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Virtual Instruments in Logic Pro
Illustration by John Hersey

Tweaking the ES2 filters to shape expressive sounds


From:

Virtual Instruments in Logic Pro

with Brian Trifon

Video: Tweaking the ES2 filters to shape expressive sounds

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.
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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

Tweaking the ES2 filters to shape expressive sounds

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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