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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 drawbar parameters of the EVB3. The drawbars create our organ tone, so we have nine upper drawbars for our upper keyboard, and we also have nine lower drawbars for our lower keyboard, and we have two for the foot pedals. So our drawbars flow from left to right. The left one is the lowest frequency and the right is the highest. I'll go ahead and play a note, and I'll pull down one of these drawbars, and we (music playing) hear sound is fading in. It's kind of like a reverse volume fader, in that when I pull it down, the volume increases; when I push it up, it decreases.
So let's bring in some of these other harmonics. (music playing) You can see the pitch increases from left to right, although this second drawbar here is actually a fifth higher than the third. (music playing) So when I pull those down one at a time, it almost sounds more like a chord than just the timbre of the sound. But check this out. If I play a couple notes, it doesn't really sound like a chord, does it? It's just when you hear the harmonics being added and subtracted, then you really notice them.
When you're just playing it in a phrase, they don't stand out as much. It's just perceived as the timbre of the sound. So essentially what we're doing by adjusting the levels of the drawbars and therefore adjusting the levels of the various harmonics is additive synthesis. We are adding in harmonic components to change the timbre of the sound. Depending on our drawbar settings, we can pretty much lay down the foundation for any type of organ sound. So now the lower drawbars work exactly the same as the upper drawbars. It is the same number--there are nine of them--and they're tuned in exactly the same way.
In order to have access to the sound of the lower drawbars, what we're going have to do is have our MIDI controller set to Channel 2, because remember, ideally you have two different keyboards and then a foot controller, and so all of this would be on three different MIDI channels. So we'd have the upper keyboard on MIDI Channel 1, the lower keyboard on MIDI Channel 2, and the pedals on MIDI Channel 3. So of course, not everyone has that many keyboards, so the quick solution for now is to just change the MIDI channel on our MIDI controller.
What I'm going to do is go ahead and change my MIDI Channel to MIDI Channel 2. If you're not sure how to change the MIDI channel on your keyboard controller, make sure to check out the manual that came with it. It will have that information in there. So now with Channel 2 when I play the keyboard, I'm not hearing anything until I pull down the drawbars, and then I can shape the timbre of the sound right here. If I want to hear the foot pedals, I'm going to set my keyboard controller to MIDI Channel 3. And so now when I play, I can pull down this drawbar here.
You can you hear I've got this low frequency here, and this is mainly focused on the octave harmonics. If I pull this next one down, it's merely bring out the fifth harmonics. So we have explored how we can use the drawbars to add and subtract harmonics and change the timbre of the sound. In the next video let's explore how to store, trigger, and morph our drawbar registrations to the preset keys.
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