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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, let's take a look at the filter section of ES2. So, we create our sound with the oscillators and get a good blend happening with the mix triangle and from there, the signal goes into the two filters. So, we've got Filter 1 that's right here and we've got Filter 2 that's over here. So, Filter 1 is a multimode filter and Filter 2 is just a low-pass filter. So, what I'm actually going to do is I've got this a s(M)exoscope here so we can visualize what's happening. I've also got the Channel EQ here so that we can view an FFT analysis of the signal as well.
So, what I'm going to do is adjust the scale of this here, and we'll turn on the Analyzer, and we'll set it to a high resolution. So, now when I play a note-- (music playing) --so you can see all the different harmonics in the waveform throughout the frequency spectrum. So, that's pretty cool! So back to ES2. Let's take a look at Filter 1. So, I've got this blend control up here. This is going to set the balance between Filter 1 and Filter 2. So, I'm going to set it all the way to the left, or to -1, which is just Filter 1.
So, the first thing we've got here is a low-pass filter. So, as I play this and I bring down the Cutoff knob, it's cutting out the high frequencies, and you can see that on our EQ when that's happening. When I adjust the resonance, it's boosting around the Cutoff point, so it's going to emphasize that region. So if I increase the resonance quite a bit, it's sort of dramatic. (music playing) You get those squelchy valley type-sounds from it. So another way to think about a low- pass filter is actually just on the equalizer itself I can engage this button here, and then here's my Cutoff.
(music playing) You can hear that it pretty much sounds the same as the low-pass filter in ES2. And so what resonance would be, so I adjust this parameter here, you can see I've got this boost of my Cutoff point. Here's my cutoff. So, when I move that around-- (music playing) --it's emphasizing the frequencies around the cutoff and if I give a lot of resonance, it really rings out. (music playing) So, on my EQ, if I want to resettle this, I can just Option+Click, and it sets it back to its default settings. And I'll turn off the low-pass filter.
And so now back to this ES2 filter, the other mode what we have here is high pass. So, what this is going to do is cut out the low frequencies. So, when I have this filter all the way open, like it is, you can see that there are no low frequencies happening, When I bring this down, it brings them back in. Same thing. We've got resonance, which is going to boost the area around the Cutoff point (music playing) And real quickly on an EQ, this would be your high-pass filter. So I can cut out the low frequencies.
Next, we've got a peak filter. So, peak is pretty interesting, because what it's going to do is it is just going to boost a certain range of the frequencies and leave the rest of them alone. And resonance is going to control the width of that band that's been boosted. (music playing) So the way you can think of that on EQ would be if you make a little EQ bump like this--I'll make it a little more narrow, and I can boost the frequency of it here.
So, if I were to move that around-- (music playing) --that's essentially like the peak filter in ES2. Next what we've got is a Band Reject filter. So, a Band Reject filter is also known as a Notch Filter. It's basically a dip in the EQ spectrum, and the cutoff is going to control where it is in the frequency spectrum, and the resonance controls the bandwidth of it. (music playing) So, it's a pretty cool sound and on an EQ what that would look like, this would be a notch, would be like this, and this would be like the resonance parameter, the bandwidth of it, and then I can move it around.
(music playing) And last but not least, we have a Bandpass filter here. (music playing) What that's going to do is let a certain band of frequencies through and the cutoff moves that band around, and the resonance, it controls the bandwidth of it. (music playing) So, on an EQ you can imagine what I can do is I'll set a certain band using the high-pass filter and the low-pass filter.
So, I have basically got this little window right here where the sound is going to come through, and the Bandpass filter, when I adjust the cutoff, it's moving this area here, this window, around. So, it's kind of nice because what happens is it's not losing some aspect of the frequency spectrum, it changes as you adjust the Cutoff. The second filter in ES2 is just a low-pass filter. So, if I adjust the blend here all the way to the right, I can low-pass the signal, and this one I can choose the slope of the low-pass filter.
So, if we had a low-pass filter on our EQ, notice this has a slope control as well, and you can see that as I increase the number here from 12dB to 24, it increases the steepness, so it's cutting out high frequencies at a faster rate. So, that's what you've got here, 12 dB per octave, 18dB per octave, and 24 dB per octave. The last button that you've got here in this row is the fat button. What this does is sometimes when you have some higher amounts of resonance with the low-pass filter you end up losing some of the low end.
So, this fat control compensates for it. And so this fat mode can be used with any of the slopes of this low-pass filter. The final control that you've got with this Filter 2 here is this FM. So, what this is going to do is it's going to modulate the filter cutoff at a very high rate, because what's happening is the sine wave from Oscillator 1 is modulating this filter cutoff at a very high rate, and so you really notice it when you crank up the resonance. So, I'll crank up the resonance here.
It's a really chaotic, so maybe I'll bring down the level of FM. (music playing) So, it's a different type of FM than the FM you deal with in the oscillators. That stands for frequency modulation; this is for filter modulation. But they're both happening at very fast rate, so in some ways they actually kind of have some similarities in terms of the sound. One of the other unique features of this filter is you can actually use your mouse to control both filter cutoffs at the same time.
You can see there's this little chain symbol here and if I move my mouse, you can see it adjust both cutoffs. Same is true with any of these chain symbols that you have in the filter. Here's one that will adjust the Cutoff and Resonance together of Filter 2, and then I've got one also for Filter 1. So, that's just a neat way if you want to tweak more than one thing at a time. So now that we've taken an overview of how both filters work, in the next video let's explore how having them routed in series or parallel affects the sound.
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