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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.
All right! Let's take a look at the global section of ES 1. First thing I want to show you is the glide parameter. This allows us to transition between different pitches. So if I'm playing a low note on a keyboard so an A and I'm playing A an octave above that, you can hear there's no transition right now. So if I increase the amount of glide time, it's going to glide between those two pitches. We can make that even longer, and it kind of takes on the characteristic of using the Pitch Band wheel. (music playing) Sometimes it's just the most useful to set it where it's just a little bit of transition between notes. (music playing) So that's the Glide parameter.
Next we've got the fine-tuning adjustment, and here you can adjust the tuning of the entire instrument by either +20 cents all the way down to -20 cents, and remember a cent is 1/100th of a semitone, so it's very small amount. If I want to set this back, I can hold down Option and click. That will set it back to its default. The Analog setting here is going to introduce a little bit of randomness in terms of the pitch and the filter cutoff. So it's just a way to get a little bit of variation in the sound, but it's a very subtle effect.
The one thing you want to keep in mind is that if you are creating percussive sounds, you might want to have the Analog setting at 0, because the oscillators are continuously cycling. So anytime you play a note, you can hit the oscillator and different parts of its phase. And for percussive sounds, you want the phase of the oscillators to all line up and be starting at the same point. Next, we've got the Pitch Bend range, which we've looked at several times in the other instruments. So here I can set the positive and negative Pitch Band range-- they're going to be the same. But I can set it all the way up to twenty-four semitones, which is two octaves.
If I want to independently control the negative Pitch Bend range, I can do that down here in this disclosure triangle. We've got Negative Bender range, and so I can set that independently. Or of course, to set anything back to its default, hold down Option+Click, we can set it back. The Output Level is going to control the maximum volume that ES 1 can output. So if I have my amplifier and I have the volume all the way up, it's going to be set to -3 dB.
If I change this setting so if I set it to -7 then it's going to make the maximum output level -7 dB. So it's just the ultimate volume control for ES 1. The Voices parameter is going to set the amount of polyphony for ES 1. So if I would set to 1, it's going to be monophonic, meaning I can only play one at a time. So if I try to play chord, I'm just going to get one note. If I increase the polyphony, then I can play more notes at once, and it goes all the way up to 16. So now you can hear. I can play chords, no problem.
And the other important voice setting that's going to be useful when you're playing is the Legato mode. So when you go above 16, it's set to Legato. The Legato mode is interesting because what it allows you to do is if you're playing a note and you play a higher note and let go of it, it goes back down to the first note that you're playing. So you can get some cool musical things happening with that, some pedal tones, that sort of thing, which is definitely cool. The other consideration when you're using Legato mode is that the envelopes are not going to retrigger.
So as you can hear there, the volume was following the shape of the envelope, so it was decreasing because it wasn't retriggering every note that I was playing. So you can hear that the volume is fading down until it reaches that sustained aspect of the envelope, and it stays there. And then of course, we've got the built-in chorus, which is useful for adding some modulation and stereo depth to your sounds. So there are three types of chorus in ES 1. There is Chorus 1.
Chorus 2 is very similar; it's just a heavier modulation. (music playing) It's a little bit thicker. And then the Ensemble chorus effect has a more complex modulation routing. So next, let's take a look at the sidechain input where we can process audio through ES 1's synthesis and filter section.
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