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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 let's take a look at Oscillator 1 and the Noise Oscillator and what we can do with those. So I am going to load up that initialized sound. So I am going to go to the Settings menu > Load Setting, go to our Desktop folder/Exercise Files//Ultrabeat, and then the Preset folder here in this Ultrabeat_EMPTY we'll load in. So again, I am going to be working with the voice for C1. And instead of having Oscillator 2 on, I am going to turn on Oscillator 1.
So I just press this button up here. It turns it on. So notice that we've got the same mode that we had in Oscillator 2, this Phase Oscillator. So everything is the same about it, exactly the same. The only difference comes in terms of the modulation options where we can modulate the asymmetry whereas with Oscillator 2, we can modulate the saturation but not the asymmetry. And we'll talk about that more when we deal with modulation and envelopes and things. So the other mode we have here is FM.
So this is dependent on Oscillator 2 as well, because what's going to happen is Oscillator 2 is going to frequency modulate Oscillator 1. So basically what's happening is a very fast pitch modulation, and it's so fast that instead of it sounding like a pitch change, you get this timbre change. So in order for this to work, what I have to do is actually turn on Oscillator 2. So that's this button down here. And for the sake of this example, I am actually going to turn down the volume of Oscillator 2. I will just turn it down to 0. So now when I am playing a note, I am just hearing Oscillator 1, but I can adjust the amount of modulation between Oscillator 2 with this knob right here, this FM amount. (music playing) You can hear the sound is changing. You can see the wave shape here is changing.
And so you can get a lot of different kinds of textures and sounds by adjusting the pitch of both Oscillator 2 and Oscillator 1. So I will adjust Oscillator 2 to get really kind of clangorous metallic sounds, things like that, depending on the pitch ratio between the two oscillators and the FM amount. So that's how FM works, and it's a really great tool to have when you're dealing with percussion sound and things like that. So the other synthesis type that we have in Oscillator 1 is the side chain input.
So what this allows us to do is route in an audio file from our range. So I can use a side chain input and if I have any audio tracks, I can route them in, and then process them through the filter and through the Step Sequencer. We'll actually come back and take a look at that later when we get into talking about the Step Sequencer. I will go ahead and turn off Oscillator 1 and I will turn off Oscillator 2 and I am going to turn on the Noise Generator. So the Noise Generator generates broadband noise that could be filtered with this built-in multimode filter.
Now, take note that this filter right here that's part of the noise generator is completely independent and separate from the Multimode Filter that's in the center of the Ultrabeat interface. So this just applies to the Noise Generator. So right now it's set to Low Pass Filter, so it's going to cut out the high frequencies. And I can adjust the resonance of that. (music playing) So that's adjusting the frequencies around the cutoff point; it's going to boost them. And then I've got this High Pass Mode, so that will cut out the low frequencies.
(music playing) And then I've got a Band Pass. So that's going to create a certain band or window that frequencies are going to come through based on where my cutoff is. And the resonance for that can be controlled as well. And then of course I can bypass the filter and just get the white noise that we're hearing here. The other noise parameter is this dirt control here. This is basically like a type of distortion. (music playing) And it's going to really change the character of the noise. (music playing) It's much more staticky low-fi noise, more dirt that I have.
So what a noise generator is really great for, when you're thinking about drum synthesis, is basically for creating things like snare drums or creating the click or attack portion of a lot of sounds, so that's what we will get into a little bit later is re-creating the noise portion of drums and things like that. So other feature that you need to know about with the noise generator is just this volume control right here, and so this is just going to control the level of the noise. So now that we've taken a look at the different synthesis possibilities with oscillators 1 and 2 and the noise generator, let's take a look at how we can shape the sounds with the envelopes.
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