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Using the filter section to shape your sampled sounds

From: Virtual Instruments in Logic Pro

Video: Using the filter section to shape your sampled sounds

So let's take a look at the filter section in EXS24. So we've got a multi-mode filter here and it can be either a low-pass, band-pass, or a high-pass filter. This is where we're going to be sculpting the sound and subtracting frequencies from the sampler instrument. So first let's load in a patch. So I'm going to load up a sampler instrument here. So we've got this EXS24 Setup menu, and this is all the instruments that are associated with this EXS24_Setup exercise file. So I'm going to choose WaveTable, and this is just a waveform that has a number of harmonics in it.

Using the filter section to shape your sampled sounds

So let's take a look at the filter section in EXS24. So we've got a multi-mode filter here and it can be either a low-pass, band-pass, or a high-pass filter. This is where we're going to be sculpting the sound and subtracting frequencies from the sampler instrument. So first let's load in a patch. So I'm going to load up a sampler instrument here. So we've got this EXS24 Setup menu, and this is all the instruments that are associated with this EXS24_Setup exercise file. So I'm going to choose WaveTable, and this is just a waveform that has a number of harmonics in it.

(music playing) So it's kind of bright. So it'll be good to filter. So to help us visualize what's happening, I'm going to pull up the Channel EQ, and we can use its frequency analyzer. So on the channel, I can just double-click right here where it says EQ. That opens up the channel EQ. There are a couple of adjustments I like to make to this. I'm just going to adjust the scaling of it by dragging it up. I'm going to turn on the Analyzer, and I'm going to set the Resolution to High. Okay, and then let's just move this so we have enough screen real estate.

All right! So there we are! So now when I play a note, you can see all the different harmonics in it in this analyzer. So first thing I want to do is actually turn on the filter. So I do that right here. And I'm going to show you the low-pass filter. So the low-pass filter is going to cut out the high frequencies. So if I play a note and I bring down this cutoff, you can hear the high frequencies are disappearing. Then I've got this Resonance parameter.

What this is going to do is it's going to create a little boost around the cutoff point, and so it's going to sound sort of vowel-like and squelchy. (music playing) So another way that you can visualize this is actually on the Channel EQ itself there's a low-pass filter. So if I press this button here, that engages the low-pass filter. I can see that the slope is the same: It's 12 dB per octave. That's what I have on EXS24. So if I drag this down and adjust the cutoff, I'm cutting out the high frequencies.

To show you what Resonance would look like, if I adjust this right here, you can see that here's a little boost on our cutoff point. (music playing) So as I increase the resonance, that's really going to ring out a lot more. (music playing) So that's how that works. So back to EXS24. The other parameter that's important with the low-pass filter is this Fat control. So when you have increased amounts of resonance, you end up losing some low energy.

So with the fat control, it's going to compensate for that loss of low energy. (music playing) So here it is with the Fat control engaged and now if I turn it off, here it's much softer. We've lost a lot of the low end. So that really makes a difference. It only applies to the low-pass filter; it doesn't do anything for high pass or band pass. So let's take a look at the other slopes that we have for the low-pass filter. We had it set at 12 dB per octave, but we can also set it to 18 or 24.

So the steeper the slope, the faster it's going to cut out the high frequencies. So taking a look at the EQ once again, so here's 12 dB per octave, and then if I adjust the slope to 24, you can see that's steeper. (music playing) So there's a little bit of a difference just in the way it sounds too, because it's just, depending where your cutoff point is, I can have a higher cutoff, like 72%. With a 24-dB-per-octave low-pass filter it's going to cut out more high frequencies than the 6-dB-per-octave low-pass filter because it's got a steeper slope.

(music playing) So the other filter in EXS24 is a high-pass filter. So that's right here, and it's basically the opposite of a low-pass filter. It's going to cut out the low frequencies. Also, the Cutoff control sort of works in the opposite way. So it's unfiltered when I have this at 0%, so all the way closed. (music playing) And then it cuts out the low frequencies when I open this up. (music playing) So that's how the high-pass filter works. Then we also have a band-pass filter.

So band pass, you can think of it like a combination of a high-pass and a low-pass filter that work together. So it's letting this little frequency band of sound come through and it's filtering out everything else. So I'll show you what that sounds like. (music playing) All right! So it's letting this little window of sound through. The way that you could imagine that on the EQ is if I engage the high-pass filter, and we'll set it to the same slope so this is a 12 dB per octave band-pass.

So I'll set this to 12 dB, and I'll do the same for low-pass filter. So I can create this little window like this right here. So this would be our band where the sound is passing through. As you can imagine, the cutoff control in EXS24 is moving both the high pass and the low pass together. So this window, this band, is moving, and that's just letting the sound through. So that's generally how a band-pass filter works. So one of the things that really affects how these filters sound is the Drive control here.

This is going to overdrive the input. So we can just leave this on band pass, so I'll just play right now, and I'll adjust the cutoff, and now check it out when I increase the Drive. (music playing) So it's a much more crunchy sound. It's more saturated. It's going to make the resonance stand out more too. (music playing) So that's definitely a way to add more grit to the sound and more crunch is with the Drive parameter. In addition to that, there's also a Key Follow function.

So what that's going to do is it's going to modulate the filter cutoff based on where you're playing on the keyboard. So the reason why they have this in a lot of synthesizers and samplers is sometimes what happens is that the lower notes can sound relatively brighter than the higher notes when you have a particular low-pass filter setting. So when you have your keyboard, so where you're playing on the keyboard, modulate the filter cutoff, that can help balance out that difference so that it sounds even across the whole range of the entire keyboard. So what I'll do is I'll up the key tracking, and I'll set this to low-pass filter.

Then when I play in the lower region, and then if I play up higher, it's generally sort of equal kind of filter response. So often it can be quite subtle. It's usually worth experimenting with the amount of Key Follow to get the right balance so that you get an even filter response across the range of the entire keyboard. Now that we've explored shaping the sound with the multimode filter, let's take a look at what we can do with the pitch parameters in EXS24.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 8822 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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