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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.
One of the really cool features about ES 1 is its sidechain capabilities. This allows us to input audio and use the filter section and envelopes and LFOs to modulate aspects of external audio. So let's explore how we do that. It takes a little bit of setup but to get signal into ES 1, I have to choose the audio from the sidechain menu. So just looking at the background real quick, I've got this one audio track here, this drum track. (music playing) So I'd like to go to play around with this one in ES 1.
So I've to do a little bit of setup. So first what I'm going to do is, back in the ES 1 interface, I'll find this UltraBeat track and use that as a sidechain input. So go to Sidechain menu up top. Here it is, Audio 1-UltraBeat. That gives a signal in there, but I would hear two versions of it: I'd hear the audio from the track that's here, and then I'd also hear it through ES 1. So what I'm going to do on the channel strip for this UltraBeat, I'm going to set it to No Output.
So if I solo this track, we can see that the signal is coming through on the channel but it's not going anywhere, so there is no output, which is good, because I want to actually process it through ES 1. All right! So back in ES 1, if we want to get signal through, what I'm going to have to do is select the sub-oscillator and set it to External. And now I'm going to adjust the Mix balance between the primary oscillator and the sub-oscillator, all the way down to the sub-oscillator. So now what happens when I play this channel here is that we'll get silence.
(music playing) But when I play a key on the keyboard, you can hear the audio is coming through now. (music playing) And you can also hear the filters happening on it. So let's explore the various possibilities of what we can do with this sidechain input. So first thing, I'm going to turn down this modulation. I have to make sure the track is playing in the background, and then I press any key--it doesn't matter what key I'm playing on the keyboard. Then I can adjust the Cutoff, adjust the Drive amount, Resonance. Some neat stuff.
Especially because ES 1 has a really good filter, so this is a little bit more that you can do with this than you could just do with the channel EQ. That's more useful, especially because of this Drive parameter here. So you can overdrive and filter that drum loop. So that's one aspect that we can use. Another thing that's actually really cool is we can use this LFO here and set it to the External setting. So basically, what it's going to do is the shape of the volume of our drum track is going to control the filter cutoff.
So essentially it's not functioning like a normal LFO; it's functioning more like an envelope follower, and it's going to adjust the cutoff at a very fast rate because it's following all the contours of the volume of this drum track. So let's explore that. So I've set this to External, and then I have the destination of this LFO set to Cutoff, so that it's going to effect our filter cutoff. And then I can increase the amount of intensity, and then I'll play back the audio track and I have to press a key on the keyboard. (music playing) I'll filter this down more, increase the intensity.
So you can hear, it's almost like a little bit of a distortion or is a texture change. I'll increase the Resonance so it's more prominent. It's a pretty neat sound. Not something that you hear all the time. Using this LFO and the sidechain input and using as it an envelope follower essentially, you can assign it to any number of these destinations, so maybe the Resonance.
So let's see what that sounds like. So now the shape of this drum track is going to modulate the Resonance. (music playing) That's, of course, going to work in conjunction with your filter cutoff. (music playing) So you can definitely get some cool effects happening with the sidechain input and using it to modulate the filter and these other destinations here.
Next, let's check out ES 1 in a musical example.
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