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Transitioning between settings the Morph Pad

From: Virtual Instruments in Logic Pro

Video: Transitioning between settings the Morph Pad

My favorite aspect of Sculpture is the Morph pad and Morph envelope. So these Morph features are going to allow us to smoothly transition between different settings of the object's string material for very expressive sounds. If we take a look at the Morph Pad here, notice that we have five different points. We have the center point, A, B, C, and D. So each of these five points can have different object settings and material settings and so on and so forth. So what I'll do first is just set up the center point. So I'm going to turn on three objects and adjust a few settings.

Transitioning between settings the Morph Pad

My favorite aspect of Sculpture is the Morph pad and Morph envelope. So these Morph features are going to allow us to smoothly transition between different settings of the object's string material for very expressive sounds. If we take a look at the Morph Pad here, notice that we have five different points. We have the center point, A, B, C, and D. So each of these five points can have different object settings and material settings and so on and so forth. So what I'll do first is just set up the center point. So I'm going to turn on three objects and adjust a few settings.

(music playing) Turn down the strength for this Bouncing one, and of the second object as well, and I'll spread them out on the string. (music playing) And adjust the Pickup position as well. (music playing) And then I can adjust the material. (music playing) So that sounds pretty good. I like that setting that we have here. And so now if I wanted to create a different setting, let's say for point A, what I could do is go ahead and drag this ball to point A. Notice that when I get to point A, all of the settings have reset to the original.

So essentially what I'm doing now is at the center point, I can morph between our new setting and the original setting. (music playing) So you might be wondering "Well, what parameters can I morph and what can't I morph?" So the way I can tell is the little red dots by a particular slider or a knob, so that mean it's morphable, or if you see orange. Anything that's orange is morphable. The things that aren't morphable are turquoise in color. So for example, I can't morph turning on and off objects or turning on and off the Wave Shape or filter, or I can't morph between filter shapes as well.

But there is a lot we can morph between, and I can morph between the material as well, so, very useful. So what I can do is adjust the settings for point A as well, so I can go ahead and move these objects and move the Pickups on the string. (music playing) I'll play the sound to make sure it sounds good. And I'll change their material as well. Let's make this Wooden. (music playing) There you go! And so now I can transition between the center-- (music playing) --and point A.

So now what I can do is for each of these other points, I could create different settings and then I could move it around in the Morph Pad and transition between them. So as you can imagine, that can take a little bit of time. So one way that you can save time is if you like, say, the center setting here, I can copy and paste this to all the other points. Then what I can do is take advantage of the randomization parameters and create variations. So we can have a setting and slight variations and then morph between all of those. So that's what I'm going to do. So I'm going to copy this center point, so I'm going to Ctrl+Click, and go to Copy selected Point.

Okay, now I'm going to Ctrl+Click again and I can choose Paste to all Points. So that's going to paste it to every point. So if I move the Morph Ball, notice the setting is all the same in all of them. So now I want to randomize the four corners but I want to leave the center the same. So first what we're going to have to do is select what's going to be randomized, and the way I do that is with these selections here. So notice the top one here. That's going to allow me to randomize all five points.

The one beneath that is going to be the four corners, and beneath that is the center. And the bottom one here, notice, is orange. That means it's going to randomize only the selected point. So if I had point A selected, it would only randomize that one. So I want to randomize the four corners, so we'll select the four corners, and then what I'm going to do is adjust the Randomization amount. That's right here. So I'll drag this up, and I can set this to a certain percentage, so I can randomize things 100%, but that's probably going to be too much.

It's not even going to be related to the sound that I have. So I'm going to set this to about 50%, which is still quite a bit of randomization. Now I could go ahead and hit Randomize, but actually I want to choose, what aspects do I want to randomize? So if I Ctrl+Click, you can see it gives me choices. So I could randomize everything, so all morphable parameters, or All except Tension Mod, or I could just randomize aspects like the material of the string or the objects and pickups or the Wave Shaper and Filter parameters. So the reason why you might want to do that is let's say you like some aspect of the sound a lot and you don't want it to change, like let's say I love my Objects and Pickup setting.

Well, then maybe what I'd want to do is only randomize the material, or only randomize the Wave Shaper and Filter. So anyway, I'm going to choose All except Tension Mod and then I'm going to hit Randomize. So now when I drag the Morph Ball, you can see that the settings are different in all of the corners, but they're still related to the center ones. Let's hear what it sounds like, so I'll play this. (music playing) And drag the Morph Ball around. (music playing) You can hear we get this really fluid transition between an almost rolling kind of sound and then almost like a flute type of sound.

(music playing) So it's pretty interesting what you can do. You can get a lot of expressive possibilities with that. And so one thing that's actually pretty neat about this too is let's say I find a setting that's really nice that's somewhere in the middle here. (music playing) Like maybe I really like how it sounds right here. So if I want this to be a new setting or just have this be my main preset, what I could do is Ctrl+Click and I have the option to Copy current Pad Position. So what that's going to do is copy the settings that I have right now where it's kind of morphed between several different points, and then I could paste that to a particular point, or all the points, and then save it from there.

So that gives you a lot of possibilities, just in terms of creating sounds. So as you can see, the Morph Pad lends itself to experimentation and exploring the randomization parameters of Sculpture. In the next video, let's explore how we can control the movement of the Morph pad with the Morph envelope.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9110 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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