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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 the Filter envelope that we've got up here, what this allows us to do is basically automate the filter cutoff. Unfortunately, you don't see it animated, so you don't see the cutoff now moving, but you can hear it happen. This is a good way to make the sound that you're creating more dynamic. So I'll show you where to start with that. Let me increase the volume here. The place to start is to set your cutoff to the minimum that you want. So I'll play a note. (music playing) I'll set this to the setting that I want where it's most filtered down.
So I don't want it to be any more filtered down than that. Then what I can do is adjust decay. So that's how long it's going to take for the filter to open up to its maximum amount and then to decay back down to a starting point that I have here and, Intensity, which is how much the filter is going to open up. So if I set the Intensity to its maximum, the filter cutoff will open up all the way to its maximum amount and then decay back down to the point that it is over a period of time.
So I'll set it to a medium amount of decay here. (music playing) So you can hear what happened is the filter opened up and then it closed back down. If I make that decay a little longer, it's a little more pronounced. (music playing) You can hear the high frequencies filtering down over time. If I adjust the resonance, you can get a little bit more of a squelch out of it. (music playing) So I could get an even longer decay for a longer pad sort of sound that's slowly filtering. (music playing) So that's pretty cool! Or you can have it short for a plucked sound. (music playing) So one way to make this even more expressive is to have Velocity control, so depending on how hard we're playing the note on the keyboard, we'll adjust the intensity, so this control here, of the Filter envelope.
So it's very much like in the amplifier section, the Velocity control here which controlled the level of the amplitude, so this Velocity control here is controlling the amount of intensity. So if I play softly, it's more filtered down. If I play harder, you can hear that the cutoff goes further up, and so it's less filtered. I'll adjust the decay so you can hear that. If I play softly. So it makes it very dynamic when you're playing. Now, if you use the overdrive with this, it all functions a little bit differently.
So if I increase the amount of overdrive, everything is going to be exaggerated: the cutoff, the resonance, and so on, and so forth. And of course the Level is loud, so let's bring that down. So it's a really nice way to get crunchy sounds that are really expressive, and then it's just a matter of adjusting your starting place for the cutoff. So maybe I want the cutoff to actually start higher, so its minimum position is less filtered down. (music playing) Or I could have it where it's completely filtered down. And if I get rid of the Overdrive, you can hear everything is a little bit less crunchy, a little less intense, and a bit softer as well.
So now we've explored the entire interface of ES M--the oscillator section, the filter, and Filter envelope, and the amplifier section--so let's hear it in action.
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