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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.
All right. Let's check out the filter here. So we've got a lowpass filter, and the cool thing about this one that we haven't seen so far is you can actually adjust the slope. So right now, it's set to 24 dB per octave, fat, and notice there's another one that's 24 dB, classic. So before we get into the differences between those, which we will, a lowpass filter, if you remember from the previous videos, it's going to cut out the high frequencies. So right now, I have it mapped to a knob on my keyboard controller, and that makes it just easier to make these kind of adjustments. If you want to do that yourself, make sure to refer back to the video on assigning controllers.
So I'll go ahead and bring down the cutoff on this filter. We can hear it's cutting out the high frequencies, and the waveform looks smoother. It looks more like a sine wave because there is less harmonics in it. (music playing) And then we've got the same controls that we've seen before with the Resonance control, which is going to create a little boost or a peak at the cutoff point. So with these different filter slopes here, what they are going to do is cut out high frequencies at different amounts.
So a 24-dB filter, what that's going to do is cut out high frequencies at a faster rate, so it's a steeper slope, than something like this 12 dB per octave here, so it's a more gentle slope. And then there's also sort of one that's in the middle here, 18 dB per octave. And so what they are trying to do with ES 1 was actually model the filters on a couple of analog synthesizers that are out there. So the 18 dB per octave is like the lowpass filter on the Roland TB-303, which is like the classic ACID synthesizer from ACID House music, and that's still actually very popular, very valuable. That had an 18-dB-per-octave lowpass filter.
There is Oberheim filters on the SEM since from the '80s that were 12 dB per octave, and some of the mode filters are 24 dB per octave. So that's why it gives you choices. Another way to visualize this and to understand kind of what's happening is to take a look at the channel EQ in Logic. So the first thing I want to do with this channel EQ is just I want to adjust the scaling of the amplitude, just so that it's easier to see what we are doing. And I'll turn on the Analyzer, and I am going to set the Resolution to High.
So what I can do is engage the lowpass filter over here and so when I play a note then I can adjust the cutoff here, so just like the lowpass filter in ES 1, just like the lowpass filters that you've seen in the other synths. (music playing) Notice that I can actually choose the slope here, just like in ES 1. So right now, I have it set to 12 dB per octave. (music playing) So when I change this to something different, like 18 dB per octave, you can see now it has a steeper slope. And for the sake of showing example here, I'll do 24 per octave--it's a steeper slope. And this EQ actually I can go to higher slopes, so I can set it all the way to 48 dB per octave and you see it's a really steep cutoff there.
So what that's going to do is it's going to cut out the high frequencies faster, or in a more aggressive way. So it's filtering it down in a much more aggressive way than if I have this set to, for example, 12 dB per octave. (music playing) And then the Resonance control that we have on ES 1 filter, that's essentially like this bandwidth control. What it's going to do is at the cutoff point, which is right here, it creates a little EQ peak or boost, and so the frequencies around this cutoff point, they resonate. That's why they call it resonance. (music playing) It's interesting to explore resonance with different slopes as well.
(music playing) So that's how that works on an EQ. Let's go back to ES 1 and hear what it sounds like. So I'll adjust the cutoff. (music playing) This is the 24 dB per octave. (music playing) I can adjust the resonance here. (music playing) The resonance gives it more of a vowel quality, and if I increase the Resonance even more, then it almost oscillates a whole nother frequency there.
We'll explore that more, because you can do some really neat musical things with that as well. So you might be wondering, okay, there is 24 dB fat and 24 dB classic, so what's the difference. Essentially the slope is the same between the 24 dB fat and classic; the difference is with classic mode, when you have increased resonances, you lose a little bit of bass response. So the 24 dB fat setting, you don't lose any bass as you increase the resonance. (music playing) It's a very subtle difference.
I'll play the classic one. (music playing) So what you have to do is just, depending on what you're playing, is try both. If you like the sound of the 24 dB fat, try the classic and see which sounds better for the part that you're working on. So the other aspect of this filter that we've got here is this drive setting here. So this allows us to overdrive the input on the filter, to saturate the filter more, so I'll adjust that here. (music playing) You really notice that more when you have some resonance, like now. You can hear it's almost adding in a harmony into that sound. Here, I'll bring it down.
So can hear something kind of disappears from the sound. I'll increase the drive, so you really notice it with the resonance. It's not a really extreme effect; it's not like the overdrive that we saw on ES M or ES P, in terms of it distorting the sound in a really heavy way, and that's partly because this drive setting here is the input to the filter where in those cases it's happening after the filtering. So that's most of the filter settings. The one other thing that we'll come back to, but I'll mention right now, is this ADSR via Velocity. And so this is actually related to the filter, and what this will allow us to do is when we get to this ADSR filter down here, it'll allow us to use that to modulate the filter cutoff.
Next, let's take a look at how the Key Follow function of the filter works.
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