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Virtual Instruments in Logic Pro

Using the filterbank section to shape the vocoded sounds


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Virtual Instruments in Logic Pro

with Brian Trifon

Video: Using the filterbank section to shape the vocoded sounds

Let's take a look at the vocoder aspects of the EVOC 20. So we'll take a look at how to bring in audio through the Side Chain input, analyze it, and re-synthesize it through the Synthesis filter bank to get a variety of the vocoded sounds. So the place to start is our audio that we have in the range here. So this is our -- (Male speaker: I have nothing to say.) Nothing to say, yeah. (Male speaker: I have nothing to say. I have nothing to say.) So I want to vocode that and be able to play around of it in the EVOC 20. So the first thing that I am going to do is set the Output here to No Output.
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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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Virtual Instruments in Logic Pro
13h 10m Intermediate Nov 09, 2011 Updated Mar 14, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Setting up Logic Pro for using virtual instruments
  • Configuring MIDI controllers
  • Composing with virtual instruments envelopes
  • Tweaking the overdrive and chorus
  • Creating movement with LFOs (Low Frequency Oscillators)
  • Understanding FM synthesis basics
  • Changing the timbre and shifting the formants of the vocoder
  • Constructing custom sampler kits
  • Exploring the tonewheel organ, electric piano, and Ultrabeat drum synthesizer
Subjects:
Audio + Music Audio Plug-Ins Virtual Instruments
Software:
Logic Pro
Author:
Brian Trifon

Using the filterbank section to shape the vocoded sounds

Let's take a look at the vocoder aspects of the EVOC 20. So we'll take a look at how to bring in audio through the Side Chain input, analyze it, and re-synthesize it through the Synthesis filter bank to get a variety of the vocoded sounds. So the place to start is our audio that we have in the range here. So this is our -- (Male speaker: I have nothing to say.) Nothing to say, yeah. (Male speaker: I have nothing to say. I have nothing to say.) So I want to vocode that and be able to play around of it in the EVOC 20. So the first thing that I am going to do is set the Output here to No Output.

That's because I don't want to hear it playing on top of the vocoded signal. So then in EVOC 20, what I am going to do is go to the Side Chain menu up here and choose Audio 1 - NothingToSay. So now it's routed through here. But I don't hear anything. (music playing) And when I play the synth part, it just sounds like a synth. So what I've to do is change my Signal Monitoring here to vocoder, this Voc. So now what happens is when I play back and I play notes, and it's vocoded.

Here it's I have nothing to say, but it's not all that intelligible and it's a little bit rough around the edges. So there is a lot we can do to address that. But first it's good to get a sense of what's actually happening with this whole process. What do these lines and things mean and all that? So, let's go through that. So essentially, what's happening is the Side Chain input, that's where the audio files coming through, and you have to imagine that's going up here and it's coming down through the top and it's being split into these five different frequency bands here, and it can actually be more than five.

I could have it be all the way up to 20 bands. And so this top part, this blue area, is the analysis filter bank. So what that's doing is it's taking our audio file, I have nothing to say, and it's splitting it into these different frequency ranges. And then there's an envelope follower on the end of each of these band pass filters that's in these frequency ranges. So that's going to track the shape of the volume of the sound. Then what it's going to do is it's going to send that down to our synthesis filter bank. That's here, that's in the green. And then the synthesis filter bank will take that volume information from the different bands and apply it to the synthesizer and then you end up getting the synthetic reproduction of our input sound.

So what happens is here's frequency from left to right, so 80Hz to 8000. So let's say this band right here, maybe this is 200Hz to 500Hz, so it's going to track the volume in that range and then in this next range and so on. So the more bands that I have then each of these slices of the frequency spectrum is smaller, and it's tracking the volume in a smaller slice and therefore you get a more accurate representation, because basically there's just more of little slices that are here where it's tracking volume.

So what happens when I've got more bands, like 20 here, is it's going to sound a little bit more intelligible. So I'll play the sound. (music playing) All right! So you can hear pretty clearly what he is saying, and then I'll bring this down, less bands. And you can still hear it, but it's a little bit more grungy less distinct. (music playing) So another thing that's going to really make a difference in terms of the sound is if we adjust the attack and release on the envelope followers that are part of our analysis filter bank.

So here is our analysis filter bank and so when I adjust the release, you'll hear that really makes a difference. (music playing) All right! So I get a longer release and it's less distinct. (music playing) And when I get down to about six milliseconds or so, you can hear it's a pretty accurate representation. It's pretty clear. When I go lower, it gets a bit more grainy because it's really short release. I can also adjust attack too. That's going to make more of a difference on a more percussive sound, where it's going to just make the transient softer on it.

The other thing that's kind of neat that I can do is if there's a certain portion of this sound that I like, like a certain vowel or something, I can just freeze the analysis and then I can play that shape and just play the synthesizer part, so that's kind of cool. The other aspect we've got here is I can set the low and high frequency for our filter bank here. So-- (music playing) if I set the low-frequency, that's basically acting as a high-pass filter.

420Hz is the lowest frequency. So I can make that really extreme. And I can do the same with this highest frequency here too. This acts as a low-pass filter, so it's cutting out the high-frequencies. And I can actually move this as a unit. If I just click in the middle and drag, I can move the spectrum around, which is kind of neat. And then the other thing I can do is if I don't want these to work as a high- pass and a low-pass filter, I can have the lowest bands, so from here to here, and the highest band, just be band-pass filters.

So if I make the rest of this very narrow, you can hear there are still low frequencies from this lowest band, because it's just a band pass, and there are also high frequencies in the highest band, but the rest of them are all kind of squished together. (music playing) So as you can see, all these parameters here with our analysis and synthesis filter bank really make huge difference to the vocoded sound. So in the next video we'll take a look at how we can stretch and shift the formants of this synthesis filter bank to get even more interesting vocoded sounds.

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