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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 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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