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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 how we can tweak our vocoded sounds more with the Formant Stretch, and Formant Shift, and some of these LFO controls that we have down in the Modulation section at the bottom here. Formant is any kind of resonance in the frequency spectrum. So at each of these band-pass filters in our analysis and synthesis filter banks we essentially have a format. So any of the speech sounds and vocal sounds, like vowels, usually contain about four different formants, or resonances, that come together to make that vowels shape.
So it's very important part of human speech. So what this allows us to do is we can adjust the formants or stretch them for the synthesis filter bank. So I can make them wider and more narrow. So let's hear what that sounds like. So first what I am going to want to do is make sure that my audio routing set up. And it still is. I have got this nothing to say, audio track routed into our side chain input. And then I am going to just switch EVOC_20 to vocoder. There it is. Now I can go ahead and play back, vocode it, and I will up the number of bands so it's a little bit more intelligible. (music playing) And now I can shift the formant here, this knob in the center.
So it's going to shift those resonances in the synthesis filter bank either up or down. And it's a pretty cool sound, especially when it's moving. So fortunately, we have got this LFO down here that can do that, so we'll come back to that. The other thing I can do is stretch the formants too, in the synthesis filter bank so, see how it stretches them out in the spectrum, or I can condense them in, get a more narrow sound. (music playing) And then I can do some combination of stretch and shift and get really out- there, strange sounds.
So it's pretty neat. The other thing we've got right here is just the Resonance control, and this is the resonance for each band pass filter that we have as part of our filter banks. I can just adjust the Resonance. So if crank it up and shift the formants, that makes the shifting sound a little more pronounced. So that's pretty cool. And if we go down here, we can actually automate that process of shifting the formants, using this LFO.
So the LFO is a low-frequency oscillator. It generates a periodic waveform. I can decide what that is in terms of its speed in hertz, and then I can adjust the intensity of that formant shift. Also, I can set the wave shape for this LFO. So right now it's a triangle waveform. And the speed is going to be 5.6 Hz. I'll adjust the Intensity. So you can hear it's shifting the formants 5.6 times a second. But I can slow it down. Make it more musical.
And if I go to the left here, it's going to be in divisions of the beat. So every quarter note I could have that shift. But notice when I change the waveforms for this LFO it's going to sound a bit different and you get pretty cool sounds by using different waveforms with LFO. (music playing) So that now it's ramping up every quarter note. I've got a square wave here, where it's going to jump between two different formant shift values and my intensity is going to make a difference of what values it's jumping to.
We have got the opposite of that. And the last two are different types of random wave shapes. So this is called a sample-and- hold wave shape where it randomly steps between different values. The last one is randomized waveform, but instead of stepping, it interpolates, so it's a smooth transition between random shift values basically. Cool! So then the other thing we have got here is a Pitch LFO.
So this is so that we can modulate the pitch of the EVOC 20. So right now it's set to 32 bars, which is a pretty long pitch change, so maybe let's do .4 Hz. And then in order for this to be active, I adjust the Intensity here. The more intensity I give it the bigger range of pitch shift is. So its over a wider range of pitches and a small range of pitches and adjust the speed, adjust the shape of this waveform for this LFO. And then the one really cool feature is I can actually control the intensity of this modulation with my mod wheel.
So I set my minimum value. You see what I did. I just split this control here. And so when my mod wheel is all the way closed down, it's going to be a pitch modulation of this minimum value. And then there is going to be a range all the way up to when I have my mod wheel all the way open, it will have pitch modulation of this value. So let's just hear that difference. So, here it's at its minimum value and then when I open it up, you can hear, now I have got a much wider pitch modulation.
So, all of this here is a really good way to add more strangeness to vocoded sounds. In the next video, let's explore using the UV detection to get more intelligible vocoded sounds.
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