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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 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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