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Virtual Instruments in Logic Pro

Shaping the volume with the ADSR


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Virtual Instruments in Logic Pro

with Brian Trifon

Video: Shaping the volume with the ADSR

So we've got the amplifier section here, and with the volume knob, we can control overall output level of the instrument. So if I'm playing a note, I can adjust the output level here so it's softer. And like we saw before with ES_E and ES_M, I can use the velocity on the keyboard to control that level. And so I use this Velocity-to-Volume knob here. So I'll set that somewhere in the middle. And so now when I play softly, I get a softer note; when I play loudly, I get a louder note.
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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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Virtual Instruments in Logic Pro
13h 10m Intermediate Nov 09, 2011 Updated Mar 14, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Setting up Logic Pro for using virtual instruments
  • Configuring MIDI controllers
  • Composing with virtual instruments envelopes
  • Tweaking the overdrive and chorus
  • Creating movement with LFOs (Low Frequency Oscillators)
  • Understanding FM synthesis basics
  • Changing the timbre and shifting the formants of the vocoder
  • Constructing custom sampler kits
  • Exploring the tonewheel organ, electric piano, and Ultrabeat drum synthesizer
Subjects:
Audio + Music Audio Plug-Ins Virtual Instruments
Software:
Logic Pro
Author:
Brian Trifon

Shaping the volume with the ADSR

So we've got the amplifier section here, and with the volume knob, we can control overall output level of the instrument. So if I'm playing a note, I can adjust the output level here so it's softer. And like we saw before with ES_E and ES_M, I can use the velocity on the keyboard to control that level. And so I use this Velocity-to-Volume knob here. So I'll set that somewhere in the middle. And so now when I play softly, I get a softer note; when I play loudly, I get a louder note.

So it's responding to velocity, whereas before when I had this all the way to the left here, if I play softly, it's that volume; if I play with more force, it's the same volume. So this allows me to be more expressive with the dynamics of my playing. So, attached to the amplifier we have this ADSR envelope. So it's going to control the contour of the volume of the sound. We've seen simplified envelopes so far in ES E and ES M where they were Attack and Release, or in the case of ES_M, it was just the Decay parameter.

So this is a four-stage ADSR envelope. This is typical in a lot of synthesizers. Not only in Logic, but any synthesizer you encounter, a lot will have this ADSR format. Basically, what it is is the four stages are attack, decay, sustain, and release. So attack is essentially the amount of time it takes the sound to go from silence to its maximum level. Decay is the amount of time, once it reached its maximum level, for it to either fade back down to silence or to fade or decay down to whatever your sustain level is.

Sustain is not amount of time; it's a volume level. So it's the amount of volume that, as long as you're holding the key in the keyboard, that it's going to remain at that level. And Release is once you've let go of the note, the amount of time it takes for the sound to fade back down to silence. So let's explore all of these up close, and we can actually view them on the oscilloscope over here. So I am going to turn down the velocity sensitivity, just so we're getting a really strong signal. And I'm actually going to turn down the Sustain because that's the one that's new.

We haven't looked that in any other synth yet. So we'll kind of take a look at that last. So let's explore Attack. Right now, our attack time is set to 0. So I'll play a note and you can see in here, it starts immediately. If I give this a little bit more time, the sound is going to fade in. So watching the oscilloscope, you'll see it fading in. (music playing) So you could see the sound was fading in there. I can make it even longer and have a really long fade-in, so a very long attack time. So that's Attack. (music playing) Decay is the amount of time it takes for the sound to basically fade down to silence, in this case, because the sustain level is at 0.

So I'm going to set the decay time to something that's pretty short. So you can see it decays very quickly. We can have an even shorter decay, just a little click impulse sound, or it can have sort of medium-length decay where it's just, as I'm holding the note, it's just fading out. So let's take a look at Release, and then we'll come back to Sustain. Release is once I've let go of the note, how long does it take for it to fade down to silence? So I'm playing the note. I'll let go, and it's still ringing out, and it takes a moment for it to fade down.

So if I have a long release, it will take a longer amount of time. So I've already let go, but it's still fading out. So that's the Release parameter. Sustain, it's a constant level. So what I'm going to do is set my Sustain to a particular volume. So if I have my Sustain at 0, it means silence. If I have this set all the way, it's going to be the maximum volume wherever I have this volume control set. And so what that means is if I'm going to play the note now, as long as I hold the note, it's going to sustain its full volume. (music playing) In some ways, having my Sustain all the way up like this, it overrides the Decay parameter, because there's nothing for this decay to decay down to; however, if I set this somewhere in the middle, what's going to happen is the attack will be instantaneous, the decay will take the maximum level, and it will fade down to my sustain level, where as long as I'm holding the note, it's going to remain at that level.

Let's watch that in action. (music playing) So I'm going to try to capture that on the oscilloscope over here. Okay, so here you can see the shape very clearly. Over on the left, you can see the attack where it's happening immediately. Then you can see that it's fading down from that maximum level over sort of the medium period of time, and then it's just kind of levels out. That's the sustain level, and it will stay at that volume as long I'm holding down the note.

So this kind of gives you a good visual representation of the shape of the volume of the sound, and that's all that this amp envelope is doing: you're shaping the volume. So the ADSR envelope as applied to the amplifier is really one of the most important aspects, in terms of determining how your sound functions. For example, the way you can determine if something is a pad sound or short plucky sound really has to do with the shape of the volume. So if I wanted to make a pad sound, typically the envelope shape for that would be a longer attack and a pretty long decay and even a full-on sustain, full level, but a long release, so it kind of fades in and fades out.

So let's hear what that sounds like. So it fades in, and then I let go, and it takes a while for it to fade out. So that would be the shape for a pad sound. If I wanted to make a pluck, I have an instantaneous attack, and you imagine plucking a string. So the onset of the sound is very quick, but it decays very quickly as well. So maybe what I would do is set a shorter release time, set my sustain level to 0, and set a shorter decay. So that's more of like a pluck sound. So as you can see, the ADSR is really useful for shaping your sound.

So next, we'll take a look how we can use this ADSR envelope to modulate the filter cutoff as well.

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