select this one, Synth_Velocity. So this is the sound from before. I'll play it. (music playing) There are different velocity layers, and the higher velocities have more reverb and are louder, but the problem is when I play the note at a high velocity, and I let go of it, that reverb tail cuts off.

So before we had the solution of using one-shot mode on the higher velocity so that they ring out. And that works okay, but there's a little bit of an unnatural transition. So another way that we could remedy this problem is by creating different groups for the different velocity ranges. So what I'd would like to do is create three groups: one for soft, one for medium velocities, and one for hard velocities. So they way you can create groups is go to the Group menu and select New Group, or the shortcut is Ctrl+G. So when I do that you can see that it says Group over here, and it's kind of cut off, so let me adjust the view here.

So I am going to name this group. I am going to call it soft. And then if I want to assign zones to the group, what I have to do is go back to my All Zones here. And there's a couple of different ways I can do this. I can actually go to the Group section and assign it. So that's actually under the View options > Group, and then I can assign it to the soft group. That's a little bit too roundabout. So the easier way to do it is just to take this and drag it to the soft folder.

So I am assigning this zone to the soft group. So then when I click on soft group, I can confirm that it's there. So now let's make the medium group. So this time I am going to select a few of the zones, so I am going to select this one. If I hold down Shift, I can select more, so these two I want to be in the medium group. So instead of actually creating a group in the Group menu, I'm just going to drag these over here, and it's going to automatically create a new group with those zones already assigned to it. So that's definitely much more convenient. So let's name this one. So I'll double-click, call this med, and I'll go back to All Zones. And then I want to make a group for the hard velocities, so I will select these two and then drag those and I will name this one hard.

So what I can do with these three groups is actually offset the amplifier envelope, the release time. So the way I can solve the problem is have for the soft group, the release time as it is now in the amplifier, which is instantaneous, so I can actually just take a look at that. So here is our amp envelope and you can see the release is set all the way to 0, so that will just cut off. And then I'll be able to offset the med and hard velocity groups. I can give those a longer release time. So the first thing I want to do to actually make changes to the groups is make sure I have got this Groups button pushed up here. So I'll push that and now we can see our groups.

Then you can see that I've got this Envelope 2 (Amp) Offsets, so that's the amplifier envelope offsets. So for the soft group I don't want any offset. I'll just leave it at 0. For med, let's offset it by 600 milliseconds, so it will increase the release by 600 milliseconds. And for the hard group, let's make it longer. Let's do like 1300 milliseconds. So now what happens when I play, so if I play soft, it releases right away. If I play at a med velocity, you can hear it rings out a bit.

If I play of the hardest velocity, you can hear it rings out fully. So now when I just play, I am going to play very staccato-- (music playing) --you can hear it transitions pretty naturally. I can get those accents with the reverb ringing out, but it doesn't sound like it's just jumping between different release times and things like that. So this is a very natural way of doing that, and that's one of the really cool features of using the groups. And there is actually a number of other group features as well. So to view them all, you want to make sure that in this View menu here you've got View All selected.

So let's talk about the different choices you have here. So for the groups you can set the Key Range here, so if you wanted them to be different for different groups. You can also offset some things in the mixer, like the volume of a particular group, the panning, and its output as well. So you have 16 different outputs here. You can also adjust the polyphony. So for example, you might not always want to have the maximum polyphony for your group. So think of a case where you have a hi-hat where it can be either open or closed. You wouldn't want your open hi-hat ringing out against your close hi-hat.

So to solve that problem, you can assign those both to a group and set the Polyphony to 1, and that way it's either going to be the close hi-hat or the open one. Furthermore, what you can do is choose how you want to trigger this group. So do you want it to be triggered when you press the key down, or do you want it to be triggered based on release? So certain instruments, like you think about a piano or even an electric piano, when you play, and then you let go of the notes, you hear the damper hit the strings. So in order to recreate an instrument like that, you'd want a release group of samples of the sound, of the damper hitting the times, for example, on the electric piano.

Then we've got our filter offsets. this just allows us per group to adjust the cutoff and resonance of the filter, and so you only have one filter here, but these groups just can offset the cutoff. Then we can also offset Envelope 1 as well, and Envelope 1 is freely assignable. We can set our velocity ranges for each group as well. And then the last feature that's pretty interesting too is the Select Group By. So what this means is that if I want some kind of trigger or MIDI control to select a group, I can do that.

So the circumstances that you'd use this would be, let's say you have two different string articulations. You might have strings that are sustaining and then you have staccato strings. And you actually want to assign those to the same pitches, but you want to have a key that will switch between those groups. So you could assign a MIDI key that's like really low on the keyboard, like C-2, and then when you play that key, it doesn't make a sound, but it will select either the staccato strings or the sustaining ones. And so that's where it gets more advanced, but you can really get deep in terms of programming your instruments.

So you can select a group by a particular note, or another group, or control, a pitch bend, or a MIDI channel, so a lot you can do with that. And you can even get deeper and add more, so add an additional Select Group By. So for very sophisticated sampler instruments, they might have a lot of this kind of programming happening. So now that we have taken a look at assigning multiple zones into groups and some of the possibilities of editing the groups, let's take a look at some of the looping and sample-editing features that are part of the EXS24.

There are currently no FAQs about Virtual Instruments in Logic Pro.

 
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.
Upgrade now


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

join now Upgrade now

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Virtual Instruments in Logic Pro.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Notes cannot be added for locked videos.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.