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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 once the objects excite the string and the pickups pick up the vibration, signal flows into the amp envelope, over here. So this amp envelope is very similar to what we've seen in a lot of synthesizers in that it has four stages: attack, decay, sustain, and release. And typically, the amp envelope is the most important aspect in terms of determining the articulation of the sound. However, in Sculpture, the articulation is primarily created with the objects and also the material of the string. So depending on the characteristics and the amount of inner loss of the material and the way the string is being excited, you might have a short attack and short decay. Or if it's bowed, you might have a really long sustain.
So you're going to be doing most of your articulation shaping with the objects, but then you can further shape the volume of the sound with the amp envelope. So to demonstrate the amp envelope, what I'm going to do is adjust the setting of the objects to get a sound that sustains. So I'm going to change the excitation type to GravityStrike, (music playing) adjust the Strength here, and I'm going to bring down the amount of Media Loss, because I want this to sustain, and Inner Loss as well.
(music playing) Okay, so we have a pretty long sustain there and that sounds good. So first let's take a look at the attack stage. Attack is the amount of time it takes for the signal to go from silence to its maximum level. If we have an attack time of 0 like right now-- (music playing) --the sound starts right away. If I bring up the slider here, so let's do it to 1800 milliseconds, and the sound is going to fade in over the course of 1800 milliseconds. (music playing) Right, so you can hear the sound faded in; it had a softer attack to it.
So if I bring this slider back down, notice when I get to the bottom here it says retrigger. So when you have an attack time of 0 milliseconds, each time I play a note, it's going to trigger a new string vibration. (music playing) Now if I offset that attack, even if I have a really short and just have at .5 milliseconds, but it's not 0, what it's going to do is it's going to trigger the already vibrating strings, so I play note, and play another one, it's going to continue to strike the already vibrating string, instead of creating a new vibrating string.
So that's a subtle but important difference. Now let's take a look at another feature of this attack stage. I can split the slider here and set an attack time for high velocity and set an attack time for lower velocity. So my low velocity is the top part of the slider. So I can give it a longer attack at low velocities, and I'll give it a shorter attack at high velocities. So that means that when I play softly, it's going to fade in, and when I play with more force, you can hear the sound started right away, so this is a shorter attack, so that's how the attack stage works.
So we'll set that back to back down to 0. And now decay is the amount of time once the signals reaches maximum level, for it to fade back down to silence or to the sustain level. So right now we can see that my sustain is set to full, so in order for us to really hear the decaying, I have to bring down the sustain level. So I will set it at 0, and let's adjust the decay time. (music playing) So I can give a short decay. We can hear it fades out really quickly. Or it can be longer. And then I can also adjust the sustain time.
So this is, as long as I am holding the note, what's the level it's going to sustain at. So it's not an amount of time; it's a volume level, so let's adjust that. (music playing) All right, so I'm holding the note and I can bring up the sustain level or I can make it softer, and that's how that works. Now the Release parameter is once I've let go off the note, how long does it take for to fade out? So if I give it a really short release and I play a note and then I let go, it just stops right away. If I give it a longer release, you'll hear that it'll fade out.
So playing and let go, and it's still fading down to silence. So now that we've explored how to further shape to sound with the amp envelope, in the next video, let's add some more harmonics and saturation with the Waveshaper.
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