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Using the 3 envelopes to give shape to your sounds

From: Virtual Instruments in Logic Pro

Video: Using the 3 envelopes to give shape to your sounds

So let's take a look at the envelopes we've got here in ES2. So down in this modulation section, you can see there are three envelopes. So the third envelope is actually pre- wired to modulate the amplifier level, so it's going to control the shape of the volume of the sound. Envelope 2 and Envelope 1 are freely assignable, and we can use our modulation router to assign them to modulate various things. So to help us visualize the AMP envelope, I've got this oscilloscope open. This is the s(M)exoscope; it's one of the electronics that I have been using in some these videos.

Using the 3 envelopes to give shape to your sounds

So let's take a look at the envelopes we've got here in ES2. So down in this modulation section, you can see there are three envelopes. So the third envelope is actually pre- wired to modulate the amplifier level, so it's going to control the shape of the volume of the sound. Envelope 2 and Envelope 1 are freely assignable, and we can use our modulation router to assign them to modulate various things. So to help us visualize the AMP envelope, I've got this oscilloscope open. This is the s(M)exoscope; it's one of the electronics that I have been using in some these videos.

So it's just a good way to visualize what's happening. It's a third party plug-in, so it's not part of Logic, but it's freeware, and feel free to check it out if you like it. So taking a look at Envelope 3, we've got some parameters that we're used to seeing, like Attack, Decay, Sustain, and Release. What's different is that we've got the Sustain Time parameter and a Velocity control here. So let's take a look just at the basic functions, the ADSR, and then we'll take a look at the new features. So attack is, remember, going to be the amount of time for our sound to fade in from silence to its maximum level.

So if I've got kind of a medium attack here, the sound is going to fade in. (music playing) If I give an instantaneous attack-- (music playing) --the sound plays right away. Decaying is the amount of time, once we've reached the maximum level, for it to decay down to our sustain level, or to decay down to silence if our sustain is at 0. However, since right now our sustain level is at full, decay is not going to do anything because there's no room for the signal to decay down to anything. So what I'll do is I'll bring our sustain down to 0. And so what's going to happen is the sound will now decay down to silence.

(music playing) And you can see and hear that, and I can make that shorter. (music playing) It's a really short decay. (music playing) Or a long decay, and then I can set our sustain level, and this is the volume that it's going to remain at as long as I'm holding the note. (music playing) It's going to stay at this volume as long as I hold this. And then we have release, and that's once you let go of the note, how long it takes for it to fade out. So I'm playing a note, holding it, and then I let go, and it takes a little while for it to fade down.

So we've seen all that before in most of the other synthesizers and their AMP envelopes; however, what's a little bit different is this S-Time parameter. When it's in its neutral center position here, it doesn't affect anything. The sustain function works as normal. When I increase this, so I move this up, the sustain portion will rise back up to the initial level over the amount of time set here. So if I set this to 480 milliseconds then after the decay portion, the signal is going to fade back up to its initial level over 480 milliseconds.

Let's listen to that. (music playing) So if I make the decay shorter then that transition will happen quicker. (music playing) All right! So I can have a really short decay time. (music playing) And then the sound will just fade right back up. So it's kind of interesting. You get some interesting volume shapes with that. I can also use this in the opposite direction and have this fade down to silence. So in some ways it's going to act like a second level of decay. So I've got my normal decay that's here, some amount of time, and then I can quickly have this decay down to silence or just cut off instantly with this Fall parameter.

So it's going to go through the decay stage and then it's just going to fade out instantly. (music playing) So the sound just stops like that. So it's pretty neat. We can get some cool sounds and envelope shapes with this Rise and Fall parameter. One way we can make this AMP envelope respond to velocity is with this Velocity slider, because right now, it doesn't matter what volume or what intensity I play at, it's all the same level. So when I increase this velocity control, what that means is when I play softly, it sounds softly, and I play with force, and it plays louder.

So that's very cool. So let's take a look at Envelope 2. Envelope 2 notice has all the same features as Envelope 3. The only difference is this isn't pre-wired to anything. Typically, the second envelope that's full featured like this would be assigned to the filter cutoff in a lot of sense. So let's do that here. Let's assign Filter 2 Cutoff to be modulated by Envelope 2. So our target is going to be Filter 2, so let's set that here, and we'll choose Cutoff 2.

And then our source is Envelope 2, and that's already selected. If it wasn't, I could find it in this list here. And I only actually want to hear Filter 2, so I'm going to adjust our Filter Blend all the way to +1 so we're only hearing Filter 2. And then I'll up the modulation amount here, so we can actually hear this in action. (music playing) So right now we're actually not hearing anything. And the reason is because we have our cutoff on Filter 2 all the way open. So it has nowhere to go from there; it can't open up further than that.

So what I want to do to make this filter envelope effective is to set our Cutoff to the minimum level that I want, because then what's going to happen is over the attack portion, this filter will open up and then it will decay back down to whatever level that we have set here initially. (music playing) There we go! That sounds more like a filter envelope, doesn't it? So I can increase the intensity of that, and maybe we'll give some resonance to this filter to give it a little more character. (music playing) Okay.

So same functions: attack, decay, sustain, and release. (music playing) So I can have a short decay on this. Let's see what we can do with that rise time, because that's something that's a little different. So after the decay portion here then we can have the filter open back up over this rise time. (music playing) So, that's kind of cool, and especially if this is a little shorter. (music playing) And I'll make our decay shorter too. (music playing) So you can get some interesting articulations using this as a filter envelope and playing around with this rise time and fall, so pretty neat stuff.

Taking a look at Envelope 1, this is kind of a simplified envelope, but it can actually do a lot of things. So since we've already got our Filter modulation routing set up, let's replace Envelope 2 with Envelope 1 here. So now we have Envelope 1 modulating the filter cutoff. So what we've got is attack and decay, or if I press this D, it changes to release. So let's deal with it as decay. (music playing) That's just a simplified two-stage envelope, and I can adjust the attack.

And like we saw with the other envelopes, I can adjust velocity range for the attack stage. So if I play softly, it's a longer attack. If I play it with more force, it's a shorter attack. So it's a pretty cool way to make it more expressive. The other neat thing about this envelope is by default it's in polyphonic mode, and that's typical of most filter envelopes, and that means just I can play a bunch of different notes and each one is going to have its own filter envelope. If I set this to Mono, it kind of functions in a legato sort of way, where only really the first note I'm playing is going to trigger the filter envelope and then the following ones don't retrigger it, unless there's a space and time between them. (music playing) Right! So you can hear that envelope only happen once. (music playing) So that's Mono mode for an envelope and then this one also has a Retrig mode, which is pretty cool too.

So this means that any note I'm playing, it's going to retrigger the envelope. So if I play a C here, and I hold it down it goes through the envelope, but I'm still holding it. And I play a different note, it's going to retrigger the envelope for the new note and the original one that I'm holding down. (music playing) So it's kind of an interesting thing. So now that we've taken a look at these three envelopes and we understand how they work and know how to apply them, let's take a look at the specialized vector envelope and see what we can do with that.

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This video is part of

Image for Virtual Instruments in Logic Pro
Virtual Instruments in Logic Pro

144 video lessons · 9211 viewers

Brian Trifon
Author

 
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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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