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Using the EVD6 Effects

From: Virtual Instruments in Logic Pro

Video: Using the EVD6 Effects

Let's take a look at the Effects section of the EVD6. So you can see we have Distortion, and there's three types of Modulation. There's Phaser, Flanger, and Chorus, and then we have the Wah effect. So these are effects that musicians commonly use with the original D6. If we take a look at the Distortion, we have a couple parameters. We have Gain, Tone, and then we have Compression. So what I can do is compress the incoming signal and then distort it. So to increase the compression, what I can do is drag here and now I'm adjusting the ratio of our compressor.

Using the EVD6 Effects

Let's take a look at the Effects section of the EVD6. So you can see we have Distortion, and there's three types of Modulation. There's Phaser, Flanger, and Chorus, and then we have the Wah effect. So these are effects that musicians commonly use with the original D6. If we take a look at the Distortion, we have a couple parameters. We have Gain, Tone, and then we have Compression. So what I can do is compress the incoming signal and then distort it. So to increase the compression, what I can do is drag here and now I'm adjusting the ratio of our compressor.

So if I play a note, I can adjust the gain, and we'll hear it distort. If the level is too much, I can bring down our master level on the instrument, here and now I'll crank up the gain some more. (music playing) So with the Tone control, I can adjust the tonal center of this distortion. (music playing) Now if I want to turn down the distortion, or actually turn it off, I'm going to set the gain all the way to 0, and you can see it says Off now. So even though the distortion is off, the compression is still on.

So to turn off the compression, I have set this all the way down to 0, and then it says Off. So the next column, we have the Modulation effects, so Phaser, Flanger, and Chorus. Each one has an Intensity and Rate control. So right now I have Phaser. So if I play, we can adjust the Intensity. And so I'm going to increase our overall output level, so I'm just going to turn up our master level. Hey, there we go, and now I can adjust the Rate. (music playing) If I want to switch to one of other modulation effects, I just click right here on the Mode menu, and I'm going to choose Flanger.

(music playing) So I can also adjust the Rate and Intensity. (music playing) And then the last modulation effect is Chorus. So that sounds like this. (music playing) Now if I want to turn off the Modulation effects, I just set the Intensity down to 0, and you can see it says Off. Over here on the right, we have the Wah effect. So Wah is typically a resonating low-pass filter or a resonating peak filter. So I can set the mode up top, the Mode menu.

So we've got Resonant low pass, Resonant high pass, we have a Peak filter, and then we have three models that are actual Wah pedals. So we have the Jim Dunlop Cry Baby and then two Morley Wah petals. So I'm going to set it to Resonant low pass. Beneath that we have the Range control, so this is going to set the range of cutoff for our low-pass filter. So what I'm going to do i, I'll adjust the range here a little bit, and then we have an Envelope depth control. What's unique about this Wah is that it can follow the shape of the volume of the sound.

So if I increase the Envelope depth, it's going to function like an Auto-wah. So if I play some notes-- (music playing) --you can hear it has the Wah effect, and I can adjust the range of the filter cutoff right here. (music playing) Now if I want to use a MIDI controller to manually adjust the cutoff for the Wah filter, what I can do is assign that right here with the Wah control. So right now it's set to Foot controller, but what I'm going to do is click on that menu and I'm going to learn it to a slider or a MIDI controller.

So I'm going to select the Learn and now I'll move the slider, and I can see that it learned it. And so now if I play a note and move the slider-- (music playing) --I can manually control the Wah. So if I want to turn the Wah off, what I do is go to the mode menu and then select Off. So one of the really neat things about the Effects section is we can adjust the FX Order. So right now it's set to Wah, Distortion, and then Modulation. But as you can see, I can have different configurations.

So I could have Distortion, Wah, and then Modulation, or Modulation, Distortion, and Wah. And then I can bypass all of the effects right here with the Bypass button. One reason why I might want to use the configuration of Wah, Modulation, and then Distortion is that then I can use the compressor that's part of the Distortion on the end of my signal chain. So essentially what I could do is have my gain for the distortion all the way down but increase the Compressor Ratio and I'd be compressing the output of the entire EVD6.

So there's a lot of creative reasons why you might want to be able to adjust your FX Order. So if you look immediately below the Effects section, we have a Damper control. This is emulating the Damper control on the D6. So if I'm playing a note and I increase the Damper, you can hear it makes it more of a muted sound, kind of like a palm-muted guitar almost. (music playing) So I can control the Damper amount with the Damper Control right here. And so right now it's set to Mod Wheel, but I could reassign it in this menu here.

So I'm going to leave it set to Mod Wheel, so now if I play and use the Mod Wheel, I can dampen the sound of the EVD6. So the last parameter I want to show you is Velocity Curve. So this is going to dictate how the EVD6 is going to respond to velocity. So depending on your playing style, you might want to change the Velocity Curve. So right now it's set to linear, but you can see there's a number of different choices. There's fixed modes, convex, and concave. So it's definitely worth exploring all of those.

Now that we've explored the features of the EVD6, in the next video, let's hear it in the context of a musical example.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9057 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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