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Using key follow on the cutoff

From: Virtual Instruments in Logic Pro

Video: Using key follow on the cutoff

So we have this Key Follow parameter here that's going to allow the keyboard, so the notes, like, different octaves ranges of the keyboard to modulate the filter cutoff. So there is a couple of reasons why this is useful. So the first thing, I kind of set these filter positions to something more neutral. When you play an instrument, typically what happens is lower notes tend to be a bit darker and higher notes tend to be brighter, and it's not just the pitch difference that causes that. Sometimes what happens with the synthesizer is that the low notes will sound relatively brighter than higher notes.

Using key follow on the cutoff

So we have this Key Follow parameter here that's going to allow the keyboard, so the notes, like, different octaves ranges of the keyboard to modulate the filter cutoff. So there is a couple of reasons why this is useful. So the first thing, I kind of set these filter positions to something more neutral. When you play an instrument, typically what happens is lower notes tend to be a bit darker and higher notes tend to be brighter, and it's not just the pitch difference that causes that. Sometimes what happens with the synthesizer is that the low notes will sound relatively brighter than higher notes.

So if I am playing this A, if it's lower on the keyboard and I play one that's a couple octave higher, obviously the A that is higher is higher in pitch, but the low one sounds a little bit bright compared to what you would normally expect for an organic instrument. So what key tracking allows, or Key Follow, is for the filter cutoff to adjust depending where you are playing on the keyboard. So if I set the cutoff somewhere in the middle here and I have this Key Follow engaged, what I'll do is I will play that same A that was lower. You can hear it's kind of filtered down. I will play A up higher.

So if I get rid of key tracking here, you can hear that when I play that lower one, it's brighter than it was with key tracking, and that's because it's more filtered down lower, and higher up, it's going to open up the filter. And again, it doesn't animate that process, but that's what's happening underneath the hood. So I will set it to a setting that's a little bit more open. Let's listen to that. So here is with Key Follow. So it's filtered down. And I'll get rid of Key Follow. You can hear it's definitely brighter now. In between that range, the filter is going to track; it's going to be a one-to-one correspondence between the filter cutoff and the pitches I am playing.

So that's one useful feature of Key Follow is that it's going to create a more natural sound across the entire range of the keyboard. So that's one goal. Another thing that's actually really cool about it is when we self-oscillate the filter, it can actually play the filter as another oscillator. So I will show you what that is, and then you can explore how Key Follow interacts with that. So what I want to do is set this to turn off all sound, basically. So what I am going to do is set my sub-oscillator to off, and you can set the Mix between the primary and sub- oscillator all the way down to sub-oscillate.

So now what's happening is there is no signals coming from the oscillator. So I am playing notes in the keyboard and there is nothing really happening. I am just getting this little click, but we are not hearing any sound that's being generated from that. So when I increase the Resonance here, when I play a note, you can hear a pitch. (music playing) So if I don't have Key Follow engaged, first of all, it's going to be a higher pitch, secondly, it doesn't really track normally on the keyboard.

But I can adjust this pitch by adjusting the cutoff. All right! So wherever my cutoff is, it's basically adjusting the frequency. You can see it's a perfect sine wave. So this is like adding a whole nother oscillator to the synth. I am going to use this with my controller here. I can adjust the cutoff. All right! (music playing) So it sounds kind of sci-fi. Now if I engage the Key Follow, I can actually play this filter.

So I am going to first have to set it to a range that's audible, and now I will just play chromatically on the keyboard. (music playing) We can hear that it's tracking the pitches. So it's this one-to-one relationship between this filter cutoff and the keyboard. So, that actually makes it really useful because this is a whole nother tonality that we can add into the sound. So let's actually get this oscillator back in here. So I will set this back to one of the waveforms.

So you can hear that now it's blended in. You can hear the high part of this. That's happening from the filter, because right now we have got the mix all the way down to the sub-oscillator. So we are not even hearing the primary oscillator; we are hearing the sub-oscillator, and then we are hearing the filter with its resonance so high that it's self-oscillating. So it is generating this other sine wave that's on top of it. So you can get some really cool sounds from that, and I can try adjusting the cutoff here to a different position. (music playing) Even little bit dissonant. And we will track that as well. That's sort of the starting place. (music playing) So there's a whole range of sounds you can create with that. That's really cool.

And if I turn off Key Follow, you can hear what's going to happen. I just have this loud resonate ringing. It's not really following the sub-oscillator. It's not really following the notes I am playing. So that's where Key Follow is also really useful so you can have this self-oscillation happening. It's like having a whole nother oscillator in the instrument. So next, let's check out the amplifier section.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9061 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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