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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.
So let's take a look at how we can further shape the sound with the filter. So remember, the signal comes from the string over here, and so the string is excited by the objects, and that vibration from the string is picked up by the pickups and then the signal goes to the amp envelope. And from there it goes to the wave shaper where we can add more harmonics, and from the wave shaper, it goes down to the Filter module. So if I want to turn on the filter, I just press the button right here, this Filter button. So now if I play, notice I don't hear anything. That's because the filter cutoff is all the way down.
So I'm going to open it up. (music playing) And I want a more inspiring sound, and something that sustains longer, so I'm going to go back to Object 1 and change it to Gravity Strike (GravStrike). (music playing) And adjust the Strength here. (music playing) And I can adjust the parameters of the string so the Media Loss. (music playing) And bring down the amount of Inner Loss too so that it rings out longer. (music playing) Okay, there we go! That sounds pretty good. If you take a look at the filter here, you can see that there are several different filter types.
We've got High-Pass, Low-Pass, Peak, Band-Pass, and Notch. For each of those filter types, we have two main parameters: we have the Cutoff and Resonance. And there's also two performance controls: there's Key Follow and Velocity Sensitivity, and what these are going to do is modulate the filter cutoff. So let's take a look at these different filter types. So first let's see with Low-Pass, so I'm going to set this to Low-Pass. So they help us visualize what's happening with the filters, I'm going to pull up the Channel EQ as well. So I'll go over here and on the Channel, I can double-click where it says EQ and now I've got the Channel EQ.
So I'm going to shuffle these windows around a little bit so that we've got space to see everything. So I'll move this EQ all the way over here. So let's set up the EQ. I'm going to adjust a few things. I want to adjust the scaling here so that it's easier to see. I'm going to turn on the Analyzer and I'm going to set this to High-Resolution. So now when I play-- (music playing) --I can see all the component harmonics of the sound. So let's go back to Sculpture and so now with the Low-Pass filter, I'm going to adjust the cutoff.
So when I bring down the cutoff, it's going to cut out the high frequencies. So you can hear that happening. You can see on the Visualizer displaying the EQ, there's less harmonics in the sound. (music playing) Then I have the Resonance parameter. What this is going to do is it's going to emphasize the area around the filter cutoff. (music playing) So if we take a look at the EQ itself, I can show you what's happening. A Low-Pass filter, select this one right here, and as I bring it down, you can see it cuts out the high frequencies.
And what Resonance is is when I adjust this parameter here, notice that there's this boost at our cutoff point. Here's our cutoff and I can move that around. (music playing) So it's boosting that area around the cutoff point. So I'll go ahead and get rid of this Low-Pass filter on the EQ. And back in Sculpture, let's take a look at the High-Pass filter. So the High-Pass is kind of the opposite of Low-Pass filter. It's going to cut out the low frequencies. So right now in its fully open position, it's cutting out all the low frequencies. (music playing) When I bring this down, they're coming back in.
So Resonance is going to do the same thing. It's going to boost the area around the cutoff point. So if we take a look on the EQ here, this is a high-pass filter. So I bring this up, it cuts out the low frequencies, and I can adjust the Resonance right here. And you can see it's boosting around the cutoff point. (music playing) So I'll go ahead and turn that off. Now back in Sculpture, let's take a look at the Peak filter. So the Peak filter is essentially like a parametric EQ boost, and the cutoff point is adjusting the center of that boost.
(music playing) And so the Resonance is going to adjust the bandwidth of that EQ boost as well. (music playing) So that's what it sounds like and then if we take a look on an EQ here, so here's a parametric boost, like this, so this will be like a peak and I can move that around, so that would be like the cutoff adjustment. (music playing) And this would control the bandwidth here, so that's kind of like the Resonance control. (music playing) So I can turn that off. And next we have a Band-Pass filter.
So you can think of a Band-Pass kind of like a Low-Pass and a High-Pass filter together. So what that does is it creates a certain band of frequencies that could come through. So if we look on an EQ--and I'm going to just reset the Resonance parameter on this, so we've got our High-Pass filter here and Low-Pass and I'll turn off the Resonance for that and I'll adjust these. So you can imagine that this is our band right here. So this is where the frequencies come through. Everything that's above it gets filtered out. Everything below gets filtered out, and the cutoff is going to adjust where this band is happening.
So back in Sculpture, if we just listen to the Band-Pass, we can hear that band is moving around in the spectrum and I can adjust the Resonance and that's going to adjust the resonance around both sides of it. (music playing) So that's what a Band-Pass filter is. And then last but not least, we have a Notch filter. So Notch in some ways is the opposite of a Peak. It's a big EQ dip, and I can adjust where it is. So on an EQ, what a Notch would look like is like this.
So I can move it around and that's what my cutoff would do and I can adjust the bandwidth of it with the Resonance control. (music playing) So if we go back to Sculpture here, so our Notch filter-- (music playing) --we can move that around, move the Notch around with the cutoff. And then the Resonance is going to adjust how wide of a Notch is it. (music playing) So those are the different filter types, and so now let's take a look at these performance controls for the filter.
So I'm going to go ahead and just set this back to Low-Pass filter, turn down the Resonance. So if I have Key follow, what that's going do is it means depending where I'm playing on the keyboard, so high or low, it's going to modulate the filter's cutoff. So the reason why they have this on a lot of filters on synthesizers is to create an evenness across the range of the keyboard. So what it's going to do is it means if I'm playing higher up on the keyboard, it's going to open up the cutoff, and if I'm playing lower in the keyboard, it's going to be closed down more.
So this sound right now with the Low- Pass filter is pretty filtered down. So if I play low on the keyboard, you can hear it's really filtered. You can barely hear it. Now if I play it way up higher in the keyboard-- (music playing) --you can hear that it's not quite as filtered. So that's because of the Key follow. Now if I adjust the velocity sensitivity, what's going to happen is velocity is going to modulate the filter cutoff. So what I want to do is set the maximum value for the cutoff and then velocity is going to control everything less than that. So I'll set this all the way open.
So now what happens is when I play softly-- (music playing) --it pretty filtered down. When I play with greater velocity-- (music playing) --the filter cutoff is much more open. So that's how this velocity sensitivity works. So now that we've explored how to shape the sound using the Multimode filter, in the next video, let's explore how we can add space with the delay.
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