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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 another really useful tool in ES 1 is this Modulation envelope. In some ways it's similar to the LFO in that you can choose what you're going to modulate, and in some ways, it's also kind of like this ADSR envelope in then it has Attack and Decay parameters, but it's also its own unique beast. One of the easiest ways to figure out how this works is to use pitch modulation. So I'll set the destination here in the Router to Pitch. Remember, with the LFO, we chose the destinations over on the left side.
For the mod envelope we'll choose them on the right. So I've checked pitch here. So I'll play note right now, and there's no modulation happening. So I can increase the intensity with this slider right here. (music playing) So notice right now it's just a static pitch change. (music playing) That's because I have this Mod envelope set in the center here, set to full, and so that's just going to do a constant offset. (music playing) Actually the one way that this can be really useful is that with this slider here, I can split this so that velocity controls the intensity.
So this allows me to change the pitch via velocity. So you can see that the slider is labeled here Intensity via Velocity. So when I play softly, I get a certain pitch, and when I play harder, I get a higher pitch, and everything in between. So you get a lot of interesting-- (music playing) I'm just playing one note on the keyboard, but I'm playing it at different velocities, so I'm getting different pitches. That's because of this range that I have here. Of course, I could set this to a smaller range so that there is less range between the different pitches. (music playing) So it almost becomes microtonal, where if I have this range really small, it's just a slight detuning that I'm getting depending on what my velocity is.
So if I want a more dramatic pitch change, I am going to use the Attack and Decay parameters of this envelope. So what I can do is if I turn this to the right, it's going to function as an attack. (music playing) I have to make sure that I have my Intensity enabled here. (music playing) So you can hear the pitch ramps up, and that happens over 1,300 milliseconds. So this tells you the amount of time. When I go further to the right, it's a longer amount time of time, so it's a longer attack.
So that's the way you want to think about, is further the right the longer attack, and as I go closer towards the center it's a shorter attack. So I'm really close to the center. It's almost instantaneous, 16 milliseconds. I can barely hear that. But if I set this to 2500 milliseconds, 2.5 seconds, we can hear this pitch change happen over 2.5 seconds. And if I increase the Intensity here, it's going to be a wider range. So this will start lower and go higher. (music playing) So that's pretty cool.
Another thing is we can actually have Velocity control that. If I split this apart here then my Velocity is going to adjust the intensity of this modulation. So if I play softly, I'll get a certain pitch glide; if I play harder, I'll get a more extreme pitch glide. And I can set this to a smaller range if I wanted. (music playing) And if I want to move this as a unit--I want to keep this separation-- I can take my cursor and put in the center and it will keep the offset.
So any time in Logic where you see these sliders where they can split apart like that, if you want to keep the range that you have, just click and drag in the middle and that will keep the offset. (music playing) So in addition to having attack where the pitch is bending up, I can also have a decay, so it's going to be the opposite; it's going to bend down. And the closer I'm to the center with this, the longer the decay is going to be. When I go to the left, you can see it's shorter, so -74 ms. Close to the center, I can get a 1,700-ms decay. (music playing) So it's going to pitch down.
I'll get rid of our Velocity range for a moment, just make this really easy to hear. (music playing) So I've got that pitch descending. And if we want to make that shorter, I'll go further to the left. (music playing) Even shorter. (music playing) So it's working as a pitch envelope, and that's pretty cool because it's very simplified. So the next destination that we have is Pulse Width. So just like with the LFO, if I'm modulating Pulse Width, I want to make sure that my oscillator up here is set to a square waveform, or a Pulse waveform. And I'm going to adjust the Mix all the way to the Primary oscillator, because that's all I want to hear right now.
And then what I'll do is give this an attack. So what should happen is over the course of one second the Pulse Width will change. (music playing) Now you can hear it stays at its destination position. So basically this Pulse Width, over the course of one second, it's sort of fading up over the period of that attack. Then it gets to the end here, and it just stays there. So I'll set this back. And if I want it to travel less range, so I wanted a little bit less Pulse Width modulation there-- (music playing) I set the Intensity to something less. Or of course, we can have that control by velocity, by splitting this apart. (music playing) Then I can get the full range.
Of course, I can do in the opposite direction as well. I can have this be a decay. So when I'm closer to the center-- (music playing) So it takes a moment for that to happen. Or I can make it happen over a shorter period of time. (music playing) Over longer period of time. (music playing) So in this case, what's happening is the Pulse Width is going from this narrow back to more evenly spaced. The next parameter we have is the Mix destination.
So what this allows us to do is use this envelope to adjust the balance between the primary oscillator and the sub-oscillator. So if I set this to attack, then I can set this Mix slider somewhere in the middle, and we'll hear it transition between the sub-oscillator and the main oscillator. (music playing) It's kind of subtle sometimes. You can adjust this balance and find the sweet spot. (music playing) And of course, I can have that work in the opposite direction as well, where we'll decay, and so we can have that happen over about a second. (music playing) We'll try to find the point where this works best. (music playing) So there I can hear that change. (music playing) So sometimes it's a little bit abstract and you have to have to experiment with, again, this Mix slider in the right spot where you can hear the transition.
Something like Pitch, it's usually easy to tell and filter cutoff, but some of these other ones we can explore a bit. So the next destination we've got here is filter cutoff. so I'll select that, and I'll set this to Attack. So what that means is wherever I set my filter cutoff--I'll set to its minimum-- it will open up from there over about 1100 ms. (music playing) So you can hear that happening. I can make it longer. Make it more dramatic. (music playing) Or I can have that work the other direction.
So where it's going to decay. And remember, it's easy to forget that the closer you're to the center, the longer the decay is going to be. So if you go further to the left, it's going to be a short decay. So I want it to be kind of a long decay. (music playing) So you can hear the filter is closing down, because remember, decay is how long it takes once it reaches its maximum level to then go back down to its initial setting. (music playing) So that's what's happening here. Then of course, I can set this in the middle and just have the filter cutoff be velocity-reactive. So I'll split this slider here so that I've got a velocity range, and now what happens is when I play softly-- (music playing) I get less filter modulation and then if I play harder, the filter cutoff is offset a bit more.
So it's basically my velocity right now is directly controlling the filter cutoff position. So it's definitely a very useful thing. So next we've got Resonance. And I can kind of do the same thing with this middle setting, set to full. I can have Velocity just control the resonance. (music playing) So right now it's a bit filtered down, so it's just getting the low end of it. (music playing) So depending on how hard I'm playing the note, I get more or less resonance. (music playing) Or I can actually set that up with the envelope.
So we'll have the Resonance fade in - (music playing) Or I can have the decay out. (music playing) It's a very useful feature. Then the next thing we can do is apply it to Volume. (music playing) So it's just kind of like this amplifier envelope here. It's just simplified. (music playing) Right. Those are all the normal parameters that can also be assigned by the LFO.
There are two additional ones for this Mod envelope here: there is filter FM and this LFO Amplitude. So filter FM is kind of interesting. Basically, what that is it means that the triangle wave from the primary oscillator is going to modulate the filter cutoff. So instead of it happening with the LFO, so happening at a low frequency, it's going to be happening at an audio rate. So you have to imagine that if I'm playing A 440 Hz that that would be modulating this filter cutoff 440 times a second.
So this cutoff now would be moving really fast. So instead of it sounding like filtering, it's going to a timbre change to the sound. Let's do a little bit of that. (music playing) So you can hear now there is kind of a distortion sound that's happening, that's fading in over this 2300 ms. (music playing) And if I get rid of that, you'll hear without-- (music playing) So we'll hear this distortion fade in. (music playing) So that's filter FM. That's this cutoff being modulated really fast by the triangle waveform.
Of course, you don't see it happen, but you can hear it happen. So I'll have it go the other direction. We'll have a Decay. (music playing) So in this case it starts distorted, then it becomes less so, so we get more filter FM modulation happening, and then it decreases over the length of this decay. (music playing) And actually, with the filter FM, you really notice it more when you have a higher resonant amount. (music playing) We are almost getting these clangorous, metallic tones out of it.
I'll increase the drive and filter as well. (music playing) So pretty interesting stuff! So we can have that fade in. Or of course, once again, if I set this in the center, I can select a Velocity range here. And depending on how hard I play the note on the keyboard, I'm going to get more or less of this filter FM effect. So last but not least, we've got this LFO Amplitude. That will modulate the intensity of this LFO over here.
So probably the best way to hear that is if we set this LFO to modulate the pitch, and I'll just give it sort of a medium intensity, and I'll set it to a triangle wave. (music playing) And let's have a little bit less of a clangorous sound. I'll turn down the Resonance, open up the filter. (music playing) Okay, so we've got our siren sound. So I can have this Mod envelope modulate the intensity of this LFO, and that's what this is here.
So what I'll do is I'll have Intensity fade in, so over 2.5 seconds. What you'll hear is less modulation, and then it will slowly fade in. (music playing) So you hear that Pitch modulation increasing over time. That's because this envelope here is controlling the intensity, so that's this slider here, for the LFO. If I go in the other direction, I can have the pitch modulation be more extreme and then fade down to being less extreme. (music playing) So you hear how the pitch modulation lessens over time. And then once again, if I got this set in the center, I could set a Velocity range here. (music playing) Depending on my Velocity it's going to control the intensity.
And of course, when you have an attack you can also use this Velocity Split here. It's set High and Low, it's not only something used in the center. (music playing) So, very useful stuff for adding movement to the sound and just getting everything modulating and moving. So next, we'll explore the global section of ES 1.
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