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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.
Let's explore the signal flow for ES P. Much like we saw with ES M and ES E, the signal flows from the left side to the right. So, over on the left here, we've got the oscillator section. And what's interesting about this one is instead of what we've seen before, where there is just one oscillator, or you can balance between one of two of different waveforms, this oscillator section has a whole bunch of different waveforms that we can bring in, and we'll explore that in great detail. Next, the signal goes into the filter section. There's a built-in lowpass filter with resonance control. And in ES P, they've added Key Follow, which allows you to modulate the filter cutoff, depending what range of the keyboard that you are playing. So it's a really cool feature.
After the signal passes through the filter, it goes to the amplifier section, where we can adjust the master output level and the shape of the volume of the sound. And what's really cool is the amplitude envelope for this particular synth has a four-stage envelope, an ADSR filter, and that can also be used to modulate the filter cutoff. And then last but not the least, ES P has built-in chorus and overdrive effects. And if you remember from ES M, a chorus effect is basically a delayed and detuned signal that's mixed back in with the dry signal, and it has a doubling kind of effect and makes things sound more lush and wide.
And like we saw in ES M, there's an overdrive control, which basically will saturate the signal, make it more crunchy, more distorted. And then there's one hidden area of the ES P interface. Over on the left here, I'll click this disclosure triangle, and you can see this is where you can set the pitch- bend range, both in the positive and negative directions. So by default, you can pitch things up an octave. And the negative pitch bend range is set to the same amount as the positive pitch bend range.
If we want to set this to something different--so, like, for example, we want be able to bend up an octave, then down two octaves-- I can adjust the slider here. So I could set this to twenty-four semitones, so that will allow me to pitch down two octaves with the pitch bend. The last control down at the bottom here is the fine-tuning adjustment, which allows me to offset the global tuning of this instrument by 20 cents, either positive or negative direction. In the next video, we'll explore the oscillator section in greater detail.
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