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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.
One way to really add to the sounds you're creating in ES P is to take advantage of its built-in Chorus and Overdrive effects. So the Chorus effect, basically what's that going to do is it's going mix in a delayed and detuned version of the signal back with the original. So I'll play the sound. This is with no Chorus right now. (music playing) So it's fairly static sound, fairly upfront, and so I'll bring in the Chorus effect. (music playing) So you can immediately hear that it makes the stereo image of it, makes it definitely more stereo, and it brings more movement into the sound.
It also pushes it a little bit further into the background. It's, like, wider but further back. So let's listen to it without Chorus. (music playing) So it's upfront, very centered, and not all that stereo. And then with Chorus, it's wider, but it's also going to push it back further in the context of the mix. We can also use the Overdrive. That's the other built-in effect that's very useful, and that's going to saturate the signal and make it more crunchy and distorted. So here's without any Overdrive, and then I'll just slowly increase the amount. (music playing) So it also increases the level, so you want to be careful and make sure that your master level isn't up too loud.
So you can get really aggressive sounds with high Overdrive settings. It's also going to affect how the filter reacts, and Resonance especially. So when you have sort of a higher resonance amount, you can really get the filter to scream. It's got a lot of really aggressive sounds. And of course, you can blend the two, have a little bit of Overdrive and a little bit of Chorus. You can use the cooking analogy where a little bit of things can go a long way, and you don't want to use too much salt if you are cooking; too much just ruins things.
So the same is true with both Chorus and Overdrive. You want to start out with small amounts, and then you can increase it as you need it, but it's easy to overdo it on effects. (music playing) So both are really good ways to add character and aggression to the sound. So now that we've taken a look at the interface of ES P and how to use the oscillators and filter and envelope and effects, let's check it out in a musical example.
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