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Recording the Envelope Shape with a MIDI Controller

From: Virtual Instruments in Logic Pro

Video: Recording the Envelope Shape with a MIDI Controller

So let's explore how I can use a MIDI controller to record the shape of control envelope 1 and 2. So the first thing I want to do is set up my MIDI controller to work with envelope 1. So down in the bottom in the MIDI Controller assignments, you can see I have control envelope 1 here, and it's already set to ModWhl. So if I want to change that, I can just click right here and choose something else or I can learn it to a MIDI controller on my keyboard. For control envelope 2, right now it's set to Foot controller, but I'm going to change that to after touch. So if we take a look at our envelope here, what I'm going to want to do is set the Target first, so I want to set it to Filter Cutoff.

Recording the Envelope Shape with a MIDI Controller

So let's explore how I can use a MIDI controller to record the shape of control envelope 1 and 2. So the first thing I want to do is set up my MIDI controller to work with envelope 1. So down in the bottom in the MIDI Controller assignments, you can see I have control envelope 1 here, and it's already set to ModWhl. So if I want to change that, I can just click right here and choose something else or I can learn it to a MIDI controller on my keyboard. For control envelope 2, right now it's set to Foot controller, but I'm going to change that to after touch. So if we take a look at our envelope here, what I'm going to want to do is set the Target first, so I want to set it to Filter Cutoff.

So I'm going to turn on Target 1, and I'm going to choose Filter Cutoff. Now in order for this to work, I'm going to have to create a sound that has the filter active, so I'll adjust just the sound first, so I will play a note. (music playing) And I want a little bit more sustain, so I'm going to adjust the Media Loss, give it less media loss, and adjust the strength of object 1, to give everything a little bit more intensity. (music playing) So I have kind of a long release right now, so I'm going to bring down the release time in the Amp envelope.

Here we go, and then I'm going to turn on the Filter, and I've got a low-pass filter. And now I want to set it to its minimum amount, so the most filtered down that I want it to be. Okay, so probably like here would be good. So then what I'm going to do is adjust the amount here in the Target section of control envelope 1. So when I increase the amount, what that allows me to do is use the ModWhl, which is the thing that's controlling envelope 1, and now I can modulate the Filter Cutoff.

(music playing) So now what I want to do is record my ModWhl movements into this control envelope, so what I can do is use the Record button up here, but first let's take a look at the Record Trigger options. So this is what's going to trigger the recording to start. So I've got NoteOn, so that means it'll start recording as soon as I press a note, or I've got Note+Ctrl Movement, and that means that when I strike a note and I move the controller, then it'll start recording. Or I can have it be Note+Sustain Pedal, so when I hit the sustain pedal and I play a note, then it'll start recording.

I'm going to use the Note+Ctrl Movement. So what I'm going to do is go ahead and hit the R button for record and that puts it in record pause. So now what it's waiting for, it's waiting for me to play a note and move my controller, so that's what I'm going to do. Play a note. I am moving my ModWhl. You can see that the Record button now is a solid red. That means it is recording. Okay, so that's cool, so I'll let go. And you can see it recorded in my envelope, so here it is, right here. Those are all my ModWhl movements.

Now if we take a look at this envelope, we can see that the five points that were in the ADSR envelope are still here. So here's .1, here's .2, .3, .4, which is our sustain point, and .5, which is the release. So if I play a note now-- (music playing) --you can hear it's playing back all of my ModWhl movements, so I've just recorded this custom filter envelope shape. So there's a bunch of things I can do with it. I can edit it just like the ADSR envelope.

So I can select a point and then I can drag it back and forth or up and down, so it's very easy to edit. And I can click directly on the envelope itself to edit the curvature. And one feature of recorded envelopes is I can hold down Command and adjust the variation, so kind of smooths out some the peaks. Furthermore, if I want this to be synchronized to the tempo of the song, I can hit the Sync button. So now it's in terms of quarter notes and divisions of the beat, so that just makes editing easier.

So I can just compress this area right here, and I can make this section shorter as well, and now we have a much shorter envelope, so let's hear that. (music playing) So you can hear, it has really sped up towards the end here. So what if I decide that I don't like my edited envelope all that much? Well, fortunately there is a Compare feature. So right now I can see that my envelope is edited from the original, because it says edited. So if I click on that, then it switches me back to the original envelope.

So if I didn't like my edited one, then I can start back from the original and readjust it from here. So if I want to go back to my edited version, I'm just going to click where it says original and that brings me back to my edited one. Now if I want to adjust the timescale of this envelope, say I want to make the whole thing much shorter, I can do that right here. So I want to make this envelope half the length, so I'm going to set this down do 50%. So now when I play a note-- (music playing) you can hear this envelope plays back twice as fast.

If I want to reset this, I can just Option+Click and then it's back to its original setting. And the other feature we have here is that I can use velocity to modulate the attack time. So if I move this to the right, what that means is that a harder velocity is going to make a slower attack, and a softer velocity is going to make a faster attack. And so in this envelope the attack is the distance between this first point and the second point. So let's check that out. So if a play with a hard velocity, you'll hear a slower attack.

(music playing) So you can hear it's going to this envelope really slowly. So now if I play with a softer velocity, it will play through the attack stage faster. (music playing) So you can hear that is faster than before. As you can see, being able to record the envelope shape as a MIDI controller allows for unique and complex modulation that would be near impossible to create with traditional envelopes. In the next video, let's explore the looping, sustain, and velocity features of the control envelopes.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 8923 viewers

Brian Trifon
Author

 
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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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