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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.
Let's take a look at the amplifier section in this Attack/Release envelope. By default, the Attack/Release envelope is wired into the amplifier section, and it's going to control the shape of the volume of the sound. Within the amplifier section, we only really have two controls. We've got this Volume knob, which is the master output level. (music playing) So it can make things quieter or louder. Then I've got this Velocity Volume response. So what this means, when I increase this knob, it's going to make ES E velocity responsive.
That means if I play softly on the keyboard, I am going to get a quieter sound. If I play harder, it's going to be louder. (music playing) So the more that I have this knob to the right, the more sensitive the velocity response is going to be. When it's all the way to the left, it doesn't matter how softly I play or how loudly I play; it's going to be the same volume. So the Attack/Release envelope, what that's going to do is that's going to control the shape of the sound. So attack is the amount of time it takes for the signal to go from silence to its maximum level.
So right now, with the attack set at 0, it's instantaneous. Press a note on the keyboard, the sounds starts immediately. So if I make this longer, what's going to happen is the sound is going to start at silence and it's going to fade in over the period of time that I have set here. So let's check that out. (music playing) It took a second for the sound to fade in. And let's try to capture that on our oscilloscope here so we can really take a look at that. So you can see here the attack time is this area here.
So it takes this amount of time that we've got set here, some medium length of time. It doesn't specify in milliseconds or anything like that. So we go from silence to its peak volume. And if I make this longer, it's going to take an even longer period of time. Let's try that. (music playing) So you can see that it takes this whole period of time to fade in. That's what a long attack would be. Once again, if I set this to a short attack, the sounds starts instantly.
So release, what that is is that the amount of time it takes once you let off for the keyboards. So if you are playing a note in your keyboard, it's the amount of time it takes for the sound to fade back down to silence. So if I set this to zero release, I play a note, I let go, and the sound immediately cuts off. If I give this a longer release time then I can hold the key and let go of it and it takes a little bit of time for it to fade down to silence. So if I give this a very long release-- so I'll play the note and I let go and it's continuing to fade out-- that would be a long release time. (music playing) So just to show you the contrast once again, if I set this Release time to zero and I play, I let go, and it cuts off instantly.
So that's how the Attack and Release envelope work with the amplifier portion of ES E. Next, let's check out how this Attack/Release envelope can modulate the filter cutoff.
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