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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 thicken and add life to the sound with the Effects section. So I am going to go ahead and set up a drawbar registration, so we can hear the sound. I will press this Preset key. (music playing) Okay, and then I am going to go ahead and open up the hood here. So on the right-hand side, we have the Effect section. We have our EQ here, and then we have a Reverb, then a Wah-Wah effect, Distortion, and beneath that we have the Rotating Leslie speaker cabinet. For right now let's focus on the EQ, Reverb, Wah, and Distortion.
So taking a look here in the center, we have a three-band EQ. This allows us to boost or cut low, mid, and high frequencies. So if I am playing a note-- (music playing) --you can boost the mids all the way up to +18 db, or I can cut the mids to -18db. So the same is true with the low and high frequencies. Over here we have our EQ level, so this is just a level adjustment here. And next to that we have the reverb. So Reverb can be in a couple of different modes.
We select the mode in this menu that's right next to the Reverb knob. If you take a look here, we have a number of different reverbs and it goes from small to big. And then we have this Box setting, which is kind of like a speaker cabinet. So if we just set it to this one-- (music playing) --you can hear, if I up the Reverb amount, (music playing) --it's a really, really short Reverb. It sounds like it's in an enclosed space. Then we have got Medium here, which is going to be a longer Reverb, and one of the ones that I think is pretty cool is this the Spring Reverb.
It has a lot of character. (music playing) And then we can adjust the amount of that here. So I am going to set that to Bypass, and down below we have the Wah effect. Wah is typically a resonant low- pass, band-pass, or peak filter. And what we have here is first we can choose the type of wah, and as you can see there is Resonant Low Pass, High Pass, Peak, and then we have three specific wah models. So, this one is based off the CryBaby Wah-Wah, by Jim Dunlop, and there are two Morley Wah pedals here.
So let's check out of the Resonant-Low Pass. And what I can do is set the range here and then I can set the resonance. That's what the Bite control is. So in order to control the cutoff of the Wah- Wah sound, what we are going to have to do is assign it to a MIDI Controller. So right next to where I choose the Mode is where I choose my MIDI Controller. So right now it's set to CC 12. I am going to change that to something different. I am going to change that to the ModWheel. And now if I play a note-- (music playing) and move my ModWheel, you can hear I am getting this pretty intense Wah sound.
So I can bring down the amount of Bite. That's the Resonance. Or I can adjust my Range. (music playing) That's a little more subtle. And then we have these other modes. Let's check out the CryBaby one. It's a little bit more subtle. I think it's nice. (music playing) So you can hear that can add a nice subtle movement to the sound. And I am going to bypass the Wah section. And next to that we have the Distortion. So we have three different types of Distortion, and these are just going to saturate and overdrive the sound.
So the most subtle is Growl. That's what it's set to right now. But we have Bity and Nasty. So let's check out Growl first. (music playing) Increase the drive. You can hear it adds a little bit of grit to the sound. I can adjust the tonal focus of this here. (music playing) So if I bring that down, you can hear that there is less saturation. So Growl is pretty subtle. Next we have Bity. This one's a little bit more intense. (music playing) You can hear when I crank up the drive, (music playing) it's clearly distorting a bit. And same thing.
I can just the tone for that. (music playing) And then Nasty is the most distorted. So I will bring up the drive level. (music playing) So it's a good way to saturate the sound. So let's set this back to Growl. We just want a small amount of saturation for the moment. And so the next thing to consider is the signal flow for our effects. So our EQ, Wah, and Distortion can be configured in a number of different ways. So we can have the EQ, Wah, and then Distortion or EQ, Distortion, and Wah.
As you can see, we pretty much can have any configuration. And so the reason why you might want to do that is for example, if you have your wah happening before your distortion, basically that's like having a filter that's resonating and then you're distorting it, and so that's adding a whole bunch more harmonics, and then you are using the EQ to sculpt that distorted wah-ed sound. That might be one reason you would want this order. Or if you had it in a different order, maybe you want to shape the signal first of their EQ and then distort and filter with a wah pedal. So fortunately, it gives you a lot of flexibility with that.
And if you want, you can also just bypass all of those effects, and notice that we have this other effect bypassed right here. This is just to bypass the effects to the pedals. So maybe you want your EQ, Distortion, and Wah, and you want it on your upper and lower manual, but it could make the pedals sound a little bit too bright. So in this case what we can do is just bypass the pedals, and then you still have the effects on your upper and lower keyboards. Using EQ, Reverb, Wah, and Distortion can really add character to the sound.
In the next video, learn to explore how to add movement and depth with the Leslie Rotor cabinet.
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