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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.
One of the really cool features of ES2's filter section here is that it can be routed in either a series or in parallel. So the signal, remember, we are going to generate with the oscillators. That's where we get our super-cool sound from. And then it gets mixed in this mixed triangle here. And then from there, the signal is going to flow into the filter's input, so filter 1 here. And then it gets filtered down. And then the output of filter 1 goes into the input of filter 2, and from there, the signal goes to the amplifier. So that's a series routing.
So to parallel what's happening is our oscillator signal is being summed in this mix triangle, and then the signal is going two places at the same time. It's going to go into filter one and it's also going to go into filter two. And then those get combined in the amplifier section. So that's the parallel routing. So let's explore some of the possibilities of what we can do with the series routing. First I will point out, that I have this s(M)exoscope, it's an oscilloscope, in the background here by Smartlectronix. In that way we can visualize what's happening with the waveforms.
So with the series routing, what I can do is I can get a balance between filter 1 and filter 2. (music playing) So I've got a low-pass filter here and then the output of that would be going into the low-pass filter 3. So probably what's going to be more interesting is actually to have a different filter type for filter one. So maybe we can set this to a Bandpass filter. (music playing) So I can get my Bandpass sound and then once I've got that this sounds good, I can filter with a low-pass filter.
(music playing) So that's sort of interesting in terms of this sound, but really, it's missing a little something, and that's where the Drive parameter comes in. Because what the drive is going to do is it's going to saturate the filter and add harmonics. Now depending on how we have our filter blend and whether we are in series or parallel, the Drive parameter is going to be in a different position in the signal flow. So when we've got a series routing and we've got our blend set at 0, so in the middle here, the drive is between filter 1 and filter 2.
So that means that we've got our sound. (music playing) It's band-pass filtered, sounds cool, and then I add drive. (music playing) So that's happening after the Bandpass filter, and then I can filter down that overdriven band-pass sound with the low-pass filter of this filter 2. (music playing) So listen to this without drive. It's a much smaller sound. And then I saturate the signal and add harmonics with this Drive parameter, and it's much more aggressive of a sound.
It's now with this Filter Blend and Drive, let's try different routing so you can hear what happens. So if I take this Filter Blend and I go all the way to the right here, so to 1, then all I am hearing is filter 2, so it's just a low-pass filter. (music playing) But I can also use this overdrive. So what's happening is I am getting the signal from the mix triangle, then it's being overdriven, and then I'm filtering it down with filter 2. (music playing) So the next routing possibility is, if I have this at around .5 here, then what I've got is a little bit of filter one, because remember this Blend control is going to crossfade between filter 1 and filter 2 just in terms of the balance of them.
So I hear a little bit of filter 1. Then that signal is being overdriven by the Drive parameter, and then we are filtering it again with this filter 2, low-pass filter. (music playing) If we go all the way to left here then we are only going to hear filter 1. (music playing) But what happens is this Drive parameter is now happening before the Band Pass filter, so it's happening immediately after the mix triangle, before it hits filter 1.
So that's where we are saturating the signal. (music playing) So probably the most complicated routing, but also one that's quite interesting, is this -.5. So what this does is we've got the signal from our oscillators in the mix triangle. Then it's overdriven, then it hits filter 1, though we can adjust, and then there is another drive circuit between filter 1 and filter 2. And you don't actually see any of this happen. It just happens under the hood and you can hear it. So we've got this second overdrive between the two filters, and then I can filter that with the low-pass filter.
(music playing) So lots of filtering going on, lots of different possibilities with that, and it's definitely worth taking the time to explore what you can do with it. So then of course, we have the other mode, which is Parallel, so I will click this here. We can set up our Blend back to 50-50 once again, and in this case, just while we are on the topic of the Drive parameter, when we are in the Parallel routing, the Drive parameter is going to happen before the filters. So we've got mix triangle where the oscillator's signal is mixed. Then the signal's overdriven, and then it enters both filters where it's filtered down independently.
(music playing) So one really cool thing about a parallel routing that we can do is I can have a Bandpass filter happening up here, and then on this parallel track with filter 2, I can have it low-pass filtered. (music playing) So what happens is I get this consistent low end from the low-pass signal and that's mixed in equally with this bandpass signal what's happening on top. So you can hear this better if I play maybe at a lower note. (music playing) So even as I adjust the Bandpass filter you can hear there is a constant low end and that's the filter 2; it's just filtered down.
And I could give it a steeper slope. (music playing) Give it some more resonance to make that stand out a bit more. It's a real solid low end, and then I have got the movement of the Bandpass filter on top, so that's definitely a really cool thing to do, and it's worth exploring the different filter types as well. I'll try a Band Reject filter against the low-pass filter in this parallel routing. (music playing) And the others too. So once you have your sound sculpted in the filter, the signal goes into the amplifier and effect section.
So let's explore that in the next video.
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