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Using the EVB3 effects

From: Virtual Instruments in Logic Pro

Video: Using the EVB3 effects

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.

Using the EVB3 effects

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.

Show transcript

This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 8831 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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