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Utilizing the side chain


Virtual Instruments in Logic Pro

with Brian Trifon

Video: Utilizing the side chain

If you want to be able to process audio through Ultrabeat, you want to make sure to get to know the side chain aspect of Oscillator 1. So we can route in an external audio file through the Side Chain input--it's up top--and process it through the filter and Step Sequencer and so on and so forth. So let's load up our initialize setting. So I am going to go to the Settings menu > Load Setting, go to the Desktop/Exercise Files/Ultrabeat and then in there the Preset folder, and we will select Ultrabeat_EMPTY.
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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
  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 21s
  6. 48m 10s
    1. Getting started with EFM1
      1m 52s
    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
      3m 0s
    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 5s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 48s
    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 8s
    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 34s
    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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Watch the Online Video Course 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 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
Audio + Music
Logic Pro
Brian Trifon

Utilizing the side chain

If you want to be able to process audio through Ultrabeat, you want to make sure to get to know the side chain aspect of Oscillator 1. So we can route in an external audio file through the Side Chain input--it's up top--and process it through the filter and Step Sequencer and so on and so forth. So let's load up our initialize setting. So I am going to go to the Settings menu > Load Setting, go to the Desktop/Exercise Files/Ultrabeat and then in there the Preset folder, and we will select Ultrabeat_EMPTY.

Okay, so I am going to be working with the voice that's on C1. Right now I have Oscillator 2 on. I am going to turn it off. I am going to turn on Oscillator 1 and set it to the Side Chain mode. So now I need to find an audio file to process. So I will close the interface, and we'll look at some Apple loops and see if we can find something cool. So we'll open up the Media Browser, and then click on Loops to go to Apple loops, and I will take a look at synth sounds. So I will use the Synth filter here, so that's just going to show me only synth sounds, and I will scroll down.

Let's check out Contemplative Synth 04. (music playing) That sounds nice! So let's bring that in. So I am going to drag it and drop it right below our Ultrabeat track and then it ask me, do I want to Import Tempo Information? Yes, I do. So I will close the media browser, and I will set the locators to the length of this audio file. So I will click on this audio track here. And I actually want to get rid of the output on this, because I don't want to hear this in the arrangement; I want this only to be routed through Ultrabeat.

So for this synth track here, what I will do is I will go to the Output, set to Stereo Output now, and I will click and hold and I am going to select No Output. Okay, so now when I play, you can hear that there is no audio coming through, which is good. So now let's go back to Ultrabeat. And on the Side Chain Input up top, I am going to select that audio file. So Audio 1, and here it is! So now if I start the arrangement in Logic, so I will move this out of the way so you can see, I have started in Logic and there is silence.

And if I play C1 on the keyboard, because that corresponds to voice 1, you can hear that's letting that sound through. But it fades out pretty quickly, and that's because it's following the envelope that have for voice 1. So this Amp Envelope fades out over the course of one second. (music playing) So there are a couple of things I could do. I could make this a longer decay, right. (music playing) I will bring up the level here on this voice. (music playing) But that's not really that useful either.

So what I am going to do is set, in the Output Settings, the Gate mode. I am going to turn it on. So this allows me to just hold down the note as long as I want or let go of it, and the sound will stop immediately. So I can gate the sound manually by pressing C1 on my keyboard, and so that's pretty cool. But actually what I'd like to do is use a Step Sequencer to do that process or to gate the sound. So I am going to turn on the Step Sequencer down here. Let's just put in a couple of steps and then we can edit them from there.

So just turn this one on, and I will adjust the gate length of this here. We will make a long step like this one, and a short one. And so we will just create some kind of crazy rhythmic pattern here. Then we can further tweak it as well once we get this all set with something as a placeholder. Okay, so what I want to make sure to do in order to hear this is start both sequencers.

So if I start the Step Sequencer first, well, we are not going to hear anything, because I have to have the Arrangement playing to be triggering this audio file in the background. So I will click back here, press spacebar, and now we hear both things happening. (music playing) So you can hear the audio is being gated by the Step Sequencer. This is actually really cool. So it's kind of like a trans-gate, and so I can adjust the velocity of these. (music playing) So what I can do is process the audio through here. And so not only can I use the Step Sequencer, but I can also route the audio through the filter as well.

So I am going to use the Signal Flow button right here, and then I am going to turn on the filter, and so then we can process the audio through there. So I will hit the Play button on the Sequencer. (music playing) There we go! Then I can filter the sound, filter it down further. (music playing) If I wanted, I can use the Bit Crusher as well. So maybe because the sound is already filtered, I want the Bit Crusher to happen first, so to add harmonics, and then we will filter it.

So I am going to switch the direction so the distortion is first, and I will turn on the Bit Crusher, and I can use the Sample Rate Reduction here. So that's pretty cool, a neat effect, and then I can filter it here. So this seems like a perfect time to use the Step Edit mode, because maybe I want to, for each different step, have a different amount of sample rate reduction and filter cutoff.

So I am going to set this to Step Edit mode, and we will adjust the amount of sample rate reduction here. So for each one, I can offset it a little bit, just to get a cool sequence happening. Let's see, some of these we will just set with very little, some of this we can have a little bit more, and I will do the same with the Filter cutoff too. It's really neat because this is basically like sequencing effects to an external audio file, and there is not many ways to do that very easily.

So Ultrabeat provides a really cool platform to do that. So let's adjust the filter cutoff here. So I am going to want to use negative values because the filter was all the way open before. Okay. So let's hear what that sounds like. So I will start this Sequencer and then I will also start Logic Sequencer. I will hit spacebar. (music playing) Some pretty cool stuff.

(music playing) So now if I want to have a little bit more control over the volume of the sound, I want some way to control our Side Chain input's level. So I am going to go back to the Voice mode real quick, and so I could use an Envelope or an LFO, something like that. I would rather use a MIDI Controller. I think that's going to work a little bit better. So what I am going to do is go ahead and under this Mod menu, I am going to select Maximum. So Max is a just static value.

So an envelope or an LFO, it's modulating the level, whereas Max is just a constant. So I will set the Volume all the way down to 0, and then I want to scale that volume with a MIDI Controller. So I am going to choose Controller A. So what that is, is up here, we have got our MIDI controller assignments: A, B, C, D. So these are four MIDI controls that we can assign. So this one is set to Mod Wheel, and that's actually what I want to use. But, if I click on this, you can see, I can assign it to any CC number on my MIDI Controller, or I can have it learned to a certain knob.

So Mod Wheel is good. I am going to use that, and I will set the range that I want the Mod Wheel to control the Side Chain input volume. So I set that right here. So we will have it so that it controls the full volume of the sound. Then I am going to go ahead and put this back into Step Setting, and I will start the Sequencer here. And then we will start it in Logic as well. So right now we don't hear anything. I will open up the Mod Wheel, and you can hear the sounds fading in.

So I can bring the Mod Wheel down if the level is too much. So it's neat. It gives me this performance control over the level of the sound. As you can see, there is a lot you can do with Ultrabeat and using the side chain processing. Definitely take the time to explore; it will be well worth it. So now that we've explored the features of Ultrabeat, next let's check it out in a musical example where we have several instances of Ultrabeat performing the percussion and synthesizer sounds.

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