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Series or Parallel?

From: Virtual Instruments in Logic Pro

Video: Series or Parallel?

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.

Series or Parallel?

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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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9481 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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