IntroductionWelcome| 00:04 | Hi! I'm Brian Trifon, and welcome to
Virtual Instruments in Logic Pro.
| | 00:08 | In this course, we'll look at how to
create and use sounds and get the most out of
| | 00:12 | the virtual instruments in Logic, so
that you can take your synthesis and music-
| | 00:15 | making skills to the next level.
| | 00:17 | The virtual instruments we'll
be covering in this course are
| | 00:20 | ES M, a great monophonic synth for
creating punchy base sounds and focused leads;
| | 00:26 | ES E, an ensemble synthesizer that's
amazing for creating chorusing lush pads;
| | 00:30 | ES P, a polyphonic synth perfect for
creating thick analog brass sounds;
| | 00:37 | ES1, one of my favorite synths in Logic--
| | 00:40 | it's amazing for creating huge
bass sounds without much hassle;
| | 00:44 | EFM1, an excellent, simplified
frequency-modulation synthesizer, which can
| | 00:49 | recreate the popular FM sounds from
the '80s, as well as a large range of
| | 00:53 | bell-like and metallic textures;
| | 00:56 | EVOC 20, a great vocoder and polyphonic
synthesizer, perfect for creating craft
| | 01:01 | work and Daft-Punk-like singing robot sounds;
| | 01:04 | ES2, a full featured hybrid synth, perfect
for complex and powerful leads and basses;
| | 01:10 | EXS24, a full-featured sampler with
an extensive library of realistic,
| | 01:16 | multi-sampled instruments;
| | 01:18 | EVB3, an accurate
emulation of the Hammond B3 organ;
| | 01:24 | EVP88, an incredible emulation of
the Fender Rhodes, Wurlitzer, and
| | 01:29 | Hohner electric pianos;
| | 01:31 | EVD6, a realistic emulation
of the Hohner D6 clavinet;
| | 01:36 | Sculpture, a physical modeling
synthesizer capable of realistically emulating
| | 01:41 | most string, wind, and percussion
instruments, but also an incredible tool for
| | 01:45 | designing unique organic textures that
no real physical instrument can produce;
| | 01:50 | and finally, Ultrabeat, an amazing
drum machine, sampler, polyphonic
| | 01:55 | synthesizer, and step sequencer--
a monster for creating drum sounds
| | 01:59 | and programming beats.
| | 02:00 | I'll show you how to create and edit
great sounds using all of the virtual
| | 02:04 | instruments that ship with Logic Pro,
| | 02:06 | and I'll play you samples of each
instrument in action by way of short songs I
| | 02:09 | have written for the course.
| | 02:11 | Along the way, I'll be giving you tips
and techniques for getting the most out
| | 02:14 | of Apple's incredible
suite of software instruments.
| | 02:17 | Now let's get started with
Virtual Instruments in Logic Pro.
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| Setting up Logic Pro for using virtual instruments and configuring MIDI controllers| 00:00 | Before we get started, we'll want
to set up a few things in Logic.
| | 00:03 | I have created custom presets for each of
the instruments that are very blank slates.
| | 00:07 | Sometimes you open up the Logic
instruments and they'll have a lot going on.
| | 00:11 | So I've created some neutral ones.
| | 00:12 | You have to make sure they're in the
right folder in your hard drive; otherwise,
| | 00:15 | they won't show up in the preset list.
| | 00:17 | So let me show you where those go.
| | 00:18 | So in the Exercise Files folder,
there's a subfolder for each instrument.
| | 00:24 | Inside of that, I've got a Preset folder,
and that's where I have this default preset.
| | 00:28 | So what I'm going to do is open up a
new Finder window, go to the hard drive,
| | 00:33 | the Library folder, and under
Application Support, there's a Logic folder. In
| | 00:41 | there, I'm going to go to Plug-In Settings.
| | 00:44 | And in here we'll look for the
instrument, so in this case ES_M.
| | 00:48 | I'll go up on the ES_M folder and then all I
do is just drag this is in. And there it is.
| | 00:56 | And that will show up in the Preset menu.
| | 00:58 | So you can go and do this
process for each instrument.
| | 01:02 | You don't have to follow this process,
but if you want to start with more
| | 01:05 | neutral settings, this is how you can do it.
| | 01:07 | So in Logic, I want to check
out some of the Preferences.
| | 01:10 | I'll go to the Logic Pro
menu > Preferences > Audio.
| | 01:15 | The one important setting to take a look at
in the Preferences is the I/O Buffer Size.
| | 01:19 | When you monitor audio in Logic, or any
other audio software, the computer has
| | 01:24 | to buffer some of the incoming and outgoing
data to protect against drop-outs, clicks, and pops.
| | 01:31 | So in this case, the smaller the
buffer size you have, the smaller the input
| | 01:35 | monitoring lengths you're going to get.
| | 01:37 | So what you want to try to do is find
the setting that's the lowest that you can
| | 01:40 | possibly go before you start
getting clicks and pops and drop-outs.
| | 01:44 | So usually 128 or 256 are a
safe bet and work pretty well.
| | 01:50 | Next, let's take a look at how to
create a software instrument track and how to
| | 01:54 | insert the instruments.
| | 01:55 | So there are a couple
different ways I can do this.
| | 01:57 | Probably the simplest is
right here, next to Global Tracks,
| | 02:00 | there's this plus button.
| | 02:01 | You can just click that, and it will bring
up these New Tracks menu. And I want to
| | 02:07 | make sure Software Instrument is
selected, and then I'll hit Create.
| | 02:11 | That will create a new
software instrument track.
| | 02:13 | By the way, the shortcut to do that is
you can hold down Option+Command+N key in
| | 02:18 | your keyboard, and it will
bring up that same choice.
| | 02:20 | If I don't have the Inspector open, if
you don't see the Channel Strip, just
| | 02:25 | click this Inspector button up
top--and I'll close this here.
| | 02:29 | And so now we can see, here is Instrument 1.
| | 02:31 | Now, look at this I/O right here.
| | 02:33 | This is where I can choose the instrument.
| | 02:35 | So when I click on it, it brings up
this list, and I've got all of the built-in
| | 02:38 | instruments in Logic. So then I can
choose ESM and load it up, and there it is.
| | 02:44 | The next thing you might want to know is
how to assign a control surface or MIDI
| | 02:47 | controller to control the knobs
on the interface of the instrument.
| | 02:51 | The way we can do that is, in the Logic
Pro menu, we will go to Preferences, and
| | 02:57 | there's this option here, Control Surfaces.
| | 03:00 | What I can do is go to Controller Assignments.
| | 03:02 | That will bring up this big window here.
| | 03:05 | What I'm going to do is
hit this Learn Mode button.
| | 03:08 | I'll select the control on the interface,
and then I'll move my MIDI controller,
| | 03:15 | like a slider or knob.
| | 03:17 | And when I do that, we can see it
says Learned and the knob is now moving.
| | 03:21 | Then what I'll do is on the interface
for the instrument, I'll select another
| | 03:25 | knob, so Cutoff, and then I'll move
a different controller on my control
| | 03:30 | surface, and it learned that.
| | 03:32 | So I can keep doing this.
| | 03:34 | So if I have a number of different
knobs and sliders then you can pretty much
| | 03:37 | assign everything on the instrument.
| | 03:38 | So we'll do one for Resonance,
move the slider, and there we go.
| | 03:42 | And then once I'm done assigning these,
I want to make sure that I click the
| | 03:44 | Learn Mode button once again to turn it off.
| | 03:49 | Then I can close out of this window, and then
when I move the sliders, there we go.
| | 03:52 | I've got control of it.
| | 03:54 | If you have a MIDI controller, it's
definitely worth taking the time to assign
| | 03:58 | the parameters to MIDI controls.
| | 04:00 | It makes exploring a lot
more fun and easier to do.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, you have
| | 00:04 | access to the exercise files
used throughout the title.
| | 00:08 | The exercise files are in the Exercise Files
folder, which I have placed on the Desktop.
| | 00:12 | You can start wherever you like.
| | 00:14 | I've created Logic projects for each
virtual instrument in the course, and
| | 00:17 | they're in corresponding folders.
| | 00:19 | You can open each project and follow
along, or feel free to use your own.
| | 00:24 | If you are a Monthly or Annual
subscriber to lynda.com, you don't have access to
| | 00:27 | the exercise files, but you can
follow along with your own work.
| | 00:30 | Let's get started.
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1. The ES M Monophonic SynthesizerGetting started with the ES M| 00:00 | ES M is a monophonic, subtractive
synthesizer that's really great for creating
| | 00:04 | focused, punchy bass sounds, lead sounds
that cut through the mix, and a variety
| | 00:09 | of other analog-sounding synth sounds.
| | 00:12 | Much of ES M's strength and
utility comes from its simplicity.
| | 00:15 | We tend to think of "more is better," but
sometimes the simpler tools get the job
| | 00:18 | done with less hassle.
| | 00:20 | Throughout this chapter we'll be
exploring the signal flow in ES M, how to use
| | 00:24 | the Oscillator section
and the built-in Low Pass Filter, as well as the
| | 00:29 | Amplifier section with the overdrive control.
| | 00:32 | Before we dig into the details of ES M,
let's listen to an example of it in action.
| | 00:37 | So in this example I've got six
instances of ES M that are creating all of the
| | 00:41 | different synth parts, and Ultrabeat,
which is another Logic instrument, is
| | 00:45 | creating the drums, so check it out.
| | 00:47 | (music playing)
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| Understanding the signal flow of the ES M| 00:00 | ES M is a subtractive synthesizer,
| | 00:03 | meaning that it uses an oscillator that
generates a harmonically rich waveform
| | 00:07 | and then a filter to subtract
frequencies and shape the sound.
| | 00:11 | All subtractive synthesizers
generally have three main sections:
| | 00:15 | an oscillator section, a filter
section, and an amplifier section.
| | 00:18 | In the case of ES M, the
signal flows from left to right.
| | 00:22 | So we've got the oscillator section on
the left, where you can control between a
| | 00:25 | sawtooth waveform and balance
that with a rectangular waveform.
| | 00:30 | In the center, we've got the filter
section, which includes a low-pass filter
| | 00:35 | that's 24dB per octave, and resonance control,
as well as a simplified filter envelope.
| | 00:42 | All the way to the right,
we've got the amplifier section.
| | 00:45 | In the case of ES M, they
call it the volume section.
| | 00:48 | Here we can control the Master Output Level
and the shape of the amplitude of the sound.
| | 00:53 | They also have an overdrive control
that's part of the volume section.
| | 00:56 | This allows you to saturate the sound,
so the more overdrive you have, the more
| | 01:00 | crunchy the sound--the more distortion.
| | 01:02 | One other element that's sort of hidden in
the interface of ES M is down at the bottom.
| | 01:07 | If you click on this disclosure triangle,
| | 01:09 | you can set the Pitch Bender Range,
both positive and negative directions.
| | 01:13 | So right now the Pitch Bender Range is
set to twelve semitones, so that's an octave.
| | 01:18 | That will allow me to
bend the pitch up an octave.
| | 01:21 | And below that, I've got the Negative
Bender Range, and that's set to the same
| | 01:25 | as the Positive Pitch Bend Range.
| | 01:26 | If I want that to be independent--so,
for example, if I want to be able to bend
| | 01:31 | the note down a 5th--I can
set that to something different.
| | 01:34 | So let's set it to 7 semitones.
| | 01:36 | So I can move the slider here and that will
allow me to bend the pitch down seven semitones.
| | 01:43 | And below that we've got
the fine-tuning control.
| | 01:46 | This is for the whole synth.
| | 01:47 | It allows us to tune it up
in fractions of semitones.
| | 01:50 | So we can tune it up twenty
synths or down twenty synths.
| | 01:55 | And synth is a semitone divided into a hundred parts.
| | 01:59 | And then if we want to reset this back
to its default setting because we don't
| | 02:02 | want any detuning, what I can do is hold
down Option and click on the slider and
| | 02:06 | that's going to set it back to its default.
| | 02:08 | Same with the Pitch Bend as well.
| | 02:10 | If I wanted to set this back to
its default, I can Option+Click.
| | 02:13 | So the first thing we'll want to do is
check out the oscillator section, and
| | 02:16 | that's what we'll do in the next video.
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| Using the oscillator| 00:00 | So let's take a look at the oscillator section.
| | 00:02 | The first thing I'm going to want to
do is actually change the setting here
| | 00:06 | to a preset that is more neutral.
| | 00:08 | When you open up ES M, or any of the
other Logic instruments, the default preset
| | 00:13 | sometimes has a lot going on.
| | 00:14 | In this case, there's some
filter modulation and so on.
| | 00:17 | So what we're going to do is go to the
Preset menu that's up top and select ES_M Start.
| | 00:22 | If you didn't see ES_M Start in the
Preset menu, make sure to refer back to the
| | 00:27 | "Using the Exercise Files" video.
| | 00:29 | I show you how to put
preset files in the correct folders so they
| | 00:32 | show up in the menu.
| | 00:33 | So taking a look at the oscillator,
essentially what we can do is adjust
| | 00:37 | the balance between a sawtooth
waveform and a 50% rectangular waveform
| | 00:41 | that's an octave lower.
| | 00:42 | So what I'll do right now is I'll
play a note and I'll adjust the balance
| | 00:45 | between the sawtooth and square.
(music playing)
| | 00:49 | So you can see, as I move the knob,
the waveform is changing, and you can hear
| | 00:54 | that there's an octave lower that's coming in.
| | 00:57 | And then halfway, I've got
this 50% balance between the two.
| | 01:01 | I go further right and you can see it's
becoming a square wave an octave lower.
| | 01:05 | So you can hear the different
harmonic components, and they sound different.
| | 01:13 | And so it's a really important aspect
of any sound you're going to make is, what
| | 01:16 | is a waveform, and it's also something
that you might want to have it change
| | 01:20 | over time, or modulate is another term for that.
| | 01:23 | So that's always what I'm thinking in
the back of my mind is, what aspects are
| | 01:27 | going to make this sound interesting?
| | 01:28 | And so a big part of that is the waveform.
| | 01:30 | The next thing in the oscillator section
here that's important is choosing the octave.
| | 01:34 | So you'll see on the left 8, 16, and 32.
| | 01:38 | What that refers to is 8
feet, 16 feet, and 32 feet.
| | 01:42 | And that terminology comes from pipe
organs. So the longer the pipe for the
| | 01:46 | organ, the lower the pitch.
| | 01:48 | So 8 is going to be the highest octave,
so I can play that, 16 is an octave
| | 01:53 | lower, and 32 is an octave below that.
| | 01:57 | So once you've got your octave set, the
other thing that you want to consider is
| | 02:03 | the Glide parameter, which is down here.
| | 02:06 | And what Glide does is it
transitions between two different pitches.
| | 02:10 | So right now if I have a Glide
time of 0--that's where it's set;
| | 02:13 | I am going to have this
all the way to the left here--
| | 02:16 | when I play two different notes--
I'll play A and then A an octave
| | 02:18 | higher--that's instantaneous;
| | 02:22 | that pitch change is immediate.
| | 02:24 | If I want that to interpolate, or sort of
glide between those two notes, I can set
| | 02:28 | the amount of time in this control here.
| | 02:30 | So if I set this in the middle,
you'll hear that when I play--
| | 02:34 | I'll play the lower note--
(music playing)
| | 02:37 | you can hear it glides into that higher octave.
| | 02:39 | And the more time that I give it,
the longer that transition takes.
| | 02:44 | So this will take some time,
so I'll play the lower one.
| | 02:49 | And now it's gliding up to the higher octave.
(music playing)
| | 02:54 | And that's what the Glide parameter does.
| | 02:56 | And so once we've got our oscillator
all set, it's going to send it to the low-
| | 03:00 | pass filter, and that's where we'll
shape the sound, so let's check that out
| | 03:03 | in the next video.
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| Tone shaping with the lowpass filter| 00:00 | So let's check out the lowpass filter in ES M.
| | 00:03 | Essentially what a lowpass filter
does is it cuts out the high frequencies.
| | 00:06 | So when I take this cutoff control
and I move it--so I will play a note--
| | 00:11 | (music playing)
| | 00:14 | it starts to cut out the high
frequencies, and the more that I bring this to the
| | 00:18 | left the less high frequencies there
are. And you can see that it's diminishing
| | 00:23 | the amplitude and the shape of the
waveform, and I can filter it all the way
| | 00:27 | down to pretty much where it's just silence.
| | 00:29 | (music playing)
| | 00:33 | So the other aspect of this cutoff
control that sort of works with it is
| | 00:36 | the Resonance knob.
| | 00:37 | It's down at the bottom.
| | 00:39 | So what resonance is is it's essentially a
little boost wherever the cutoff point is.
| | 00:43 | So if I increase the amount of resonance
here, and then I adjust the cutoff, you
| | 00:48 | will hear it kind of
stand out of the cutoff point.
[00:00:50:24]
(music playing)
| | 00:57 | And the more resonance I give it,
the more prominent that sound is.
| | 01:01 | (music playing)
| | 01:07 | So you can really hear that ringing out.
| | 01:08 | So when you have sort of a medium
amount of resonance, that's where you can get
| | 01:12 | this squelchy, acidic sound that's
common in a lot of electronic music.
| | 01:16 | (music playing)
| | 01:21 | Another way to visualize what that
cutoff looks like is to actually look at the
| | 01:25 | channel EQ in Logic.
| | 01:27 | So I am going to set this filter back
to its fully open position and turn down
| | 01:30 | the resonance, just so we
don't have anything interfering.
| | 01:32 | I will open up the EQ.
| | 01:35 | So what I want to do is use
the Analyzer in the channel EQ.
| | 01:39 | So I can turn that on here.
| | 01:41 | What I want to do is set
this to High Resolution.
| | 01:44 | I am also going to adjust the amplitude scaling
here just so we can see things a little better.
| | 01:48 | So that now when I play a note--
(music playing)
| | 01:53 | --you can see its harmonic
components showing up on the Analyzer.
| | 01:56 | So I can use the lowpass filter that's
in this channel EQ to sort of show you
| | 02:00 | what's going on with it.
| | 02:01 | So I engage that here, and
then this is my cutoff point.
| | 02:06 | So as I bring this down, we will hear
that the high frequencies start to disappear.
| | 02:11 | All right. I can filter it down in the same way.
(music playing)
| | 02:19 | And then to show you sort of what
the resonance looks like, if I adjust
| | 02:22 | this bandwidth control
| | 02:24 | and I boost it here, you can see
that at this cutoff point there is a
| | 02:28 | little bump. So that's boosting the
frequency, and when I move the cutoff
| | 02:31 | that bump moves with it.
| | 02:32 | So that's exactly what the
resonance control in the filter is doing.
| | 02:35 | So I will make this pretty
extreme, so we can definitely hear it.
| | 02:38 | (music playing)
| | 02:46 | So that's what's going on in ESM.
It's just another way to visualize it.
| | 02:50 | So I will disengage that
and move this out of the way.
| | 02:53 | So once we have the filter set the
way that we like then we can explore
| | 02:57 | the amplifier stage.
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| Using the volume controls| 00:00 | The amplifier section is where we
control the output level and the shape of the
| | 00:04 | volume of the sound.
| | 00:05 | So the first thing we'll want to take a
look at is this Master Volume control here.
| | 00:09 | This is just going to be the output level.
So if I play a note and I bring this
| | 00:14 | down, it just decreases the volume.
(music playing)
| | 00:16 | So this is just a volume knob.
| | 00:18 | The next thing that is actually very
important in terms of distinguishing the
| | 00:22 | characteristic of the
sound is this Decay parameter.
| | 00:24 | So decay is basically a
very simplified envelope.
| | 00:28 | What that means is that once the
signal reaches its maximum amplitude, or its
| | 00:32 | maximum volume, it's how long it takes for
it to fade out, to go back down into silence.
| | 00:37 | So if I have a very short decay time,
it's going to fade out very quickly.
| | 00:41 | If I have a long decay time, like I have it
set now, the note will just sustain forever.
| | 00:45 | So if I play a note, it stays the
same volume as long as I hold it.
| | 00:50 | If I move this Decay parameter over to
the left, so I give it sort of a medium
| | 00:55 | decay, you'll see that it will fade out quickly.
| | 00:57 | So if you look on the
oscilloscope, you can see it fades out.
| | 01:01 | So if I give this a little bit longer
decay, it will take a longer time, once it
| | 01:05 | reaches its maximum volume, for it to fade out.
(music playing)
| | 01:11 | And we can set the decay really short,
and it's just an instantaneous little
| | 01:16 | impulse kind of sound.
| | 01:18 | So the reason why decay is really
important is because it tells you what type of
| | 01:23 | function the sound is going to serve as.
| | 01:25 | So is it a cluck sound, where it
decays really quickly, or is it a long
| | 01:28 | sustaining pad, where it's going to
play as long as you're holding the note?
| | 01:32 | So that's one of the most important
elements is figuring out, what is the
| | 01:36 | envelope or the shape of
the volume of the sound?
| | 01:38 | And all the synths we look at, we are
going to explore their different envelopes.
| | 01:42 | The next important
parameter is the Velocity control.
| | 01:45 | So what this allows us to do is to
modulate the volume based on how hard we're
| | 01:50 | pressing the key on the keyboard.
| | 01:52 | So right now having this Velocity set at 0--
| | 01:55 | I'm just going to increase the
Decay so you can actually see that--
| | 01:58 | so I can play with a lot of force,
and it's one volume, and if I play
| | 02:03 | really softly, guess what?
(music playing)
| | 02:06 | It's the same volume.
| | 02:07 | So that's a little less musical.
| | 02:09 | So if I increase the amount of velocity
response, it's going to allow me, when
| | 02:14 | I play softly, to get less volume. Or I
play with greater force and it's louder volume.
| | 02:21 | So that's what the Velocity control does, and
it's a way to add more expression to your sound.
| | 02:26 | And in the last part of this volume
section, or amplifier section, is the overdrive.
| | 02:31 | This will saturate the signal, make
it a little more distorted and crunchy.
| | 02:34 | So let's crank up the overdrive a little bit.
(music playing)
| | 02:38 | You can see it also increases the
amplitude or volume quite a bit.
| | 02:41 | So when you're doing that, it's a good
idea to turn down your volume knob here.
| | 02:45 | So let's set that somewhere in the middle.
(music playing)
| | 02:49 | So you can hear it's a little more saturated.
| | 02:51 | I'll bring down the
Overdrive so you can hear it without.
| | 02:52 | (music playing)
So there's a difference there.
| | 02:58 | So as you'll see in the next movie,
the overdrive also really affects how the
| | 03:02 | filter cutoff reacts in the filter envelope.
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| Using the Filter envelope to adjust cutoff| 00:00 | So the Filter envelope that we've got
up here, what this allows us to do is
| | 00:04 | basically automate the filter cutoff.
| | 00:07 | Unfortunately, you don't see it
animated, so you don't see the cutoff now
| | 00:10 | moving, but you can hear it happen.
| | 00:12 | This is a good way to make the
sound that you're creating more dynamic.
| | 00:16 | So I'll show you where to start with that.
| | 00:18 | Let me increase the volume here.
| | 00:21 | The place to start is to set your
cutoff to the minimum that you want.
| | 00:25 | So I'll play a note.
(music playing)
| | 00:27 | I'll set this to the setting that I
want where it's most filtered down.
| | 00:30 | So I don't want it to be any
more filtered down than that.
| | 00:33 | Then what I can do is adjust decay. So
that's how long it's going to take for
| | 00:39 | the filter to open up to its maximum
amount and then to decay back down to a
| | 00:43 | starting point that I have here and,
Intensity, which is how much the filter
| | 00:48 | is going to open up.
| | 00:50 | So if I set the Intensity to its
maximum, the filter cutoff will open up all
| | 00:56 | the way to its maximum amount and then
decay back down to the point that it is
| | 01:01 | over a period of time.
| | 01:02 | So I'll set it to a medium amount of decay here.
(music playing)
| | 01:06 | So you can hear what happened is the
filter opened up and then it closed back down.
| | 01:10 | If I make that decay a little
longer, it's a little more pronounced.
| | 01:13 | (music playing)
| | 01:16 | You can hear the high
frequencies filtering down over time.
| | 01:19 | If I adjust the resonance, you can get a
little bit more of a squelch out of it.
| | 01:24 | (music playing)
| | 01:27 | So I could get an even longer
decay for a longer pad sort of sound
| | 01:30 | that's slowly filtering.
(music playing)
| | 01:39 | So that's pretty cool!
| | 01:40 | Or you can have it short for a plucked sound.
(music playing)
| | 01:45 | So one way to make this even more
expressive is to have Velocity control, so
| | 01:50 | depending on how hard we're playing the note
on the keyboard, we'll adjust the intensity,
| | 01:54 | so this control here, of the Filter envelope.
| | 01:58 | So it's very much like in the amplifier
section, the Velocity control here which
| | 02:02 | controlled the level of the
amplitude, so this Velocity control here is
| | 02:06 | controlling the amount of intensity.
| | 02:08 | So if I play softly, it's more filtered down.
| | 02:12 | If I play harder, you can hear that the
cutoff goes further up, and so it's less filtered.
| | 02:18 | I'll adjust the decay so you
can hear that. If I play softly.
| | 02:24 | So it makes it very dynamic when you're playing.
| | 02:26 | Now, if you use the overdrive with this,
it all functions a little bit differently.
| | 02:30 | So if I increase the amount of overdrive,
everything is going to be exaggerated:
| | 02:34 | the cutoff, the resonance,
and so on, and so forth.
| | 02:38 | And of course the Level is
loud, so let's bring that down.
| | 02:40 | So it's a really nice way to get
crunchy sounds that are really expressive, and
| | 02:47 | then it's just a matter of adjusting
your starting place for the cutoff.
| | 02:50 | So maybe I want the cutoff to actually
start higher, so its minimum position
| | 02:54 | is less filtered down.
(music playing)
| | 02:58 | Or I could have it where
it's completely filtered down.
| | 03:00 | And if I get rid of the Overdrive, you
can hear everything is a little bit less
| | 03:06 | crunchy, a little less
intense, and a bit softer as well.
| | 03:10 | So now we've explored the entire
interface of ES M--the oscillator section,
| | 03:15 | the filter, and Filter envelope, and
the amplifier section--so let's hear it
| | 03:20 | in action.
| | Collapse this transcript |
| Composing with the ES M| 00:00 | Let's check out ES M in the example of a song.
| | 00:03 | So what I've got here is a little
piece that I made with six different
| | 00:06 | instances of ES M, and they're creating
all the melodic and bass and harmonic
| | 00:11 | stuff that's going on.
| | 00:13 | And then the drums are done with Ultrabeat.
| | 00:15 | ES M, one of its strengths is that
it's a very simplified instrument.
| | 00:19 | It's also monophonic, so that means
that you can't play chords, because you can
| | 00:23 | only play one note at a time.
| | 00:24 | So let me play this example, and then we
can listen through what's happening here.
| | 00:28 | (music playing)
| | 00:54 | So the first thing that's going on is
up top there's two instances ES M and
| | 00:58 | they're playing basically the root and the 5th.
| | 01:00 | So it's a simple two-note chord.
| | 01:02 | I had to split that out into two tracks because
you can only play one note at a time on ES M.
| | 01:06 | So let's pull those up and just take a
look so you can see the settings here.
| | 01:10 | So I've got one of them--that's the
root--and second one here is the 5th.
| | 01:15 | So let's just hear what that part sounds like.
(music playing)
| | 01:22 | So notice that these two
instruments have the same setting.
| | 01:26 | So it's basically got a little bit of
Filter envelope that's happening and a
| | 01:30 | pretty short decay on that, a slight bit
of overdrive to make it a big crunchier.
| | 01:35 | That's kind of got the typical
progressive House chord thing happening.
| | 01:39 | And the way I did it is I have the root
note happening on one track, so you can
| | 01:44 | see the MIDI information for that here.
| | 01:46 | And then in order to get that 5th
happening--so with the other note in the
| | 01:50 | chord--I just took everything and
literally just dragged it up in this media
| | 01:55 | editor, up seven semitones, so up a 5th.
| | 01:57 | And that's the way I can
get those chords happening.
| | 01:59 | The next part here is this wobbly sound.
(music playing)
| | 02:10 | So let's take a look at the interface for that.
| | 02:12 | And now while you're listening to it,
watch the Mix control in the oscillator
| | 02:16 | and the filter cutoff.
(music playing)
| | 02:19 | So you can see those are both moving together.
(music playing)
| | 02:24 | That's what's creating that
valve sound, that wobbly bit to it.
| | 02:28 | So the reason why those are moving is
I actually have automation data written
| | 02:31 | for this Mix balance and for this
Cutoff control so that they move, because in
| | 02:36 | the synth, because ES M is sort of
simplified, it doesn't have an envelope for
| | 02:40 | this Mix control or an LFO, which we'll
talk about later when we get into some
| | 02:43 | of these other synths.
| | 02:45 | So I just used the automation in Logic.
| | 02:48 | So if you're on a track,
you can press the A button.
| | 02:52 | That shows you the automation.
| | 02:53 | And you can see, I wrote the automation
for the cutoff and I also have it for
| | 02:58 | the Mix control here.
| | 03:00 | That was the way to get the
movement happening with that sound.
| | 03:02 | So next, we've got these
two different lead sounds.
| | 03:05 | And again, these are both similar.
| | 03:06 | I just spread them out on two separate tracks
so we could have things that are overlapping.
| | 03:11 | And these sort of have some
pitch-bend information happening.
| | 03:14 | (music playing)
So we can take a look at the interface for that.
| | 03:22 | It kind of sounds like the Rolling
TV 3OH!3 that's used in a lot of early
| | 03:26 | electronic music and ACID music.
| | 03:28 | So you can take a look and you see it's
got a medium amount of resonance here,
| | 03:31 | and that's sort of what
gives it that squelchy quality.
| | 03:34 | Also a big part of the sound that's
happening here is the contour of the
| | 03:38 | pitch, that pitch bending.
| | 03:39 | So if we look at the MIDI regions here,
I can press this little button here to
| | 03:45 | view all the pitch-bend information.
| | 03:47 | If you're not seeing it, what you can
do is click on this menu here to go to
| | 03:50 | Pitch Bend, and then you can see that happening.
| | 03:53 | So if we listen to this again--
(music playing)
| | 03:56 | --you can see all those pitch changes happening.
| | 03:59 | That was in the other track there.
(music playing)
| | 04:03 | And so that's essentially what's
going on with that part to make that
| | 04:06 | have contour to it.
| | 04:09 | And then last but not least, with the
ES M, we've got this pad sound that's
| | 04:12 | kind of distant that gives a sense of space,
because everything else is so dry and upfront.
| | 04:16 | (music playing)
| | 04:21 | So normally I don't think of ES M as
the type of instrument that's the first
| | 04:25 | call of what I would use to get a long
sustaining pad sound, because it's really
| | 04:30 | good for upfront and cutting
sounds, but it can be kind of harsh.
| | 04:34 | So in this case what's happening is
I have a reverb on the channel here
| | 04:40 | that's actually probably
the biggest part of the sound.
| | 04:42 | Because if you notice, the Space
Designer Reverb, which is part of Logic, that
| | 04:47 | the Wet/Dry Balance, so the reverb
amount. is pretty much fully wet and
| | 04:51 | there's no dry signal coming through.
| | 04:53 | And if you take a look at the Length here,
this is a 21-second reverb, so it's very long.
| | 04:59 | So it's basically just washing out the sound.
| | 05:01 | And that's a great technique to use if you
want something to be more in the background.
| | 05:05 | So for the purpose of this example of
trying to use ES M to function as many
| | 05:09 | things as possible, this is a way that I
could put it more in the background and
| | 05:12 | give sort of a three-dimensional
quality to everything that's happening.
| | 05:17 | So one more time, we can hear a little bit
of this, and then you should explore on your own.
| | 05:22 | (music playing)
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|
|
2. The ES E Ensemble SynthesizerGetting started with the ES E| 00:00 | Hi! I'm Brian Trifon.
| | 00:02 | Welcome to Virtual Instruments in Logic Pro.
| | 00:04 | In this chapter, we'll be
exploring the ES E synthesizer in Logic.
| | 00:09 | ES E is an eight-voice, polyphonic,
subtractive synthesizer, which is ideal for
| | 00:13 | creating rich pads, lush chorusing
melodies, and nostalgic analog textures.
| | 00:19 | In this chapter we'll explore selecting
a waveform for the oscillator, and then
| | 00:23 | I'll show you how to use the Vibrato
and Pulse Width Modulation controls.
| | 00:26 | We'll follow that by exploring the
lowpass filter and how to shape the sound
| | 00:30 | with the Attack and Release envelope.
| | 00:32 | We'll wrap things up by thickening the
sound with the built-in chorus effects.
| | 00:35 | So let's hear ES E in action.
| | 00:37 | This is a little musical example that
has five instances of ES E creating all of
| | 00:42 | the synth parts, and the drum an
Apple Loop, and let's check it out.
| | 00:47 | (music playing)
| | Collapse this transcript |
| Understanding the signal flow of the ES E| 00:00 | With ES E the signal flow is very
similar to what we saw with ES M, where the
| | 00:04 | signal flow is from left to right, and
then there are three main sections that
| | 00:08 | you see with any subtractor synthesizer:
| | 00:10 | we've got the oscillator section, the
filter section, and the amplifier section.
| | 00:16 | So ES E with its oscillator section
has a couple of interesting things.
| | 00:20 | Instead of just having one or two
waveforms, you can actually select between few
| | 00:25 | different waveforms here, and you
can modulate the pulse width, which we'll
| | 00:28 | talk about when we look
at the oscillator section.
| | 00:30 | It also has a built-in low-frequency
oscillator, which can control either
| | 00:35 | vibrato or pulse-width modulation.
| | 00:37 | Taking a look at the filter section,
it's got a built-in lowpass filter
| | 00:41 | with resonance control.
| | 00:43 | And it can use the envelope that's
attached to it as a filter envelope.
| | 00:48 | This Attack/Release envelope can also
be use with the amplifier section to
| | 00:53 | control the shape of the volume of the sound.
| | 00:55 | One additional aspect to ES E that's
really cool is its built-in chorus effects.
| | 00:59 | There are three different types of
chorus that you can add to the signal.
| | 01:03 | In the lower-left, if you click this
disclosure triangle, you can see the hidden
| | 01:06 | portion of ES E interface, where you
can adjust the pitch-bend range, both
| | 01:10 | positive and negative, in the fine-tuning.
| | 01:13 | By default, the positive bend range
is set to go up an octave, twelve semitones.
| | 01:19 | And by default, the negative bend
range is set to the same as the positive,
| | 01:22 | so it would go down an octave.
| | 01:24 | If you wanted it to be something
different--I can adjust this slider here so we
| | 01:28 | can set this to twenty-four semitones--
| | 01:32 | So what would happen is my Pitch Bend, I
could go down two octaves, twenty-four semitones,
| | 01:37 | or I could go up one octave, twelve semitones.
| | 01:40 | And I can also adjust the
fine-tuning here, in terms of cents.
| | 01:43 | So I can have it plus twenty cents or
minus twenty cents and remember that cents are,
| | 01:49 | each semitone would be
divided into a hundred parts.
| | 01:52 | So one cent is 1/100 of a semitone.
| | 01:55 | If I want to set this back to its
default setting, I can hold down Option and
| | 01:59 | just click and it sets it back to its defaults.
| | 02:02 | Next let's check out the
oscillator section in ES E.
| | Collapse this transcript |
| Selecting a waveform| 00:00 | So let's explore the oscillator in ESE.
| | 00:03 | So the first thing we're going to set is the octave.
| | 00:06 | So over on the far left here
we've got these numbers: 4, 8, and 16.
| | 00:11 | Those refer to four feet,
eight feet, and sixteen feet.
| | 00:14 | That terminology comes from pipe organs.
| | 00:16 | So basically the longer
the pipe, the lower the note.
| | 00:19 | So right now I've got it set to eight feet,
so this octave here.
| | 00:23 | If I set this to four feet
that will be an octave higher.
| | 00:29 | Or I could go to sixteen feet, which will
be an octave below the eight feet, or two
| | 00:34 | octaves below the four-feet.
| | 00:36 | The next important thing that we are
all going to check out is this Wave knob
| | 00:40 | here where we can select
the different waveforms.
| | 00:42 | But before we do that, I'm actually
going to change this preset that we have
| | 00:45 | here, because this one has a little bit
too much going on and I'd like to start
| | 00:48 | with something more neutral.
| | 00:49 | So we go to this preset
menu up top and select ESE Start.
| | 00:55 | If ESE Start doesn't show up in the
preset menu, make sure to refer back to the
| | 01:00 | "Using the Exercise Files" video where I
show you where to put the preset files so that
| | 01:04 | they show up properly in the menu.
| | 01:05 | So next let's check out this Wave control here.
| | 01:08 | So right now we have it set to a
sawtooth waveform. So I'll play that.
| | 01:12 | (music playing)
| | 01:13 | If I move this control to the
right, we've got a square waveform.
| | 01:19 | The third position here, well, that
also sounds like a square waveform.
| | 01:23 | But if we continue to turn the knob to the
right, it's going to adjust the pulse width.
| | 01:27 | (music playing)
| | 01:32 | If you look at the oscilloscope,
you're going to see that's adjusting the
| | 01:34 | symmetry of this square waveform.
(music playing)
| | 01:43 | It's interesting to note what this
sounds like when this is actually modulating
| | 01:47 | or moving sort of quickly.
(music playing)
| | 01:51 | It kind of creates a nice texture.
| | 01:53 | If you leave this in a static position--
so we just choose a particular point--it
| | 01:58 | sounds good, but really the
interesting aspect of the pulse width it comes
| | 02:01 | through when it's moving.
| | 02:02 | Fortunately, there is a built-in control
that allows you to modulate the pulse width.
| | 02:06 | So we will explore that in the next video.
| | Collapse this transcript |
| Using the Vibrato/PWM dial| 00:00 | So the next thing let's check out is
this Vibrato/Pulse Width Modulation knob.
| | 00:05 | So depending on what waveform we have
selected, it's either going to act as a
| | 00:09 | pitch modulation--or sometimes that's
referred to as vibrato--or it's going to
| | 00:13 | modulate the pulse width.
| | 00:15 | So if I have the wave set
to the sawtooth waveform--so I'll do that here--
| | 00:21 | and I adjust the amount of
this Vibrato control here,
| | 00:26 | you are going to hear a pitch modulation.
| | 00:27 | So I'll play a note and listen.
(music playing)
| | 00:32 | So you can hear that
subtle pitch movement happening.
| | 00:34 | The more that I move this knob to the right
the greater that pitch modulation is going to be.
| | 00:38 | (music playing)
| | 00:41 | If I move this all the way to the
right, you're going to have a really wide
| | 00:44 | vibrato, or a really large pitch modulation.
(music playing)
| | 00:51 | Same is true if I set this to the
square wave. So let's try that.
| | 00:53 | (music playing)
Right, pitch modulation.
| | 00:58 | Also, the other thing I can do
is to adjust the speed of that.
| | 01:01 | So if I want there to be a faster
modulation happening, I'll use this
| | 01:04 | speed control beneath it.
| | 01:06 | So I'll move this and increase the speed here.
(music playing)
| | 01:10 | Right, really fast? You can go even faster.
(music playing)
| | 01:12 | Or I can have it be a slower pitch modulation.
(music playing)
| | 01:20 | And if were to change the waveform
and move it to the third position, so to
| | 01:26 | the square wave form where we can adjust the
pulse width, it doesn't act as a vibrato anymore;
| | 01:31 | it's going to modulate the pulse width.
| | 01:32 | So if I play this--
(music playing)
| | 01:36 | --so notice how the pulse
width with the square wave is changing.
| | 01:42 | Maybe I want to make that faster.
| | 01:44 | So I'll adjust the speed.
(music playing)
| | 01:49 | So that's pretty cool, but notice how
at the end it kind of gets so thin that
| | 01:54 | the volume is dropping out a bit.
| | 01:55 | That's because this pulse width
intensity is a little bit high.
| | 01:58 | So I'll bring that down.
(music playing)
| | 02:04 | So you can get kind of a classic analog
sound, a really warm sound, when you have
| | 02:08 | the pulse width modulating like that.
| | 02:10 | So it's a very cool feature.
| | 02:12 | So next, let's shape the sound with the filter.
| | Collapse this transcript |
| Using the ES E lowpass filter| 00:00 | Let's check out the
lowpass filter that's in ES E.
| | 00:03 | It's very similar to what we saw with
ES M in that it's a lowpass filter and it
| | 00:08 | cuts out the high frequencies and
we can adjust the resonance as well.
| | 00:11 | So first thing I'll do is adjust the cutoff.
| | 00:14 | So I'll play a note and I'll bring
down the cut off from its open position.
| | 00:17 | (music playing)
| | 00:20 | So as I bring this down, you can hear
that it's cutting out high frequencies.
| | 00:25 | If you look at the waveform, it's
becoming more simplified and more like a sine
| | 00:29 | wave as the harmonics get cut out.
| | 00:32 | I can filter it all the way down where
you really can't even hear it anymore, or
| | 00:37 | I can open up the filter.
(music playing)
| | 00:41 | The resonance control, what that's
going to do is it's going to boost the area
| | 00:45 | around the cutoff point.
| | 00:46 | It's going to be a little bump in the
EQ, and that's going to give it a little
| | 00:49 | bit of a squelchy sound and make
it stand out at the cutoff points.
| | 00:53 | So I'll increase the amount of
resonance and I'll adjust to cutoff.
| | 00:56 | (music playing)
So you can really hear that in action.
| | 01:06 | The other way to think about it, or to
visualize this, is take a look at the EQ.
| | 01:11 | So I'll open up the Logic EQ, and what
I can do is engage the Analyzer here.
| | 01:17 | So I'll do that and I'll set it to
High Resolution and adjust the amplitude
| | 01:23 | scaling here, just so it's
a little bit more clear.
| | 01:26 | What I can do is, over to the right, I
can engage the lowpass filter, which is
| | 01:31 | this button right here.
| | 01:33 | Then I can adjust the cutoff
right here. So I'll do that.
| | 01:36 | (music playing)
| | 01:41 | So you can hear, this is
cutting out the high frequencies.
| | 01:43 | You can see that
happening and hear it happening.
| | 01:48 | Just like what was happening with ES E.
| | 01:50 | To show you sort of how resonance
looks like, I can increase the amount here.
| | 01:57 | Notice as I adjust the bandwidth on this
lowpass filter that I get this EQ bump
| | 02:02 | right out at our cutoff point.
| | 02:04 | So that's exactly what a resonance is.
(music playing)
| | 02:09 | So wherever I have my cutoff, it's
going to emphasize that area of the
| | 02:12 | frequency spectrum.
(music playing)
| | 02:18 | So after we have our filters set, the
next thing we can do is use the envelope
| | 02:23 | to both shape the filter and to also shape
the amplitude of the amplifier section.
| | 02:29 | So once we have the filter set in a
position where we like how it sounds, we
| | 02:32 | can explore the envelope, which is
going to control both the envelope of the
| | 02:37 | volume of the sound--so in the
amplifier--and it can also control the cutoff
| | 02:41 | of the filter.
| | Collapse this transcript |
| Shaping the amplitude with the Attack and Release envelope| 00:00 | Let's take a look at the amplifier
section in this Attack/Release envelope.
| | 00:05 | By default, the Attack/Release envelope
is wired into the amplifier section, and
| | 00:09 | it's going to control the
shape of the volume of the sound.
| | 00:12 | Within the amplifier section,
we only really have two controls.
| | 00:14 | We've got this Volume knob,
which is the master output level.
| | 00:17 | (music playing)
So it can make things quieter or louder.
| | 00:21 | Then I've got this Velocity Volume response.
| | 00:25 | So what this means, when I
increase this knob, it's going to make ES E
| | 00:29 | velocity responsive.
| | 00:31 | That means if I play softly on the
keyboard, I am going to get a quieter sound.
| | 00:35 | If I play harder, it's going to be louder.
(music playing)
| | 00:40 | So the more that I have this knob to
the right, the more sensitive the velocity
| | 00:43 | response is going to be.
| | 00:45 | When it's all the way to the left, it doesn't
matter how softly I play or how loudly I play;
| | 00:51 | it's going to be the same volume.
| | 00:53 | So the Attack/Release envelope, what
that's going to do is that's going to
| | 00:57 | control the shape of the sound.
| | 00:58 | So attack is the amount of time it
takes for the signal to go from silence
| | 01:03 | to its maximum level.
| | 01:05 | So right now, with the attack
set at 0, it's instantaneous.
| | 01:09 | Press a note on the keyboard,
the sounds starts immediately.
| | 01:13 | So if I make this longer, what's
going to happen is the sound is going to
| | 01:17 | start at silence and it's going to fade in
over the period of time that I have set here.
| | 01:21 | So let's check that out.
(music playing)
| | 01:25 | It took a second for the sound to fade in.
| | 01:28 | And let's try to capture that on our
| | 01:30 | oscilloscope here so we
can really take a look at that.
| | 01:32 | So you can see here the
attack time is this area here.
| | 01:41 | So it takes this amount of
time that we've got set here,
| | 01:44 | some medium length of time.
| | 01:45 | It doesn't specify in
milliseconds or anything like that.
| | 01:47 | So we go from silence to its peak volume.
| | 01:50 | And if I make this longer, it's going to take
an even longer period of time. Let's try that.
| | 01:57 | (music playing)
| | 02:02 | So you can see that it takes this
whole period of time to fade in.
| | 02:06 | That's what a long attack would be.
| | 02:08 | Once again, if I set this to a short
attack, the sounds starts instantly.
| | 02:15 | So release, what that is is that the amount of
time it takes once you let off for the keyboards.
| | 02:20 | So if you are playing a note in your
keyboard, it's the amount of time it takes for
| | 02:23 | the sound to fade back down to silence.
| | 02:26 | So if I set this to zero release, I play a note,
I let go, and the sound immediately cuts off.
| | 02:32 | If I give this a longer release time
then I can hold the key and let go of it
| | 02:39 | and it takes a little bit of time
for it to fade down to silence.
| | 02:41 | So if I give this a very long release--
| | 02:43 | so I'll play the note and I let
go and it's continuing to fade out--
| | 02:48 | that would be a long release time.
(music playing)
| | 02:53 | So just to show you the contrast once
again, if I set this Release time to zero
| | 02:57 | and I play, I let go, and it cuts off instantly.
| | 03:00 | So that's how the Attack and Release
envelope work with the amplifier portion of ES E.
| | 03:06 | Next, let's check out how this
Attack/Release envelope can modulate the
| | 03:09 | filter cutoff.
| | Collapse this transcript |
| Shaping the filter with the Attack and Release envelope| 00:00 | We can also use the Attack/Release
envelope to modulate the filter cutoff.
| | 00:04 | One consideration when we are doing
this is that the Attack/Release envelope is
| | 00:08 | also going to be modulating the amplifier,
| | 00:10 | so it's going to be shaping the volume of the
sound as well as modulating the filter cutoff.
| | 00:14 | There's no way to
independently do that from each other.
| | 00:17 | First thing I want to do is set the
filter cutoff to its minimum point.
| | 00:20 | I'm going to filter down the sound.
(music playing)
| | 00:25 | So maybe that's the most
filtered-down that I want it to be.
| | 00:30 | That's a good place. And just to start
with things more even, I'm going to set
| | 00:34 | this release to instantaneous for a moment.
| | 00:37 | So if I want this filter envelope
to work, I'm going to move this to the right.
| | 00:40 | When this is in its center position,
the filter envelope isn't active.
| | 00:44 | I move it to the right and I'm going to
have this Attack/Release envelope that's
| | 00:48 | going to modulate the filter cutoff.
(music playing)
| | 00:52 | So right now when I have this Attack
and Release both set at zero, it's just
| | 00:56 | going to offset the filter
cutoff by a static position.
| | 00:59 | If I increase the time for the attack here,
you can hear two things are happening.
| | 01:07 | One, the volume of the sound is fading
in, just like in the last video when we
| | 01:10 | talked about this envelope as it's
applied to the amplifier, but also, the filter
| | 01:16 | is opening up during that whole period of time.
| | 01:18 | So listen to that again.
(music playing)
| | 01:21 | So the volume is fading in
and this filter is opening up.
| | 01:24 | You don't actually see that animated;
| | 01:26 | it's just happening all underneath
the hood, but you can hear it happening.
| | 01:30 | So if I give this a little bit of a
release what's going to happen is that when
| | 01:35 | I play the note, it's going to take
during the attack stage, the sound is going
| | 01:39 | to fade in, and the filter is going to open up.
| | 01:41 | When I release the sounds--
| | 01:43 | so I let go of my keyboard--the note's
volume is going to fade down, and also the
| | 01:48 | filter is going to close back down
to its position that I have set here.
| | 01:51 | So I'm holding the note, and I'll let go,
and so that will happens pretty quickly.
| | 01:57 | So let's give it this a longer release time.
(music playing)
| | 02:02 | So I'll let go of the note here.
| | 02:03 | You can hear that both the volume is
fading out, but also the filter is closing down.
| | 02:09 | So maybe I'll try to make that more pronounced.
| | 02:11 | I'm going to give this a little bit
of resonance so it rings out more, and I
| | 02:15 | am going to set this starting place to
something a little bit lower, to filter cutoff.
| | 02:19 | So let's listen to that. So let go of the note.
(music playing)
| | 02:25 | You can hear that the filter is obviously
closing, and also the volume is fading out.
| | 02:30 | So in that way you get both
things happening with this envelope.
| | 02:33 | The next thing I can do is give this A/R
envelope a negative amount of intensity.
| | 02:39 | So when this knob here is not in the
center, or not to right, if I move it to the
| | 02:43 | left, it's going to send a
negative amount of filter modulation.
| | 02:47 | So what I'll want to do is set the cutoff
point to its maximum, and what's going to
| | 02:52 | happen during this release period here
is when I let go of the note, the filter,
| | 02:57 | we're going to hear it open up.
| | 02:59 | So when I'm playing the note
it's going to be filtered down.
| | 03:01 | You might not even be able to hear this.
| | 03:03 | But when I let go, you'll hear it
release, and the filter will open up.
| | 03:07 | So I'll give it a longer attack.
| | 03:09 | Maybe I can set this a little
differently so we can hear it more. Now let go.
| | 03:18 | During its release phase,
you can hear it opening up.
| | 03:20 | In some ways, it's a little bit
counterintuitive, but it's always good to explore
| | 03:25 | giving a negative amount of
modulation just to see what it sounds like, and
| | 03:29 | sometimes you get a happy accident.
| | 03:31 | So let's try that with the attack as well.
| | 03:32 | If I give this a little bit of attack
here, you can hear that during the portion
| | 03:39 | of the attack stage, the filter closed
down, so that the opposite of what we'd
| | 03:44 | imagine, and I let go and the filter opens up.
| | 03:47 | So that's the Attack and Release
envelope as applied to the filter.
| | Collapse this transcript |
| Using the Chorus and Ensemble settings| 00:00 | One of the really cool features about
ES E is it has a built-in chorus effects.
| | 00:05 | It has three of them.
| | 00:05 | You can see them over here on the right
side. And essentially what the chorus is,
| | 00:10 | it's a delayed and detuned signal that's
mixed into the dry signal, and it gives
| | 00:15 | it the doubling effect.
| | 00:16 | So let's check out these chorus sounds.
| | 00:19 | Here's it without any chorus.
(music playing)
| | 00:23 | So we still have some of that
pulse-width modulation happening.
| | 00:25 | Maybe what I'm going to do,
since it's easier to hear, let me get rid of that.
| | 00:28 | (music playing)
So we have a pretty static sound.
| | 00:33 | I'm going to add this
first chorus, the Chorus 1.
| | 00:35 | (music playing)
So you can hear a little bit of detuning happening.
| | 00:42 | The second chorus has
increased amount of modulation,
| | 00:45 | so it's a little bit of a heavier chorus.
| | 00:47 | So let's check that out.
(music playing)
| | 00:52 | So, pretty similar, but just a little
bit more intensity with the chorus.
| | 00:56 | The third effect here is called ensemble,
| | 00:59 | and ensemble is basically just
another chorus effect, but it has a more
| | 01:03 | complex modulation routing.
| | 01:05 | So it's going to be even more detuned and thicker.
(music playing)
| | 01:12 | It's a really good way to add some
thickness and lushness to a sound.
| | 01:16 | Just so you can hear the difference
between these chorus effects, I'm going to
| | 01:20 | hold down a note and switch them on
and off, just so you can get a sense of
| | 01:23 | how they're different. So we'll start just dry.
(music playing)
| | 01:29 | Now I'm going to add in Chorus I, and
I'll turn that off, and we can add in Chorus
| | 01:36 | II, which has an increased amount of modulation.
(music playing)
| | 01:44 | Then let's check out the
ensemble effect as well. Cool!
| | 01:50 | So you can hear the differences in that.
| | 01:52 | They all end up being really useful,
and it's good to play around with each of
| | 01:55 | them and get used to their
distinctive characteristics.
| | 01:58 | Next, let's hear ES E in the context of a song.
| | Collapse this transcript |
| Composing with the ES E| 00:00 | Let's check out ES E in action here.
So we've got five instances of ES E in this
| | 00:05 | little musical example,
| | 00:07 | and then there's a drum track here.
And I can actually zoom in on that if I
| | 00:11 | press the Z key on the keyboard--
| | 00:12 | you can see that. And so this is actually
from an Apple loop that comes with Logic Pro.
| | 00:17 | It's called Analog Drum Machine 10,
and as you can see here, I've got a little
| | 00:21 | bit chopped up just to
thin out some of the elements.
| | 00:23 | Anyway, let's hear how this all sounds together.
| | 00:27 | (music playing)
| | 00:55 | Okay, so the first track we have
up top here is a little accent part.
| | 01:00 | So I'll play that and take a look at
the interface and I've got the MIDI
| | 01:03 | parts here as well. So you can see that.
(music playing)
| | 01:09 | So you can hear that the
filter cutoff is changing,
| | 01:12 | and that's because these notes have
different velocities, and that's indicated
| | 01:17 | by the colors here. Whereas the red
is the harder velocities and the light
| | 01:23 | blue is softer and it's sort of a continuous
color scale between the two to indicate velocity.
| | 01:30 | But what's happening is that with the
different velocities it's modulating the
| | 01:33 | filter cutoff, and that's because
of this AR Intensity Control here. And
| | 01:38 | remember what that does is that it
takes our Attack/Release envelope and
| | 01:42 | applies it to the filter cutoff.
| | 01:45 | So the harder the velocity, the more
this cutoff is offset, and so you can hear
| | 01:49 | that happening with this track.
(music playing)
| | 01:56 | So beneath that what we
have is this Wobbler track.
| | 01:59 | (music playing)
| | 02:03 | And so I'll bring up the interface
there. And if you take a look at the Cutoff
| | 02:07 | knob, you can see it has quite a bit of activity.
(music playing)
| | 02:14 | And really, the filter cutoff
is what's shaping the sound;
| | 02:17 | it's giving it that vowel vocal quality it.
| | 02:20 | So unfortunately, ES E doesn't have
anything built in to create those kind of
| | 02:26 | rhythmic patterns with the filter, but
what I can do is create track automation
| | 02:31 | to modulate the filter
cutoff, and what's I did here.
| | 02:34 | So if I have a track selected, I can
press A, and what that's going to do is
| | 02:38 | bring up the Automation window. And I'll
move this out of the way for a moment, so
| | 02:42 | you can see I've got all
these cutoff automation.
| | 02:45 | And just as a refresher, if you wanted to write
some more automation, it's very simple to do.
| | 02:50 | What I can do is change
this automation mode from Read,
| | 02:53 | I'm going to select Latch.
| | 02:57 | And what that's going to allow me
to do is when I move the knob on the
| | 03:00 | interface here, it's going to write
the automation for whatever my movements
| | 03:04 | are and when I let go, so it's going to
continue to write automation at whatever
| | 03:08 | the last value that I left it at.
| | 03:11 | So let's do that with the amount of vibrato.
| | 03:14 | (music playing)
I actually want to hear this in context.
| | 03:17 | (music playing)
| | 03:24 | And you can see I am moving this
vibrato control. It's writing the automation.
| | 03:27 | (music playing)
| | 03:38 | So I will just continue to write
this to the end. Okay, cool!
| | 03:43 | As you can see, I wrote all that
information. And then I want to make sure to
| | 03:48 | switch this back to Read, so that it
will follow the automation that I just
| | 03:51 | wrote. And then we can double check
here, and you can see now this knob is
| | 03:58 | moving on its own, so it
caught that automation.
| | 04:02 | So beneath this, what we've
got is this little meow sound,
| | 04:05 | which is just this little accent,
really short notes. And you can hear with that as
| | 04:14 | well that the filter cutoff is changing.
| | 04:16 | That is because of, again, this AR
intensity control, which takes the Attack/
| | 04:21 | Release envelope and applies it to
the filter cutoff. And so with these
| | 04:25 | different velocity notes here,
it's adjusting this filter cutoff.
| | 04:29 | I've also got some chorus happening,
and that's creating some additional
| | 04:32 | modulation in the sound.
| | 04:33 | And then furthermore, it's sending to a reverb,
| | 04:36 | this little reverb here, and that
just gives it a little bit more space.
| | 04:39 | And if you listen to the sound, you can
hear that it has a tail at the end of it.
| | 04:42 | (music playing)
| | 04:47 | And so even when I stop the not, you can
hear it's still ringing out--and that's not just
| | 04:50 | the release of the sound;
| | 04:51 | it's both the release mixed with the reverb.
| | 04:55 | And beneath that we've got sort of
what I think of as the quintessential ES-E-
| | 04:59 | type sound, which is the chorusy
pad sound, so I'll play that one.
| | 05:05 | To me it, has this '80s
nostalgic thing going on here.
| | 05:12 | So most of this sound is really
because of the chorus effect, and we've got a
| | 05:15 | long release as well.
| | 05:19 | And then to add even more
modulation to that, there's some pulse-width
| | 05:23 | modulation that's happening here, and
that's because we've got the pulse width
| | 05:26 | amount set somewhere in the middle here, and
that's going to modulate the pulse width here.
| | 05:34 | And last but not the least, what
we have is this hollow pad sound.
| | 05:37 | (music playing)
| | 05:42 | This is a pretty simple setting here.
Again, there is chorus that's happening, but what
| | 05:46 | really puts the sound in the
background is that it's sending to that same
| | 05:50 | reverb, that's still reverb.
| | 05:52 | (music playing)
| | 05:56 | And so sometimes on a track where there's a lot
of things that are very upfront and dry,
| | 06:01 | I like to put a lot of reverb on
something to push in the background.
| | 06:04 | It gives it more of a sense
of three-dimensional space,
| | 06:07 | and that's nice to contrast against
things that are very upfront and dry.
| | 06:11 | So let's listen to
everything together once more.
| | 06:13 | (music playing)
| | Collapse this transcript |
|
|
3. The ES P Polyphonic SynthesizerGetting started with the ES P| 00:00 | Hey, I'm Brian Trifon, and welcome
to Virtual Instruments in Logic Pro.
| | 00:05 | In this chapter, we'll take a look at
ES P. ES P is an incredible-sounding
| | 00:10 | eight-voice polyphonic synthesizer that
emulates the classic polysynth sounds of the '80s.
| | 00:15 | ES P is great for a variety of sounds,
particularly thick analog brass sounds,
| | 00:21 | epic leads, and fat basses.
| | 00:23 | First, we'll take a look at balancing
the oscillator levels, then tweaking the
| | 00:27 | lowpass filter with the Key Follow function.
| | 00:29 | Next, I'll show you how to use the
ADSR envelope to shape the volume of the
| | 00:34 | sound, as well as how to use it
to modulate the filter cutoff.
| | 00:37 | Then we'll take an in-depth look on
how to use the Vibrato/Wah LFO to modulate
| | 00:42 | either the pitch or the filter. We'll wrap
things up by adding chorus and overdrive
| | 00:47 | to thicken and saturate your sound.
| | 00:49 | Let's check out a musical example.
| | 00:51 | This has five instances of ES P,
creating all the bass and melody and sounds,
| | 00:56 | and Logic's Ultrabeat for
the drums. So check it out!
| | 01:00 | (music playing)
| | 01:51 | So let's get started with ES P.
| | Collapse this transcript |
| Understanding the signal flow of the ES P| 00:00 | Let's explore the signal flow for ES P.
Much like we saw with ES M and ES E, the
| | 00:05 | signal flows from the left side to the right.
| | 00:08 | So, over on the left here,
we've got the oscillator section.
| | 00:11 | And what's interesting about this one
is instead of what we've seen before,
| | 00:14 | where there is just one oscillator, or
you can balance between one of two of
| | 00:18 | different waveforms,
| | 00:20 | this oscillator section has a whole
bunch of different waveforms that we can
| | 00:23 | bring in, and we'll explore that in great detail.
| | 00:26 | Next, the signal goes into the filter section.
| | 00:28 | There's a built-in lowpass filter with
resonance control. And in ES P, they've
| | 00:34 | added Key Follow, which allows you
to modulate the filter cutoff, depending
| | 00:39 | what range of the keyboard that you are
playing. So it's a really cool feature.
| | 00:43 | After the signal passes through the
filter, it goes to the amplifier section,
| | 00:48 | where we can adjust the master output level
and the shape of the volume of the sound.
| | 00:53 | And what's really cool is the amplitude
envelope for this particular synth has
| | 00:57 | a four-stage envelope, an ADSR filter, and that
can also be used to modulate the filter cutoff.
| | 01:03 | And then last but not the least, ES P
has built-in chorus and overdrive effects.
| | 01:10 | And if you remember from ES M, a chorus
effect is basically a delayed and detuned
| | 01:15 | signal that's mixed back in with the
dry signal, and it has a doubling kind of
| | 01:19 | effect and makes things
sound more lush and wide.
| | 01:22 | And like we saw in ES M, there's an
overdrive control, which basically will
| | 01:26 | saturate the signal, make it
more crunchy, more distorted.
| | 01:31 | And then there's one hidden
area of the ES P interface.
| | 01:35 | Over on the left here, I'll click
this disclosure triangle, and you can see
| | 01:39 | this is where you can set the pitch-
bend range, both in the positive and
| | 01:42 | negative directions.
| | 01:44 | So by default, you can pitch things up
an octave. And the negative pitch bend
| | 01:48 | range is set to the same amount
as the positive pitch bend range.
| | 01:52 | If we want to set this to something
different--so, like, for example, we want be
| | 01:55 | able to bend up an octave,
then down two octaves--
| | 01:59 | I can adjust the slider here.
So I could set this to twenty-four semitones, so that will
| | 02:04 | allow me to pitch down two
octaves with the pitch bend.
| | 02:08 | The last control down at the bottom
here is the fine-tuning adjustment, which
| | 02:11 | allows me to offset the global tuning
of this instrument by 20 cents, either positive
| | 02:16 | or negative direction.
| | 02:17 | In the next video, we'll explore the
oscillator section in greater detail.
| | Collapse this transcript |
| Balancing the oscillator levels| 00:00 | Let's explore this oscillator section of
ES P. The first thing I actually want to do
| | 00:05 | is change this default setting that
we've got here to a different preset,
| | 00:08 | because like we've seen before with both
ES M and ES E, when we open up ES P, it
| | 00:13 | has a lot going on in terms of
modulation and lots of different things, so
| | 00:17 | sometimes it's better to start
with a more neutral setting.
| | 00:19 | So what I'm going to do is go to the
Preset menu--that's up top here--and
| | 00:23 | I'm going to select ES_P Start.
| | 00:25 | If you don't see ES_P Start, make
sure to refer back to the video "Using the
| | 00:30 | Exercise Files," where I show you where
to place the preset files so they show
| | 00:34 | up to properly in the Preset menu.
| | 00:36 | So taking a look at this oscillator
section here, things look a little different
| | 00:40 | than we've seen before.
| | 00:41 | You can choose between a bunch of
different waveforms that we have got here.
| | 00:44 | So we've got this sawtooth waveform,
| | 00:47 | and this slider here is actually a level
control, so I have this all the way down.
| | 00:51 | We don't have any signal.
| | 00:52 | So, with any of these different types of
waveforms here, I can just bring up the
| | 00:57 | slider to increase its level.
| | 01:00 | So first let me show you what
different waveforms we've got.
| | 01:04 | So all the way on the left we've got
a triangle waveform, so you can hear
| | 01:08 | that's more of a hallow sound, has a little
bit less harmonics than the sawtooth waveform.
| | 01:13 | So I'll bring that sawtooth again, so you can hear it.
(music playing)
| | 01:19 | Then over to right we've got a square waveform.
(music playing)
| | 01:25 | So this isn't quite a perfect square.
(music playing)
| | 01:27 | There's a little bit of asymmetry to it,
and so it's called a pulse waveform.
| | 01:33 | So anytime you're looking at any
synth and you see square wave or pulse
| | 01:37 | waveform, usually they're kind of
interchangeable, but a pulse wave means that
| | 01:41 | there's a little bit of asymmetry.
| | 01:43 | Over to the next one to the right,
we've got another pulse waveform, but this
| | 01:49 | one's an octave lower. And you can
see on this little graphic for it,
| | 01:53 | that it's a little pulse waveform.
| | 01:54 | It's says -1, so that's how you
know it's going to be an octave lower.
| | 01:58 | And next to that, you can see
it's a pulse waveform with -2.
| | 02:01 | So as you might guess, that's going to
be two octaves lower than this pulse wave
| | 02:05 | that's in the center here.
| | 02:06 | So I'll bring that up and
you can hear that's pretty low.
| | 02:11 | And then another cool waveform that we
haven't seen so far is noise generator here.
| | 02:15 | So this is white noise.
(music playing)
| | 02:20 | So you might think, okay, well,
what's white noise going to be good for?
| | 02:24 | It's a good way to actually add a
little bit of chaos to a really clean sound,
| | 02:28 | just adds a small amount, or you can
shape it into a lot of different types of
| | 02:31 | percussion sounds as well.
| | 02:33 | So really the trick with the oscillator
section here is to get the right balance
| | 02:37 | between these different types of waveforms.
| | 02:40 | But before you even do that, you are
probably going to want to set the octave, so
| | 02:43 | let's just get one of these waveforms enough signal.
(music playing)
| | 02:48 | And over on the left here, we've got
these 4, 8, and 16. And so this is the same
| | 02:53 | terminology that we've seen with ES M
and ES E, and we'll probably see a lot
| | 02:57 | more with these other logic instruments.
| | 02:59 | So these numbers refer to feet--so 4 feet,
8 feet, 16 feet--and that terminology
| | 03:05 | comes from pipe organs, because the longer
the length of the pipe, the lower the note.
| | 03:09 | So if we choose 4 feet, we get a higher octave,
then 8 feet, which is lower, and then 16 feet.
| | 03:18 | So for right now, because some of these
waveforms go two octaves below some of
| | 03:23 | the other ones, I'm going to set
this to the highest octave, so 4 feet.
| | 03:27 | Let's get a little blend happening
here of the sawtooth, and let's bring in
| | 03:32 | some of these lower octaves as well.
(music playing)
| | 03:37 | If I wanted to bring in an octave
below that, just get a really wide range of
| | 03:42 | frequencies, and of course, I could
bring in the noise oscillator as well.
| | 03:52 | You can hear, just having a little bit
of that kind of goes a long way, but it
| | 03:56 | definitely adds to the sound.
| | 03:57 | So really the goal when shaping the
sounds is to try to find a nice balance
| | 04:01 | between these different waveforms.
| | 04:03 | So next, let's explore the filter section.
| | Collapse this transcript |
| Enabling key follow on the filter| 00:00 | So let's explore the lowpass filter in
ES P. So much like the lowpass filter
| | 00:05 | that we saw in ES M and ES E, this has
an independent resonance control. And just
| | 00:12 | so you remember, a lowpass
filter is going to cut out the high frequencies.
| | 00:15 | So if I'm playing a note here, and I
bring this filter frequency cutoff down,
| | 00:23 | you can hear the high frequencies are disappearing.
| | 00:25 | You can see the waveform
looks more like a sine wave.
| | 00:28 | That's because all the higher
harmonics are getting filtered out.
| | 00:31 | So if we take a look at the resonance
control, what that is, it is basically, at
| | 00:37 | our frequency cutoff point,
| | 00:39 | it's a little peak, or boost, in
the EQ, exactly where the cutoff is.
| | 00:44 | So the way you'll hear that is it
sounds more like a valve, or has a resonant
| | 00:50 | ringing quality, especially
if you have a lot of resonance.
| | 00:53 | So I'll put this somewhere
in the middle. You can hear that.
| | 00:55 | (music playing)
| | 01:00 | And if I give this an extreme amount
of resonance, you can hear a lot another
| | 01:04 | pitch happening in there,
(music playing)
| | 01:09 | where when I adjust my frequency cutoff,
I'm adjusting that pitch as well.
| | 01:16 | It's one way to sort of visualize
what's happening with the lowpass filter in
| | 01:19 | general is to take a look
at the channel EQ in Logic.
| | 01:22 | So I'm going to pull that up.
| | 01:24 | And what I want to do is adjust the
settings of this so that we've got the amplitude
| | 01:28 | scaled in a way that's a
little bit more easy to see things.
| | 01:31 | And I'm going to turn on the
analyzer and set the resolution to high-res.
| | 01:36 | All right, so now when I play a note,
you can see all the different components
| | 01:42 | of the waveforms, all the different
harmonics, showing up on this FFT display.
| | 01:47 | So if I turn on the lowpass
filter--that's this control here--
| | 01:51 | I can adjust the cutoff.
(music playing)
| | 01:55 | You can hear, as I bring this down, so
I bring down the cutoff on this lowpass
| | 01:59 | filter, the high frequencies disappear.
| | 02:02 | So this is just like the lowpass
filter in ES P. So that's easy to understand.
| | 02:11 | So with the resonance, what's
happening is we've got a little boost at this
| | 02:14 | cutoff point. So if I adjust the
bandwidth of this here, you can see that this
| | 02:20 | creates a little boost right here.
| | 02:22 | And if I move the cutoff,
it's going to move that with it.
| | 02:25 | So that's exactly what's happening with
the Resonance control in the ES P filter.
| | 02:28 | So I'll give this a really strong
amount here, so we can really hear it.
| | 02:32 | (music playing)
| | 02:42 | So that's what a lowpass filter and
resonance look like if you're using the
| | 02:46 | Logic EQ, and that's just another way that
sort of visualize what's happening with it.
| | 02:49 | So I'll put that away.
| | 02:51 | One of the really cool features about the
ES P lowpass filter is that it has Key Follow--
| | 02:57 | so that these controls here--and what
that means is that on your keyboard, you can
| | 03:02 | control the frequency cutoff, or
you can modulate the frequency cutoff.
| | 03:05 | So if you're playing in a low range
on the keyboard and you have Key Follow
| | 03:08 | activated, then it's going to be more
filtered down than if you're playing up
| | 03:12 | in the higher registers on the keyboard.
| | 03:14 | And the filter cutoff will
be more open in that case.
| | 03:17 | So the reason why this is useful
is it mimics actual real world's
| | 03:21 | organic instruments.
| | 03:23 | So if you're playing an instrument
like a piano or guitar and you play a note
| | 03:27 | that's low down on the instrument, it tends to
be a little bit more filtered in terms of its sound.
| | 03:33 | It has less higher
harmonics, less high frequencies.
| | 03:36 | And as you go higher up on an instrument,
usually it tends to get brighter in its character.
| | 03:41 | And it's not something that we
normally think about when you're playing
| | 03:44 | organic instruments; it just doesn't happen.
| | 03:45 | But what does happen is with synths,
| | 03:48 | when you play a sound like this, when
we play it pretty low and then when we play it
| | 03:54 | up higher, the low notes sound
relatively brighter than higher notes.
| | 03:59 | It's not totally as even as an organic instrument.
| | 04:02 | So what Key Follow does is it mimics
the way that an organic instrument will work,
| | 04:07 | where the lower notes are a little bit
more filtered down and the higher notes
| | 04:10 | are a little bit brighter.
| | 04:11 | And let's explore what that sounds
like. So I'm going to set the cutoff somewhere in the middle here.
| | 04:16 | And so I'm going to engage the
Key Follow right here, this 3/3.
| | 04:20 | And 3/3 is the easiest one to
understand because it creates a constant
| | 04:26 | relationship between the
cutoff frequency and the pitch.
| | 04:29 | These 1/3 and 2/3 are just
a little bit more subtle.
| | 04:33 | So with this 3/3 setting here, when
I play that note, it's a little bit
| | 04:37 | more filtered down.
| | 04:38 | When I play up a couple octaves
higher, there's less filtering.
| | 04:41 | So just so you can hear the difference,
| | 04:43 | so here's this low note with Key
Follow engaged, and then I'll disengage it.
| | 04:50 | So you hear how that's brighter?
Let's do that one more time.
| | 04:53 | So here is it with Key Follow--
| | 04:55 | it's a little more filtered down; and
then without, it's a little bit brighter.
| | 05:01 | So it creates that nice constant relationship.
| | 05:03 | And where that also is useful is when
you have really high resonance amounts.
| | 05:07 | Let's set this resonance really high.
Hear how it's ringing out?
| | 05:12 | I can actually kind of tune this resonance
using my cutoff, and I can play on the keyboard.
| | 05:22 | So if I don't have Key Follow engaged,
that resonant frequency that's ringing
| | 05:29 | out doesn't really follow as well.
It just kind of sounds harsh.
| | 05:35 | It doesn't really follow.
If I engage the Key Follow,
| | 05:40 | that really extreme resonance is more
controllable, and it's actually playable.
| | 05:44 | It kind of adds to the sound, because
the filter is a whole another oscillator
| | 05:47 | adding another pitch in there.
(music playing)
| | 05:51 | So, Key Follow is a really interesting feature.
| | 05:53 | It really helps when you're dealing with
high resonance, and is an expressive tool.
| | 05:56 | So next, let's explore this amplifier
section here, and we'll explore the ADSR
| | 06:02 | envelope, and how that can affect
the volume and how that can be used to
| | 06:07 | modulate the filter cutoff as well.
| | Collapse this transcript |
| Shaping the volume with the ADSR| 00:00 | So we've got the amplifier section
here, and with the volume knob, we can
| | 00:04 | control overall output level of the instrument.
| | 00:07 | So if I'm playing a note, I can adjust
the output level here so it's softer.
| | 00:13 | And like we saw before with ES_E and
ES_M, I can use the velocity on the
| | 00:18 | keyboard to control that level.
| | 00:20 | And so I use this Velocity-to-Volume knob here.
| | 00:23 | So I'll set that somewhere in the middle.
And so now when I play softly, I get a softer note;
| | 00:29 | when I play loudly, I get a louder note.
| | 00:32 | So it's responding to velocity, whereas
before when I had this all the way to the
| | 00:36 | left here, if I play softly, it's that volume;
| | 00:40 | if I play with more force, it's the same volume.
| | 00:42 | So this allows me to be more
expressive with the dynamics of my playing.
| | 00:47 | So, attached to the amplifier
we have this ADSR envelope.
| | 00:51 | So it's going to control the
contour of the volume of the sound.
| | 00:56 | We've seen simplified envelopes so far in
ES E and ES M where they were Attack and
| | 01:01 | Release, or in the case of ES_M,
it was just the Decay parameter.
| | 01:05 | So this is a four-stage ADSR envelope.
| | 01:08 | This is typical in a lot of synthesizers.
| | 01:10 | Not only in Logic, but any synthesizer
you encounter, a lot will have this ADSR format.
| | 01:15 | Basically, what it is is the four stages
are attack, decay, sustain, and release.
| | 01:22 | So attack is essentially the amount
of time it takes the sound to go from
| | 01:26 | silence to its maximum level.
| | 01:29 | Decay is the amount of time, once it
reached its maximum level, for it to
| | 01:33 | either fade back down to silence or to fade or
decay down to whatever your sustain level is.
| | 01:40 | Sustain is not amount of time;
| | 01:43 | it's a volume level. So it's the amount
of volume that, as long as you're holding
| | 01:47 | the key in the keyboard, that
it's going to remain at that level.
| | 01:50 | And Release is once you've let go of
the note, the amount of time it takes for
| | 01:54 | the sound to fade back down to silence.
| | 01:57 | So let's explore all of these up
close, and we can actually view them on the
| | 02:01 | oscilloscope over here.
| | 02:02 | So I am going to turn down the
velocity sensitivity, just so we're getting a
| | 02:06 | really strong signal.
| | 02:08 | And I'm actually going to turn down the
Sustain because that's the one that's new.
| | 02:12 | We haven't looked that in any other synth yet.
| | 02:14 | So we'll kind of take a look at that last.
| | 02:17 | So let's explore Attack.
| | 02:19 | Right now, our attack time is set to 0.
| | 02:21 | So I'll play a note and you can see in here,
it starts immediately.
| | 02:26 | If I give this a little bit more
time, the sound is going to fade in.
| | 02:30 | So watching the
oscilloscope, you'll see it fading in.
| | 02:32 | (music playing)
So you could see the sound was fading in there.
| | 02:37 | I can make it even longer
and have a really long fade-in,
| | 02:40 | so a very long attack time. So that's Attack.
(music playing)
| | 02:49 | Decay is the amount of time it takes
for the sound to basically fade down to
| | 02:54 | silence, in this case,
because the sustain level is at 0.
| | 02:58 | So I'm going to set the decay time to
something that's pretty short. So you can
| | 03:02 | see it decays very quickly.
| | 03:03 | We can have an even shorter decay,
| | 03:05 | just a little click impulse sound, or
it can have sort of medium-length decay
| | 03:11 | where it's just, as I'm holding the note,
| | 03:13 | it's just fading out.
| | 03:15 | So let's take a look at Release,
and then we'll come back to Sustain.
| | 03:19 | Release is once I've let go of the
note, how long does it take for it to
| | 03:22 | fade down to silence?
| | 03:23 | So I'm playing the note.
| | 03:25 | I'll let go, and it's still ringing out,
and it takes a moment for it to fade down.
| | 03:29 | So if I have a long release, it
will take a longer amount of time.
| | 03:33 | So I've already let go,
but it's still fading out.
| | 03:37 | So that's the Release parameter.
| | 03:39 | Sustain, it's a constant level.
| | 03:41 | So what I'm going to do is set
my Sustain to a particular volume.
| | 03:45 | So if I have my Sustain at 0, it means silence.
| | 03:49 | If I have this set all the way, it's
going to be the maximum volume wherever I
| | 03:52 | have this volume control set.
| | 03:54 | And so what that means is if I'm going
to play the note now, as long as I hold
| | 03:58 | the note, it's going to sustain its full volume.
(music playing)
| | 04:04 | In some ways, having my Sustain all the
way up like this, it overrides the Decay
| | 04:07 | parameter, because there's nothing
for this decay to decay down to;
| | 04:11 | however, if I set this somewhere in
the middle, what's going to happen is the
| | 04:15 | attack will be instantaneous, the decay
will take the maximum level, and it will
| | 04:21 | fade down to my sustain level, where as
long as I'm holding the note, it's going
| | 04:25 | to remain at that level.
| | 04:26 | Let's watch that in action.
(music playing)
| | 04:30 | So I'm going to try to capture
that on the oscilloscope over here.
| | 04:41 | Okay, so here you can
see the shape very clearly.
| | 04:45 | Over on the left, you can see the
attack where it's happening immediately.
| | 04:48 | Then you can see that it's fading down
from that maximum level over sort of the
| | 04:52 | medium period of time, and
then it's just kind of levels out.
| | 04:54 | That's the sustain level, and it
will stay at that volume as long I'm
| | 04:57 | holding down the note.
| | 04:59 | So this kind of gives you a good
visual representation of the shape of the
| | 05:02 | volume of the sound, and that's
all that this amp envelope is doing:
| | 05:05 | you're shaping the volume.
| | 05:06 | So the ADSR envelope as applied to
the amplifier is really one of the most
| | 05:13 | important aspects, in terms of
determining how your sound functions.
| | 05:17 | For example, the way you can
determine if something is a pad sound or short
| | 05:22 | plucky sound really has to do
with the shape of the volume.
| | 05:25 | So if I wanted to make a pad sound,
typically the envelope shape for that
| | 05:28 | would be a longer attack and a pretty
long decay and even a full-on sustain, full
| | 05:34 | level, but a long release,
| | 05:36 | so it kind of fades in and fades out.
| | 05:39 | So let's hear what that sounds like.
| | 05:41 | So it fades in, and then I let go,
and it takes a while for it to fade out.
| | 05:46 | So that would be the shape for a pad sound.
| | 05:49 | If I wanted to make a pluck, I
have an instantaneous attack, and you
| | 05:52 | imagine plucking a string.
| | 05:54 | So the onset of the sound is very quick,
but it decays very quickly as well.
| | 05:58 | So maybe what I would do is set a shorter
release time, set my sustain level to 0, and
| | 06:04 | set a shorter decay.
| | 06:06 | So that's more of like a pluck sound.
| | 06:08 | So as you can see, the ADSR is
really useful for shaping your sound.
| | 06:13 | So next, we'll take a look how we can
use this ADSR envelope to modulate the
| | 06:18 | filter cutoff as well.
| | Collapse this transcript |
| Modulating the cutoff with the ADSR| 00:00 | One of the really cool aspects about this
ADSR envelope is that it can be used to
| | 00:04 | modulate the filter cutoff as well.
| | 00:06 | So at all times this ADSR envelope is
going to be shaping the volume of the
| | 00:10 | amplifier, and so shaping
the volume of your signal.
| | 00:14 | If you want to use it to also modulate
the cutoff, we that in this area here.
| | 00:18 | I've got this ADSR Intensity control.
| | 00:21 | What that's going to do is that tells
us how much do we want this envelope here
| | 00:25 | to modulate filter cutoff?
| | 00:27 | So when it's in the center position,
there is no modulation happening.
| | 00:30 | If I turn this to the right, it gets
me a positive amount of modulation.
| | 00:35 | So it's going to act and respond
like we'd expect a filter envelope to.
| | 00:39 | If I go to the other
direction, I go to the left here,
| | 00:42 | I'm giving it a negative amount of
modulation, and so this envelope is going to
| | 00:46 | work the opposite that we'd
expect, and we'll explore that later.
| | 00:49 | So the first thing we're going to want to
do is set our frequency cutoff to an
| | 00:55 | amount that is a good starting place.
| | 00:57 | So let's play a note, and I'll adjust the cutoff.
(music playing)
| | 01:02 | So I'm going to increase our Decay
and Sustain so we kind of have that note ring out.
| | 01:06 | (music playing)
It's maybe something like this.
| | 01:12 | That's about how filtered down I want it to be.
| | 01:14 | And so for the sake of this envelope
here and to get a good response so we can
| | 01:20 | hear both the volume and
the filter being modulated,
| | 01:23 | I'm going to take the Sustain and
turn this all the way down and then I am
| | 01:27 | going to take the Decay and set
it somewhere in the middle here.
| | 01:30 | Let's hear what this sounds like.
| | 01:32 | I want to make sure to give this ADSR
intensity a certain amount so we've got
| | 01:36 | modulation happening.
| | 01:39 | I'll make this decay a
little longer so it rings out.
| | 01:41 | So, you can hear there's
actually two things happening:
| | 01:48 | One, the volume is being
shaped by this amp envelope.
| | 01:51 | So the sound starts instantaneously, and
then it decays down and fades back down
| | 01:56 | to silence over this
Decay stage of the envelope.
| | 02:00 | At the same time, what's happening is
the filter, during the Attack portion,
| | 02:04 | it instantaneously opens
up to a further amount here
| | 02:07 | so it's more open, and then during the
Decay portion of the envelope, it's fading
| | 02:11 | back down to that initial setting that I set.
(music playing)
| | 02:16 | And so you can hear that happening,
and you can hear that there's no way to
| | 02:20 | separate what's going on with the
amp envelope and the filter envelope;
| | 02:23 | they just work together.
(music playing)
| | 02:26 | The way you can actually sort of hear it
separately is if I disengage the filter
| | 02:31 | envelope and I just listen to the sound.
(music playing)
| | 02:35 | In some ways, it has a lot less
character because the whole thing is more static
| | 02:39 | and it's more filtered down.
| | 02:41 | So I'll engage the filter envelope again.
(music playing)
| | 02:48 | So you can hear it's filtering down
the same time the volume is decaying.
| | 02:51 | One way to actually make this more
musical and more perform-able is to use this
| | 02:56 | velocity control here.
| | 02:57 | So what this is going to do is it means,
depending on how hard or soft I play a note,
| | 03:02 | it's going to affect the amount of
modulation that's happening with this filter cutoff.
| | 03:06 | So if I set this to full amount,
I'll set this decay a little shorter, and
| | 03:10 | then I'll play some notes at
different volumes, and we'll get a different
| | 03:13 | amount of modulation.
(music playing)
| | 03:17 | So you can hear I can accent some of
the notes by playing harder and the
| | 03:21 | filter opens up more;
| | 03:22 | if I play softer, it's more filtered down.
(music playing)
| | 03:26 | You can add in resonance and make that a little more dramatic.
(music playing)
| | 03:33 | So it's very useful just for
making your programming more expressive.
| | 03:36 | So once you have the filter and amp
envelope settings the way that you want,
| | 03:40 | it's a good thing you can add in
chorus and overdrive to make sound more
| | 03:44 | lush and more saturated.
| | 03:46 | So let's explore that next.
| | Collapse this transcript |
| Using the Vibrato/Wah control| 00:00 | So another way you can modulate the
filter and actually create a pitch
| | 00:03 | modulation as well in ESP
is this Vibrato Wah control.
| | 00:08 | So essentially what this is, this is an LFO.
| | 00:11 | What that stands for is a
low frequency oscillator.
| | 00:15 | So it's very much like these oscillators
over here that are generating the sound
| | 00:19 | that we're hearing that then we're
filtering, except instead of it being an
| | 00:22 | audible signal, it's sending a control signal.
| | 00:25 | So it sends a periodic waveform just
like these, like a triangle waveform.
| | 00:28 | And instead of it outputting to the
output, it's sending that signal to either
| | 00:33 | this filter cutoff so that it can
modulate this cutoff in a periodic way--so
| | 00:38 | back and forth, and that's essentially
what a wah effect is--or if I have this
| | 00:44 | control and I move it over to the left,
Vibrato, it's going modulate the pitch
| | 00:49 | and will do it in a consistent, constant way.
| | 00:52 | So let's explore exactly what that is.
| | 00:55 | In the center position,
right now there's no modulation.
| | 00:58 | So if I play, it's just static.
(music playing)
| | 01:01 | There's no vibrato. There's no wah.
| | 01:03 | If I move this to the right, we're
going to get a bit of filter modulation.
| | 01:07 | (music playing)
So you can hear the filter sweeping.
| | 01:11 | It's happening pretty slow.
| | 01:13 | So beneath it, I've got the speed control here.
| | 01:15 | This is going to adjust the rate of the
filter modulation. And then I can move
| | 01:21 | this further to the right for more intensity.
| | 01:26 | So it has this wah-wah sound when I do that.
(music playing)
| | 01:29 | And when you are exploring that, it's a
good idea to also mess around with your
| | 01:32 | starting place with this cutoff.
| | 01:34 | So I'll move this down a little further.
(music playing)
| | 01:37 | So if you want a more extreme effect,
you can have your cutoff starting a
| | 01:41 | little bit more closed.
(music playing)
| | 01:47 | It's also fun to mess
around with the Resonance too.
| | 01:49 | (music playing)
It really can have a talkative quality to it.
| | 01:55 | So that's the Wah, and we set this back
in the center and there's no modulation.
| | 02:00 | So I'll open up the filter and
turn down the resonance for a moment.
| | 02:03 | And if we want to modulate the pitch
in a constant way--so, give it vibrato--
| | 02:07 | I'm going to take this control and move it to the left.
(music playing)
| | 02:12 | So if I move it just a little
bit, it's going to be subtle,
| | 02:14 | so a just a small amount of pitch vibrato
or pitch modulation. And as I bring it
| | 02:21 | to the left, it's going to
be a wider range of pitches.
| | 02:23 | If you take all the way to the left,
it's pretty extreme, big range. And then
| | 02:30 | again, I can control the speed
of that here with the Speed dial.
| | 02:37 | So you can have it be really slow, really
fast, or anything in between. And if I
| | 02:43 | don't want it to be such a range
of pitches, I'll dial it back a bit.
| | 02:50 | And so one sound that I think is kind
of a classic thing and sort of a nostalgic
| | 02:54 | vibe is you give a little bit of vibrato.
| | 02:56 | So it can be pretty slow or sort of
medium speed and just a small amount of
| | 03:02 | vibrato and a long release.
(music playing)
| | 03:08 | Just because of that pitch variation,
at least for me, it makes me think of vinyl or
| | 03:11 | tape and how it has that inconsistency in pitch.
| | 03:15 | Another way to add more movement to
the sound, and also we can add more
| | 03:18 | aggression, is with the
built-in chorus and overdrive, so
| | 03:21 | let's check those out next.
| | Collapse this transcript |
| Tweaking the Overdrive and Chorus settings| 00:00 | One way to really add to the sounds
you're creating in ES P is to take advantage
| | 00:04 | of its built-in Chorus and Overdrive effects.
| | 00:07 | So the Chorus effect, basically what's
that going to do is it's going mix in a
| | 00:12 | delayed and detuned version of
the signal back with the original.
| | 00:16 | So I'll play the sound. This is with no Chorus right now.
(music playing)
| | 00:21 | So it's fairly static sound, fairly
upfront, and so I'll bring in the Chorus effect.
| | 00:26 | (music playing)
| | 00:29 | So you can immediately hear that it
makes the stereo image of it, makes it
| | 00:33 | definitely more stereo, and it
brings more movement into the sound.
| | 00:38 | It also pushes it a little bit
further into the background.
| | 00:41 | It's, like, wider but further back.
| | 00:43 | So let's listen to it without Chorus.
(music playing)
| | 00:46 | So it's upfront, very centered, and
not all that stereo. And then with Chorus,
| | 00:51 | it's wider, but it's also going to push
it back further in the context of the mix.
| | 00:57 | We can also use the Overdrive.
| | 00:58 | That's the other built-in effect that's
very useful, and that's going to saturate
| | 01:02 | the signal and make it
more crunchy and distorted.
| | 01:06 | So here's without any Overdrive, and
then I'll just slowly increase the amount.
| | 01:11 | (music playing)
| | 01:14 | So it also increases the level, so you
want to be careful and make sure that your
| | 01:17 | master level isn't up too loud.
| | 01:24 | So you can get really aggressive
sounds with high Overdrive settings.
| | 01:27 | It's also going to affect how the
filter reacts, and Resonance especially.
| | 01:31 | So when you have sort of a higher
resonance amount, you can really get
| | 01:35 | the filter to scream.
| | 01:36 | It's got a lot of really aggressive sounds.
| | 01:45 | And of course, you can blend the two,
have a little bit of Overdrive and a
| | 01:48 | little bit of Chorus.
| | 01:49 | You can use the cooking analogy where a
little bit of things can go a long way,
| | 01:53 | and you don't want to use too
much salt if you are cooking;
| | 01:56 | too much just ruins things.
| | 01:57 | So the same is true with both Chorus and Overdrive.
| | 02:00 | You want to start out with small
amounts, and then you can increase it as you
| | 02:03 | need it, but it's easy to overdo it on effects.
(music playing)
| | 02:19 | So both are really good ways to add
character and aggression to the sound.
| | 02:24 | So now that we've taken a look at
the interface of ES P and how to use the
| | 02:28 | oscillators and filter and envelope and effects,
| | 02:31 | let's check it out in a musical example.
| | Collapse this transcript |
| Composing with the ES P| 00:00 | So let's hear ES P in action.
| | 00:02 | I've got this little song here that's
basically five instances of ES P that's
| | 00:08 | creating all of the synth and melody
and pad sounds and things like that, and
| | 00:12 | then the drums are made with Ultrabeat.
| | 00:15 | So let's check it out, and then
I'll talk you through what's going on.
| | 00:17 | (music playing)
| | 01:00 | So in this example here, I've
got a couple of things going on.
| | 01:03 | The great thing is that ES P has
such a range, because it has all the
| | 01:07 | different waveforms in the
oscillator section, so it can serve a lot of
| | 01:10 | different functions.
| | 01:11 | So the first track that I've got
up here is just this sub-bass sound. So I'll play it for you.
| | 01:15 | It might be hard to hear if you have
small speakers because it's very filtered
| | 01:18 | down. And I'll open up the interface so
you can see, I've got this filter cutoff.
| | 01:22 | It's very far filtered down.
| | 01:25 | So let's listen to that.
(music playing)
| | 01:30 | So this is happening
simultaneously with the kick drum.
| | 01:33 | It's just an accent.
| | 01:34 | It's supposed to sort of blend in.
| | 01:35 | Now I'll actually play the two
together so you can hear them together.
| | 01:37 | (music playing)
| | 01:43 | So the kick drum is happening
simultaneously with this sub sound, and they sort
| | 01:47 | of come together to make this one thing.
And I just have this one little offbeat
| | 01:53 | accent that sort of move things forward
that's not happening with the kick drum.
| | 01:56 | So the next sound that's
happening, I called this ESP_Euphoria.
| | 02:00 | It's sort of the cliche
trancey sound that's growing over time.
| | 02:04 | So I'll play that, and I'll
open the interface as well.
| | 02:06 | (music playing)
| | 02:12 | You can see one of the things I'm
automating is the intensity of this ADSR
| | 02:17 | envelope modulating the filter cutoff.
| | 02:24 | So that makes it very dynamic where I can
get all these accents that kind of jump out.
| | 02:31 | And so as this goes on, it increases
in energy because I'm sending to a reverb,
| | 02:38 | and I increase the amounts that send
and so that just makes this more dramatic,
| | 02:42 | euphoric kind of thing that happens with it.
| | 02:46 | So again, sometimes if there's no,
for example, there's no envelope for this
| | 02:51 | envelope amount for the filter cutoff,
nor is there an LFO, but I can always use
| | 02:55 | track automation to make something move around.
| | 02:58 | So if we can just take a look here,
| | 03:01 | so if I click on the track and I
press A so you can view the automation,
| | 03:04 | there's a couple of things
that are automated actually.
| | 03:07 | The reverb send is, that's as this is building,
| | 03:10 | there's more amount sent to the reverb.
| | 03:12 | And then with ES P, I've got
this ADSR intensity for the filter.
| | 03:17 | That's modulating as well. And that
helps so that I can get more accents or
| | 03:21 | less accents happening.
| | 03:23 | And so I just sort of did it as I was
listening to it, just move this knob here.
| | 03:27 | And show you how to use
automation if we wanted to add more,
| | 03:31 | we can add something else here too.
| | 03:33 | Maybe what I can do is ride the
levels of one of these oscillators as well,
| | 03:36 | because that's something
else that we can automate.
| | 03:38 | So what I'll do is change the
automation mode from Read to Latch.
| | 03:43 | What that allows me to do is to move
any parameter on the interface here and
| | 03:49 | it will write the automation.
| | 03:50 | When I let go of the parameter, it
will just continue to write whatever that
| | 03:55 | last value that it set.
| | 03:57 | So I'm going to automate in some
sawtooth waveform into the sound.
| | 04:00 | Now let's do it in context.
(music playing)
| | 04:11 | So you can see that it's
writing this automation.
| | 04:15 | Currently, it's behind the interface.
(music playing)
| | 04:20 | I'll increase the amount of sawtooth waveform.
(music playing)
| | 04:35 | And then just so you can see, even when
I'm moving this, even if there's not a
| | 04:38 | region there, it will
continue to write the automation.
| | 04:41 | So it follows all my movements.
| | 04:43 | And then when I'm done writing the
automation, I want to make sure to switch it
| | 04:47 | off of Latch and back to Read.
| | 04:51 | And if I move this out of the way
then it's going to follow all those
| | 04:54 | automations that are written.
| | 04:56 | So it's very useful thing to do.
| | 04:58 | So the next track beneath that
we've got, it's kind of a lead sound.
| | 05:02 | It's functioning in a couple of different ways.
| | 05:04 | It starts out as the initial sound here.
| | 05:06 | It's this little wobbly sound.
| | 05:07 | It's on its own and then
everything else kind of kicks in.
| | 05:10 | If I hold this track, it's actually
just really filtered down, so the cutoff
| | 05:16 | frequency, and so now you
can hear it kind of come in.
| | 05:18 | (music playing)
| | 05:24 | So I've automated that cutoff, and it
grows over the course of this. And notice
| | 05:29 | that there's a lot of overdrive in this.
| | 05:30 | This is a pretty crunchy sound, and it
also has a lot of noise in it, because I've
| | 05:33 | got this noise oscillator.
| | 05:36 | So the reason why that's useful is as the
energy builds and I open up the filter,
| | 05:42 | the noise just gives it a
lot of chaos to it and energy.
| | 05:45 | So it's kind of nice, because the white
noise can be pretty harsh, but when it's
| | 05:50 | really filtered down, you don't notice
it, because the signal is very filtered.
| | 05:54 | So like in the beginning and as it's
building, you don't really hear the white
| | 06:01 | noise until the filter is all the way open.
| | 06:02 | So now we can start to hear
the signal is coming in.
| | 06:05 | We can hear all these different waveforms
playing together. And you can hear the overdrive.
| | 06:10 | It's giving that little edge
to it, a little bit of bite.
| | 06:14 | We still don't really hear the noise
too much until the filter reaches until
| | 06:17 | about now. And it just gives you that
extra edge when all the energy of the rest
| | 06:24 | of this has built up.
| | 06:27 | And so I also automated
that frequency cutoff there.
| | 06:32 | Typically, I could use this Wah
parameter to modulate the filter cutoff to
| | 06:36 | have it do a consistent pattern, but I
wanted it to sort of speed up, so I just
| | 06:41 | wrote that as automation.
| | 06:42 | So I'll show you that.
| | 06:44 | So if you look at the cutoff here--and
I'll just zoom in--so you can see it's kind
| | 06:49 | of this crazy pattern.
| | 06:50 | So I just use the mouse to
write automation as well.
| | 06:53 | So if I wanted to add a node,
I could just click and add a node.
| | 06:58 | Click again to get rid of it.
| | 06:59 | So if you're patient, you can write
any automation pattern that you want.
| | 07:04 | So this sort of thing just takes a little bit
of time, but sometimes it's worth the result.
| | 07:09 | So then the other sound that we've got
in here is this Moody Pad sound, and you
| | 07:15 | might notice that this is kind of a
theme with most of these little example
| | 07:18 | songs that it'll have some sound that's
kind of off in the background that's creating
| | 07:23 | more three dimension.
(music playing)
| | 07:24 | So the sound here is just kind of filtered down.
(music playing)
| | 07:31 | It has a lot of chorus on it so that
it pushes everything in the background.
| | 07:36 | It's just a triangle waveform, so
there's not many harmonics in it, and
| | 07:39 | it's filtered down.
| | 07:40 | (music playing)
It has a lot of resonance.
| | 07:44 | And because of that, we're getting
that extra strange frequency in there that
| | 07:47 | gives it a bit of dissonance.
| | 07:49 | So I'm going to adjust the cutoff
filter so you can hear what that sounds like,
| | 07:53 | because that's going to change
the pitch of the whole thing.
| | 07:55 | (music playing)
| | 08:00 | So when I've got my resonance this
high, it's basically the filter is
| | 08:06 | oscillating a whole nother
signal that I can try to tune.
| | 08:14 | So it's subtle, but it's just a nice
thing in the background, just to give it
| | 08:17 | contrast against
everything else that's all euphoric.
| | 08:20 | So that's ES P in action.
| | Collapse this transcript |
|
|
4. The ES1 Software SynthesizerGetting started with the ES1| 00:00 | Hi! I'm Brian Trifon.
Welcome to Virtual Instruments in Logic Pro.
| | 00:04 | In this chapter we will be
exploring the ES 1 software synthesizer.
| | 00:08 | ES 1 generates its sound through
subtractive synthesis, and emulates the circuits
| | 00:13 | and character of an analog synth.
| | 00:15 | ES 1 is one of my favorite instruments
in Logic because of its simple interface,
| | 00:19 | flexible modulation options, and
most importantly, it sounds awesome.
| | 00:23 | In the following videos I'll show you
how to balance and set the primary and
| | 00:27 | sub-oscillator to create a solid
foundation of sound, which we'll then shape with
| | 00:31 | the excellent-sounding variable slope
lowpass filter. Next, I'll show you how to
| | 00:36 | use the Key Follow function of the
lowpass filter to achieve an even response
| | 00:41 | across the entire range of the keyboard.
| | 00:43 | Then I'll show you a very cool way to
use Key Follow of the filter to control
| | 00:47 | the pitch generated when the filter
begins to self-oscillate and you have
| | 00:50 | high resonance values.
| | 00:51 | Next, we will take a look at the ADSR
envelope as applied to both the amplifier
| | 00:56 | and filter, and I'll show you how to
add movement and expression to your synth
| | 01:00 | sound with the LFO and Modulation envelope.
| | 01:02 | We will wrap things up with a look at
the global settings, chorus effect, and
| | 01:07 | sidechain processing that are all part of ES 1.
| | 01:09 | Let's hear ES 1 in action.
| | 01:11 | (music playing)
| | Collapse this transcript |
| Exploring the signal flow of the ES1| 00:00 | Let's explore the signal flow in ES 1.
| | 00:03 | It's like we have seen before with
some of the other Logic synths; there are
| | 00:05 | three main components to
any subtractive synthesizer:
| | 00:08 | there is an oscillator section, a
filter section, and an amplifier.
| | 00:12 | So in ES 1, if you are looking at the
top half here, we have got the oscillator
| | 00:16 | section on the left. And one thing
that's neat about this is we've got a
| | 00:20 | primary oscillator and then beneath that a
sub-oscillator, and we can blend between the two.
| | 00:25 | In the center, we've got a lowpass
filter with variable slope and a drive input
| | 00:31 | to saturate the input of the filter.
| | 00:33 | On the right, we've got the amplifier
section where we can control the output of ES 1.
| | 00:37 | Beneath that, we have the Modulation section.
| | 00:40 | So, most of the parameters down here
are going to control some aspect of the
| | 00:45 | three main components above.
| | 00:47 | We have this router section, and that's
where we can choose the destination for
| | 00:50 | any of the modulation that's happening.
| | 00:52 | So, one of the modulators is
this LFO, low-frequency oscillator.
| | 00:57 | It's very much like the oscillators
that are above that generate waveforms, but
| | 01:01 | the difference is the low-frequency
oscillator is generating a control signal. So
| | 01:05 | it's not something that we actually hear;
| | 01:07 | it's just sending a periodic waveform
that's going to modulate some parameter.
| | 01:11 | We choose that parameter in
the router that's in the center.
| | 01:13 | Here we have got the Mod envelope,
and that's also a modulation source.
| | 01:18 | It's kind of a simplified envelope,
much like we've seen with this ADSR or
| | 01:22 | in some of the other instruments we've seen,
more simplified attack and release envelopes.
| | 01:26 | So this is a variation on that that can
also be assigned to modulate a number of
| | 01:31 | destinations that you can choose in the router.
| | 01:33 | The ADSR envelope is wired into the
amplifier, so it's going to shape the
| | 01:38 | volume of the sound.
| | 01:39 | We can also use it to
modulate the filter cutoff as well.
| | 01:43 | Over on the far left, we've
also got the glide control.
| | 01:46 | This will allow us to
transition smoothly between nodes.
| | 01:49 | We can adjust the amount of time it takes.
| | 01:51 | Beneath this section we've got the
global section, so here we can do the
| | 01:55 | fine-tuning adjustments
to the entire instrument.
| | 01:57 | It has an Analog parameter here.
| | 02:00 | What this is going to do is it's going
to create some randomness in the sound.
| | 02:03 | So it'll randomly offset the tuning and
the filter cutoff, just to give it a more
| | 02:08 | analog and lifelike sound.
| | 02:09 | We have got the pitch-bend range here,
where both positive and negative can go up
| | 02:14 | to twenty-four semitones, which is two octaves.
| | 02:16 | Then we've got the Output Level.
Next to that we've got the Voice controls.
| | 02:21 | ES 1 is a polyphonic synthesizer, so
we can have it be all the way up to sixteen
| | 02:25 | voices, we can set it down to one
voice so that it's monophonic, and it has
| | 02:30 | another mode that we haven't seen before.
| | 02:32 | If I take this past 16, it's the Legato
mode, and what that's going to do is
| | 02:37 | allow us to play notes that are next
to each other, so it'll be monophonic, but
| | 02:41 | it'll play notes, but it
won't retrigger the envelope.
| | 02:43 | So we'll explore that a little later.
| | 02:45 | ES 1 also has a built-in chorus effect.
Taking a look here, it actually has three:
| | 02:50 | there is the Chorus1 that we saw in ES E
that's just a basic modulated course
| | 02:56 | sound; the Chorus2, which is a heavier
modulation; and the Ensemble, which has
| | 03:02 | more complex modulation routing for the chorus.
| | 03:04 | One of the hidden parts of the
interface, if you click on this disclosure
| | 03:07 | triangle at the bottom, is you can
adjust the negative pitch-bend range
| | 03:11 | independently of the positive one.
| | 03:13 | So right now, it's set to the same as
the positive pitch-bend range, but if I
| | 03:17 | want to set it to something different,
I can move the slider here and
| | 03:21 | adjust it in semitones. And if I want to
set it back to its default, I can hold
| | 03:25 | down Option and click and
it's going to set it back.
| | 03:28 | So let's take a look at the oscillator section.
| | Collapse this transcript |
| Using the oscillator and sub-oscillator| 00:00 | So let's take a look at the
oscillator section for ES 1.
| | 00:03 | So over on the far left, we can choose the octave.
| | 00:05 | It has it in terms of feet, and that
terminology comes from pipe organs.
| | 00:09 | So we've got 4 feet, 2 feet, 8 feet, 16
feet, 32 feet. So the bigger the number,
| | 00:15 | or the more feet, the longer
the pipe, the lower the note.
| | 00:19 | So right now I've got 4 feet. And if I
were to play 8 feet, that's going to be an
| | 00:23 | octave lower. And 16 feet, that's an octave
below that, and 32 feet's an octave below
| | 00:30 | that. And then of course, 2
feet is an octave above 4 feet.
| | 00:36 | The rest of the oscillator section
here we have got a primary oscillator and
| | 00:40 | beneath that a sub-oscillator, and we've got
a mixed control to balance between the two.
| | 00:44 | So before I dig in, what I'd like to do
is actually change the setting that we
| | 00:48 | have here because the default setting
when you open up ES 1 kind of has a lot
| | 00:51 | of things going on.
| | 00:52 | So I want to select a patch
that's a bit more neutral.
| | 00:56 | So I am going to go to this
Preset menu up top, select ES 1 Start.
| | 01:01 | So what happens here is we've got the
Mix slider all the way to the top, so all
| | 01:05 | we are going to be focusing on
right now is this primary oscillator.
| | 01:08 | So what I can do is select the
waveform with this knob right here.
| | 01:12 | So it's set to a sawtooth waveform, so
I can play that, and then if I move this
| | 01:18 | here, move it to a triangle. Or if I go
up here, I can move it to a square wave.
| | 01:27 | The cool thing about this square wave here
is I can actually adjust the symmetry, so
| | 01:30 | I can adjust the pulse width of it
by moving this further to the right.
| | 01:38 | You can hear the sound gets much thinner
as I go and adjust the symmetry all the
| | 01:46 | way to the point where
it's just a very thin sound.
| | 01:50 | And notice that movement. That might be
something later that we want to modulate
| | 01:54 | or have move around in our sound,
because it's an interesting texture. So that's
| | 01:57 | the primary oscillator.
| | 01:59 | The sub-oscillator is down here.
| | 02:01 | What I am going to do is adjust the Mix
slider so that it's fully down in sub-oscillator.
| | 02:05 | So right now if I play, I get silence, and
that's because this oscillator is turned off.
| | 02:12 | So what I can do is change this here
and select any number of these waveforms.
| | 02:17 | So we've got some interesting waveforms
here. There is the square wave, and it's
| | 02:22 | going to be an octave below the
primary oscillator that's above.
| | 02:26 | Some of these are actually two octave below.
| | 02:27 | I have got a couple of pulse waves here,
and remember a pulse wave is basically
| | 02:32 | just a square wave, but
it's lacking in symmetry.
| | 02:35 | So that's two octaves
below the primary oscillator.
| | 02:38 | We've got another pulse wave here,
and we've got a blended pulse wave and
| | 02:45 | sawtooth waveform here, and
then another variation on that.
| | 02:50 | Furthermore, we've got a noise generator, so we
can generate white noise, and an external input.
| | 02:58 | And so what this allows us to do is
use the sidechain input on ES 1 to run
| | 03:02 | an audio signal through the whole
synthesizer aspect of ES 1. So you can run
| | 03:07 | it through the filter and run it through
the envelopes, so it's a pretty cool feature.
| | 03:10 | So one of the main things you'll
want to do once your get head around the
| | 03:13 | sub-oscillator is to find a good balance
between the primary and sub-oscillator.
| | 03:19 | So let me explore that. I'll set this
to one of the pulse waves. And so I can
| | 03:25 | adjust this Mix slider
| | 03:28 | and try and get a good blend
between the two. And it's good to experiment
| | 03:32 | with the other waveforms as well, so we
can try sawtooth waveform for the primary
| | 03:36 | oscillator. We can try a
different waveform for the sub-oscillator.
| | 03:41 | So even adjusting the balance, that
might be an interesting sound too, so
| | 03:50 | we'll keep that in back for mind for later
when we are thinking about things to modulate.
| | 03:54 | So next, let's take a
look at the filter section.
| | Collapse this transcript |
| Tweaking the filter| 00:00 | All right. Let's check out the filter here.
So we've got a lowpass filter, and the cool thing
| | 00:05 | about this one that we haven't seen so
far is you can actually adjust the slope.
| | 00:09 | So right now, it's set to 24 dB per
octave, fat, and notice there's another
| | 00:15 | one that's 24 dB, classic.
| | 00:19 | So before we get into the differences
between those, which we will, a lowpass
| | 00:24 | filter, if you remember from the previous
videos, it's going to cut out the high frequencies.
| | 00:29 | So right now, I have it mapped to a
knob on my keyboard controller, and that
| | 00:35 | makes it just easier to make these
kind of adjustments. If you want to do that
| | 00:39 | yourself, make sure to refer back to
the video on assigning controllers.
| | 00:43 | So I'll go ahead and bring down
the cutoff on this filter.
| | 00:48 | We can hear it's cutting out the
high frequencies, and the waveform looks
| | 00:53 | smoother. It looks more like a sine wave
because there is less harmonics in it.
| | 00:56 | (music playing)
| | 01:01 | And then we've got the same controls
that we've seen before with the Resonance
| | 01:03 | control, which is going to create a
little boost or a peak at the cutoff point.
| | 01:08 | So with these different filter slopes
here, what they are going to do is cut out
| | 01:12 | high frequencies at different amounts.
| | 01:16 | So a 24-dB filter, what that's going
to do is cut out high frequencies at a
| | 01:22 | faster rate, so it's a steeper
slope, than something like this
| | 01:25 | 12 dB per octave here, so it's a more
gentle slope. And then there's also sort
| | 01:31 | of one that's in the
middle here, 18 dB per octave.
| | 01:35 | And so what they are trying to do with
ES 1 was actually model the filters on a
| | 01:39 | couple of analog
synthesizers that are out there.
| | 01:41 | So the 18 dB per octave is like the
lowpass filter on the Roland TB-303,
| | 01:47 | which is like the classic ACID
synthesizer from ACID House music, and that's
| | 01:52 | still actually very popular, very valuable.
That had an 18-dB-per-octave lowpass filter.
| | 01:58 | There is Oberheim filters on the SEM
since from the '80s that were 12 dB per
| | 02:03 | octave, and some of the mode
filters are 24 dB per octave.
| | 02:06 | So that's why it gives you choices.
| | 02:08 | Another way to visualize this and to
understand kind of what's happening is to
| | 02:13 | take a look at the channel EQ in Logic.
| | 02:15 | So the first thing I want to do with
this channel EQ is just I want to adjust
| | 02:22 | the scaling of the amplitude, just so
that it's easier to see what we are doing.
| | 02:27 | And I'll turn on the Analyzer, and I
am going to set the Resolution to High.
| | 02:30 | So what I can do is engage the
lowpass filter over here and so when I play a
| | 02:35 | note then I can adjust the cutoff here,
| | 02:42 | so just like the lowpass filter in
ES 1, just like the lowpass filters that
| | 02:45 | you've seen in the other synths.
(music playing)
| | 02:48 | Notice that I can actually choose
the slope here, just like in ES 1.
| | 02:51 | So right now, I have it set to 12 dB per octave.
(music playing)
| | 02:57 | So when I change this to something
different, like 18 dB per octave, you can see
| | 03:01 | now it has a steeper slope. And for the
sake of showing example here, I'll do 24
| | 03:06 | per octave--it's a steeper slope.
And this EQ actually I can go to higher
| | 03:10 | slopes, so I can set it all the way
to 48 dB per octave and you see it's a
| | 03:13 | really steep cutoff there.
| | 03:15 | So what that's going to do is it's
going to cut out the high frequencies faster, or
| | 03:18 | in a more aggressive way.
| | 03:22 | So it's filtering it down in a much
more aggressive way than if I have this set
| | 03:27 | to, for example, 12 dB per octave.
(music playing)
| | 03:35 | And then the Resonance control that we
have on ES 1 filter, that's essentially
| | 03:38 | like this bandwidth control.
| | 03:39 | What it's going to do is at the cutoff
point, which is right here, it creates a
| | 03:43 | little EQ peak or boost, and so the
frequencies around this cutoff point, they
| | 03:48 | resonate. That's why they call it resonance.
(music playing)
| | 03:55 | It's interesting to explore
resonance with different slopes as well.
| | 03:58 | (music playing)
So that's how that works on an EQ.
| | 04:04 | Let's go back to ES 1 and
hear what it sounds like.
| | 04:08 | So I'll adjust the cutoff.
(music playing)
| | 04:12 | This is the 24 dB per octave.
(music playing)
| | 04:15 | I can adjust the resonance here.
(music playing)
| | 04:24 | The resonance gives it more of a vowel
quality, and if I increase the Resonance
| | 04:27 | even more, then it almost
oscillates a whole nother frequency there.
| | 04:33 | We'll explore that more, because you can do
some really neat musical things with that as well.
| | 04:38 | So you might be wondering, okay,
there is 24 dB fat and 24 dB classic, so
| | 04:43 | what's the difference.
| | 04:45 | Essentially the slope is the same
between the 24 dB fat and classic; the
| | 04:48 | difference is with classic mode, when
you have increased resonances, you lose a
| | 04:53 | little bit of bass response.
| | 04:55 | So the 24 dB fat setting, you don't lose
any bass as you increase the resonance.
| | 05:00 | (music playing)
It's a very subtle difference.
| | 05:05 | I'll play the classic one.
(music playing)
| | 05:11 | So what you have to do is just,
depending on what you're playing, is try both.
| | 05:15 | If you like the sound of the 24 dB fat,
try the classic and see which sounds
| | 05:19 | better for the part that you're working on.
| | 05:21 | So the other aspect of this filter that
we've got here is this drive setting here.
| | 05:27 | So this allows us to overdrive the
input on the filter, to saturate the filter
| | 05:31 | more, so I'll adjust that here.
(music playing)
| | 05:38 | You really notice that more when you
have some resonance, like now. You can hear
| | 05:42 | it's almost adding in a harmony into
that sound. Here, I'll bring it down.
| | 05:49 | So can hear something kind of
disappears from the sound. I'll increase the
| | 05:52 | drive, so you really
notice it with the resonance.
| | 05:56 | It's not a really extreme effect; it's
not like the overdrive that we saw on ES M
| | 06:02 | or ES P, in terms of it distorting the
sound in a really heavy way, and that's
| | 06:06 | partly because this drive setting here
is the input to the filter where in those
| | 06:10 | cases it's happening after the filtering.
| | 06:13 | So that's most of the filter settings.
| | 06:16 | The one other thing that we'll come
back to, but I'll mention right now, is this
| | 06:20 | ADSR via Velocity. And so this is
actually related to the filter, and what this
| | 06:25 | will allow us to do is when we get to
this ADSR filter down here, it'll allow us
| | 06:28 | to use that to modulate the filter cutoff.
| | 06:31 | Next, let's take a look at how the
Key Follow function of the filter works.
| | Collapse this transcript |
| Using key follow on the cutoff| 00:00 | So we have this Key Follow parameter here
that's going to allow the keyboard, so the
| | 00:05 | notes, like, different octaves ranges of the
keyboard to modulate the filter cutoff.
| | 00:10 | So there is a couple of
reasons why this is useful.
| | 00:13 | So the first thing, I kind of set these
filter positions to something more neutral.
| | 00:17 | When you play an instrument, typically
what happens is lower notes tend to be a
| | 00:22 | bit darker and higher notes tend to
be brighter, and it's not just the pitch
| | 00:26 | difference that causes that.
| | 00:28 | Sometimes what happens with the
synthesizer is that the low notes will sound
| | 00:32 | relatively brighter than higher notes.
| | 00:34 | So if I am playing this A, if it's
lower on the keyboard and I play one
| | 00:39 | that's a couple octave higher, obviously
the A that is higher is higher in pitch,
| | 00:45 | but the low one sounds a little bit
bright compared to what you would normally
| | 00:49 | expect for an organic instrument.
| | 00:51 | So what key tracking allows, or Key
Follow, is for the filter cutoff to adjust
| | 00:58 | depending where you are playing on the keyboard.
| | 01:01 | So if I set the cutoff somewhere in the
middle here and I have this Key Follow
| | 01:05 | engaged, what I'll do is I will
play that same A that was lower. You can hear
| | 01:10 | it's kind of filtered down.
I will play A up higher.
| | 01:15 | So if I get rid of key tracking here,
you can hear that when I play that lower
| | 01:20 | one, it's brighter than it was with
key tracking, and that's because it's more
| | 01:24 | filtered down lower, and higher up,
it's going to open up the filter.
| | 01:28 | And again, it doesn't animate that
process, but that's what's happening
| | 01:31 | underneath the hood.
| | 01:32 | So I will set it to a setting
that's a little bit more open.
| | 01:34 | Let's listen to that.
| | 01:35 | So here is with Key Follow. So it's
filtered down. And I'll get rid of Key Follow.
| | 01:40 | You can hear it's definitely brighter now.
| | 01:45 | In between that range, the filter
is going to track; it's going to be
| | 01:51 | a one-to-one correspondence between the
filter cutoff and the pitches I am playing.
| | 01:55 | So that's one useful feature of Key
Follow is that it's going to create a more
| | 01:59 | natural sound across the
entire range of the keyboard.
| | 02:02 | So that's one goal.
| | 02:03 | Another thing that's actually really
cool about it is when we self-oscillate
| | 02:07 | the filter, it can actually play
the filter as another oscillator.
| | 02:12 | So I will show you what that is, and
then you can explore how Key Follow
| | 02:16 | interacts with that.
| | 02:17 | So what I want to do is set this
to turn off all sound, basically.
| | 02:21 | So what I am going to do is set my
sub-oscillator to off, and you can set the Mix
| | 02:26 | between the primary and sub-
oscillator all the way down to sub-oscillate.
| | 02:29 | So now what's happening is there is
no signals coming from the oscillator.
| | 02:32 | So I am playing notes in the keyboard
and there is nothing really happening.
| | 02:35 | I am just getting this little click,
but we are not hearing any sound that's
| | 02:39 | being generated from that.
| | 02:41 | So when I increase the Resonance here,
| | 02:48 | when I play a note, you can hear a pitch.
(music playing)
| | 02:52 | So if I don't have Key Follow engaged,
first of all, it's going to be a higher
| | 02:57 | pitch, secondly, it doesn't
really track normally on the keyboard.
| | 03:01 | But I can adjust this pitch by
adjusting the cutoff. All right!
| | 03:07 | So wherever my cutoff is, it's
basically adjusting the frequency.
| | 03:11 | You can see it's a perfect sine wave.
So this is like adding a whole nother
| | 03:14 | oscillator to the synth.
| | 03:15 | I am going to use this with my controller here.
| | 03:19 | I can adjust the cutoff. All right!
(music playing)
| | 03:26 | So it sounds kind of sci-fi.
| | 03:30 | Now if I engage the Key Follow,
I can actually play this filter.
| | 03:35 | So I am going to first have to set it
to a range that's audible, and now I will
| | 03:40 | just play chromatically on the keyboard.
(music playing)
| | 03:42 | We can hear that it's tracking the pitches.
| | 03:47 | So it's this one-to-one relationship
between this filter cutoff and the keyboard.
| | 03:55 | So, that actually makes it really
useful because this is a whole nother
| | 03:58 | tonality that we can add into the sound.
| | 04:00 | So let's actually get
this oscillator back in here.
| | 04:03 | So I will set this back to one of the waveforms.
| | 04:05 | So you can hear that now it's blended
in. You can hear the high part of this.
| | 04:14 | That's happening from the filter,
because right now we have got the mix all the
| | 04:17 | way down to the sub-oscillator.
| | 04:18 | So we are not even
hearing the primary oscillator;
| | 04:20 | we are hearing the sub-oscillator, and
then we are hearing the filter with its
| | 04:25 | resonance so high that it's self-oscillating.
| | 04:27 | So it is generating this other
sine wave that's on top of it.
| | 04:30 | So you can get some really cool sounds
from that, and I can try adjusting the
| | 04:35 | cutoff here to a different position.
(music playing)
| | 04:44 | Even little bit dissonant. And we
will track that as well. That's sort of
| | 04:49 | the starting place.
(music playing)
| | 04:54 | So there's a whole range of sounds you
can create with that. That's really cool.
| | 04:57 | And if I turn off Key Follow, you
can hear what's going to happen.
| | 05:03 | I just have this loud resonate
ringing. It's not really following the
| | 05:08 | sub-oscillator. It's not really
following the notes I am playing.
| | 05:11 | So that's where Key Follow is also
really useful so you can have this
| | 05:16 | self-oscillation happening.
| | 05:19 | It's like having a whole
nother oscillator in the instrument.
| | 05:21 | So next, let's check out the amplifier section.
| | Collapse this transcript |
| Exploring the amplifier section and ADSR| 00:00 | Let's take a look at the amplifier section in ES 1.
| | 00:03 | So what we have got here--it looks very
basic at first--is just a slider.
| | 00:08 | So this controls the output level.
(music playing)
| | 00:13 | So it makes it louder or softer.
But notice this slider splits.
| | 00:18 | What this allows us to do is
actually set a velocity range.
| | 00:24 | So much like we saw with some of the
earlier synths with ES M and ES E and ES P
| | 00:29 | where they had velocity control, like a
dial that you could adjust that would
| | 00:32 | give it velocity sensitivity,
| | 00:34 | it's exactly the same thing;
| | 00:35 | it just gives you more fine-tuned adjustment.
| | 00:38 | So I can set an exact range that
I want that the velocity will be.
| | 00:42 | Instead of it being extremely quiet to full-on
volume, I can set it something in the middle.
| | 00:46 | So it's always going to be this
minimum level and if I play really hard, it's
| | 00:50 | going to be this maximum
level that I have set here.
| | 00:53 | So I can set a range here, and
then I can play on my keyboard.
| | 00:56 | You can see I can get the
whole range of different velocities.
| | 01:02 | So a really nice feature. It helps make
playing more expressive and useful.
| | 01:07 | Also one thing to keep in mind that
this volume slider here that's in the
| | 01:11 | amplifier works in
conjunction with this output level.
| | 01:13 | This output level is the maximum
this amplifier level slider can be.
| | 01:19 | If this is set of -3.0 dB, that means
when I have this all the way up, it's
| | 01:24 | going to output at -3.0 dB.
| | 01:26 | The next feature that we have in the
amplifier here is this ADSR gate selection here.
| | 01:32 | That refers to how this ADSR
envelope down here is going to work.
| | 01:36 | This ADSR envelope is attached to the
amplifier and it shapes the volume of the sound.
| | 01:40 | We have taken a look at some envelopes
before, so this is much like the one that
| | 01:44 | we looked at in ES P.
| | 01:46 | It's a four-stage envelope:
| | 01:48 | Attack, Decay, Sustain, and Release.
| | 01:52 | Let's first explore this envelope in
each of the four stages, and then you can
| | 01:56 | take a look at what these buttons do up here.
| | 01:58 | So the attack stage, basically that's
how long it takes for a sound to go from
| | 02:03 | silence to its maximum level.
| | 02:07 | Decay is amount of time, once it's
reached that maximum level, how long does it
| | 02:10 | take for the sound to fade down to
whatever your sustain level is, or back down
| | 02:15 | to silence, if your sustain is 0?
| | 02:17 | Sustain is not an amount of time;
it's actually level. So do I want full
| | 02:22 | intensity here, or do I want it to be
silent. And notice that in terms of the
| | 02:26 | labeling of the sliders, that for the
ones that are based on time, like attack
| | 02:31 | and decay and release,
the range is short to long.
| | 02:35 | And sustain, which is different, gives
you the amount of 0 all the way to full.
| | 02:39 | So that's how you can remember that
there is something different about sustain
| | 02:42 | is just take a look at how those are labeled.
| | 02:44 | Now then the release is once you let go
of the note, how long it takes for it to
| | 02:48 | release, or fade down to silence.
| | 02:51 | So let's explore each of
these just while playing a sound.
| | 02:54 | So right now the setting I have, the
attack is instantaneous and so is the
| | 02:59 | release, and the sustain
is set at the full level.
| | 03:02 | So as long as I am holding the note, it's
going to sustain at that volume until I let go.
| | 03:06 | If I were to just adjust the attack,
give us a longer attack time, the sound is
| | 03:11 | going to fade in over this period of time.
| | 03:14 | So you can see that happening on the
oscilloscope. And so now let's check out
| | 03:20 | the decay parameter.
| | 03:21 | So to make things simple, I am
going to sustain level and put it at 0.
| | 03:25 | So right now I have got the
instantaneous attack--it's really short. And I am
| | 03:30 | going to make her decay time shorter too.
| | 03:31 | So you can see what happened there is that the
sound started immediately and then it fades out.
| | 03:39 | It fades back down to silence over
the amount of time this decay is set.
| | 03:42 | So if I set this for a longer decay, it's
going to fade out over a longer period of time.
| | 03:50 | If I set it shorter, it's going to be shorter.
| | 03:54 | So the next aspect here is sustain.
| | 03:56 | That's the level it's going to
remain at as long as I am holding down the key.
| | 04:00 | So if I have a medium-length decay
and sustain at this particular level, the
| | 04:06 | sound is going to start, it's going to
be at its full volume right away, and
| | 04:09 | then it's going to decay over a pretty
long period of time, and then it's just
| | 04:13 | going to settle on this
particular level, that's sort of half way.
| | 04:17 | So let's see what that looks like.
And actually, to make this a little bit
| | 04:20 | easier, I am going to
make our decay time shorter.
| | 04:22 | So you can see this is the sustain level here.
| | 04:28 | What I am actually going to do is
capture this on the oscilloscope so we
| | 04:31 | can just look at it.
(music playing)
| | 04:38 | So here we have got the attack, in the
very beginning, and that happens right
| | 04:42 | away, and the decay is the portion
where you can see it reaches maximum level,
| | 04:47 | and then it's fading down. And then it
reaches this plateau where it just stays, and
| | 04:50 | that's the sustain level.
| | 04:52 | And then the release is once I let go
of the note, how long does it take for it
| | 04:56 | to fade back to silence?
| | 04:57 | So let's explore that.
| | 04:58 | So I'll turn off this freeze
on this and move this back.
| | 05:06 | So give this a release time. And so
now I let go of the note, and it takes a
| | 05:13 | moment for it to fade down to silence.
| | 05:14 | It will be easier to hear actually if I
have a higher sustain level. So we'll do that.
| | 05:19 | So I am holding the note. I'll let go, and
it takes a moment for it to fade out.
| | 05:25 | If I make the release longer, it
is going to be a longer fade-out.
| | 05:30 | So holding down the note on the
keyboard, and I will let go.
| | 05:33 | You can hear it's slowly fading down.
| | 05:36 | So that's how this ADSR envelope
works, in terms of it being attached to
| | 05:40 | the amplifier, but that's not the only
more mode that it can work with the amplifier.
| | 05:44 | So we have got these buttons up here,
and these determine how this ADSR is going
| | 05:49 | to work with the amplifier.
| | 05:51 | So right now, it's set to ADSR.
| | 05:54 | That means that all four
stages of this envelope are active.
| | 05:58 | If I set this to AGateR, what that
means is that the attack and release
| | 06:04 | portion will be active, but it doesn't matter
what my decay and sustain portions are set to;
| | 06:09 | it won't be listening to
those. So let's try that.
| | 06:12 | So if I have my decay set at 0 and my
sustain at 0 and I have sort of short
| | 06:17 | attack and medium release, typically
if we had this all four stages engaged,
| | 06:22 | we really won't hear anything,
because my decay is so short that the sound
| | 06:26 | immediately decays.
| | 06:27 | So in this AGateR mode or Attack
Release mode, the attack is instantaneous and
| | 06:34 | the release takes a moment.
| | 06:36 | So the decay and sustain, it doesn't matter.
| | 06:38 | I am going to prove my point. We can move
these around and it doesn't make any difference.
| | 06:46 | So this one again, we have got all
four stages active. This GateR, what that
| | 06:51 | means is that only the release stage is active.
| | 06:54 | So I can give this a very long attack
where normally it would fade in, take a
| | 06:57 | very long time to fade in. The sound is
going to start instantly and let
| | 07:02 | go, and it has a long release.
| | 07:04 | So you might be wondering, well, why? Why
wouldn't you always want this control?
| | 07:08 | The thing that's interesting about
this ADSR is that it can also be used to
| | 07:12 | modulate the filter cutoff.
| | 07:14 | So what we can do is if you are making
a sound and you decide okay, I don't really
| | 07:19 | need to customize the decay and
sustain portion of the sound because I know
| | 07:24 | it's just going to sustain, you can
set this envelope to AGateR, and then you
| | 07:30 | could use the decay and sustain
setting to modulate your filter cutoff.
| | 07:34 | So we'd use that with this ADSR via
Velocity, and that's what we will be
| | 07:39 | exploring in the next video.
| | Collapse this transcript |
| Modulating the cutoff with ADSR| 00:00 | You can use the ADSR envelope to
also modulate the filter cutoff.
| | 00:04 | So before we were taking a look at how
the controls up here determine how the
| | 00:08 | amplifier envelope is going to work.
So when I have this AGateR that means, for
| | 00:13 | the amplifier, it's just going to
follow the attack portion and the release.
| | 00:17 | So it doesn't matter what I
do with decay and sustain.
| | 00:20 | What I can do is use this Decay and Sustain
of this ADSR to modulate the filter cutoff.
| | 00:27 | Now when I use this ADSR as a filter
envelope, the filter is going to follow all
| | 00:33 | the different stages of this ADSR;
| | 00:35 | it's not going to only follow Decay and
Sustain. But for this particular setting
| | 00:39 | that I have right now with an
instantaneous attack and a longer release,
| | 00:44 | basically these are going to function
pretty independent in terms of the sound.
| | 00:48 | So I'll set the cutoff to something
little less. And if I want these to work as a
| | 00:54 | filter envelope, I can adjust this
slider right here, this ADSR via Velocity.
| | 00:59 | What this does is it adjusts the
intensity of this ADSR, acting as a filter
| | 01:04 | envelope for this cutoff here.
(music playing)
| | 01:11 | So the amplitude shape is still
exactly the same, but when I adjust my decay,
| | 01:17 | you can hear that it's adjusting the
filter. And if I have the filter actually
| | 01:23 | even more filtered down, you
will really notice it more.
| | 01:30 | So I give this a short decay and I
adjust the filter sustain as well because
| | 01:36 | remember, the sustain, it's not being
used by the amplifier, but it is being
| | 01:40 | used by the filter.
| | 01:43 | So I now have the sustain
level for my filter pretty low.
| | 01:45 | If I make that higher, it's basically
going to open the cutoff on the filter.
| | 01:50 | So I just want to set it to the place
where I want the filter to remain as long
| | 01:55 | as I am holding the note.
| | 01:56 | But I like it kind of filtered down.
So I can give this a longer decay, and see,
| | 02:04 | you can hear that filter happening, and
then I let go and I get the release, and
| | 02:08 | that's happening from the amplifier.
| | 02:10 | So it's kind of a clever way to have this
ADSR doing more than one thing at a time.
| | 02:16 | Now if I change the attack, it's going
to do two things, because this is going to
| | 02:20 | change the attack both of the volume
and the sound so it's affecting the
| | 02:24 | amplifier, but it is also going to
affect the filter too, because this is
| | 02:28 | changing the attack for
this filter modulation as well.
| | 02:31 | So you can hear the sound fade in. You
can also hear the filter open up, and you'll
| | 02:37 | hear the filter more if I increase
the resonance. And then you can hear it
| | 02:42 | close down afterward,
until it reaches its sustain.
| | 02:46 | So it's a very clever implementation.
| | 02:48 | One way that you can take this
another step further is to have velocity
| | 02:53 | affect that as well.
| | 02:54 | So this slider here, it can split
into two, and this sets a velocity range
| | 02:59 | that's actually a modulation range.
| | 03:01 | So I set my maximum--that's this part of
the slider here. You can set the minimum
| | 03:06 | here, and what this allows me to do is
when I play softly, I will get less filter
| | 03:11 | modulation from this ADSR envelope.
(music playing)
| | 03:13 | If I play harder, I get more modulation.
(music playing)
| | 03:18 | So it makes it much more dynamic.
| | 03:20 | So I will decrease the attack, just
so we've got a more punchy sound.
| | 03:26 | You can hear how we can get a
wide range of sounds out of that.
| | 03:29 | So this is definitely useful.
| | 03:31 | We can also give a negative range as
well, and so then the filter envelope is
| | 03:34 | going to act in reverse, and sometimes you
can get some interesting results with
| | 03:38 | that. It's good to explore with the
cutoff, and it's going to work contrary to
| | 03:44 | what you have in the amplifier envelope.
| | 03:46 | So they are kind of working in
opposite directions. The filter
| | 03:48 | envelope is working in an inverted
capacity, and the amplifier envelope is working
| | 03:54 | in its normal way that you would expect,
but sometimes you can get some pretty
| | 03:58 | cool sounds out of that.
| | 03:59 | So next, we will explore how we can
actually modulate the filter, and actually a
| | 04:05 | lot of other parameters, with
the low-frequency oscillator.
| | Collapse this transcript |
| Creating movement with the LFO| 00:00 | One way that I can add constant
modulation to the signal that's periodic is
| | 00:04 | using this LFO that's down here in the bottom.
| | 00:08 | So an LFO is much like an audio-rate
oscillator, like these ones above--the
| | 00:12 | primary oscillator and sub-oscillator--
| | 00:13 | in that it generates a periodic
waveform, so even some of the same types of
| | 00:18 | waveforms: triangle waveform, square waveform.
| | 00:21 | The difference is instead of sending
to the amplifier so that we can hear the
| | 00:25 | signal, it's sending a control signal.
| | 00:27 | For example, I could assign
this to modulate the filter cutoff.
| | 00:32 | And instead of it being like an
envelope where it's a one-time deal, it's going
| | 00:36 | to consistently modulate this cutoff in
a periodic way. And I can set the rate
| | 00:41 | with this Rate control here.
| | 00:43 | So you can see that goes in hertz.
| | 00:45 | Hertz are cycles per second, so it can
be a fraction of a hertz, or it can go all
| | 00:49 | the way up to almost 25 Hz.
| | 00:50 | If we go the other direction with this,
we can see its divisions of the beat,
| | 00:55 | like quarter notes, dotted
half notes, so on and so forth.
| | 01:00 | In order to use the LFO, because it
doesn't generate a sound and it's a control
| | 01:04 | signal, we have to assign it to something.
| | 01:06 | So the place we do that is the router.
| | 01:07 | So we're going to be looking at this
series of spaces here on the left, and this
| | 01:12 | is where we can assign the
different parameters to the LFO.
| | 01:16 | So right now we've got Pitch.
| | 01:19 | That's the one that's engaged, so that
means this LFO can modulate the pitch.
| | 01:22 | So in order to do so, we actually have to
increase the intensity of the modulation.
| | 01:27 | That's what this slider is, right here.
| | 01:28 | So right now, it's set to 0, but we can
increase the intensity and we'll start to hear
| | 01:32 | the pitch modulation. So I'll play a note.
| | 01:34 | (music playing)
| | 01:36 | Very easy to hear the pitch modulation.
And as I increase the intensity, it's a
| | 01:41 | wider range of pitches--
and it's kind of obnoxious.
| | 01:46 | So I can adjust this rate though, slow this
down, and then I'll increase the intensity.
| | 01:55 | We can hear it's really wide range of pitch.
| | 01:58 | Or I could have this be
synced to some division of the beat.
| | 02:02 | So here are quarter notes, and
I'll decrease the intensity.
| | 02:07 | (music playing)
| | 02:12 | So that's one way we can do it.
And while we're at it, we should explore these
| | 02:16 | different waveforms too, because things
really react differently depending on
| | 02:19 | what type of waveform this
low-frequency oscillator is generating.
| | 02:22 | So right now we have a triangle
waveform, and it's very consistent.
| | 02:26 | Then sort of the opposite
of that is this square wave.
| | 02:31 | So pitch modulation is a really good way to
explore things, because it's very easy to hear.
| | 02:36 | So when I have a square wave,
notice it's jumping between two pitches.
| | 02:41 | So it isn't a smooth transition
between the pitches; it's just jumping. And
| | 02:44 | the more intensity of this modulation I give it,
it's a wider range of pitches that's jumping.
| | 02:50 | If I give this full intensity, it's
actually a useful interval, it's an octave.
| | 02:57 | So it's like an instant new-order baseline.
| | 02:58 | (music playing)
| | 03:02 | And then of course you can adjust
the rate, and that can sometimes be an
| | 03:07 | interesting effect in and of
itself when you get to higher rates.
| | 03:09 | (music playing)
[00:0314.00]
Create an interesting sound.
| | 03:15 | The other waveform we have
here is we have a ramp-up.
| | 03:19 | So it's kind of like a sawtooth
waveformm, but it's not complete.
| | 03:22 | It's just the positive
portion, where it's ramping up.
| | 03:23 | (music playing)
| | 03:24 | So the pitch is ascending like that ,
and you can actually use this to create
| | 03:31 | musical effects, especially when it's
something that's synced to the tempo of your song.
| | 03:34 | So right here, this would be one measure.
| | 03:38 | So every measure we would get this pitch up,
or we could have the opposite of that,
| | 03:43 | have a pitch-down. That's this
next one, this ramp-down shape here.
| | 03:46 | (music playing)
| | 03:50 | And of course, I can adjust the rate of that.
| | 03:52 | (music playing)
| | 03:57 | And remember, if I adjust the intensity,
I'm going to get less of the pitch range.
| | 04:01 | So if I decrease the intensity,
it's going to be a smaller pitch adjustment.
| | 04:08 | And then the other waveforms that we
have here are two random waveforms.
| | 04:12 | We have this one here that steps between values.
| | 04:14 | This is called a sample-and-hold waveform
where it will just jump between random values.
| | 04:18 | (music playing)
| | 04:22 | So I'll increase the speed
of this so we can hear this.
| | 04:25 | (music playing)
| | 04:30 | So it's randomly jumping between
pitches, and the range of those pitches is
| | 04:35 | determined by its intensity. So I'll decrease that.
| | 04:37 | (music playing)
| | 04:41 | So the other random waveform here is
just an interpolated random waveform.
| | 04:46 | So it's going to go between random
values, but it's going to smoothly
| | 04:50 | transition between each one.
(music playing)
| | 04:57 | So a very kind of confusing sound.
| | 04:59 | I'll change its octave so we can have
something that's a little higher pitched.
| | 05:02 | (music playing)
| | 05:07 | So it's randomly
interpolating between these values.
| | 05:10 | So that's how we apply this LFO to pitch.
| | 05:15 | Probably one of the most common ways
it's used is you'll have an LFO set to this
| | 05:19 | triangle waveform and then we can
set a range so that the mod wheel will
| | 05:24 | control the amount of
modulation that's happening.
| | 05:26 | So notice that for this Intensity
control here, above it it says intensity via
| | 05:31 | wheel. That means intensity via mod wheel.
| | 05:34 | So I'll set a range here.
| | 05:37 | So when I set it like this,
that's going to be a full range.
| | 05:39 | So when I have my mod wheel all the way
down at its closed position, that means
| | 05:44 | I'll have no pitch modulation.
| | 05:46 | So if I play right now, no
pitch modulation happening.
| | 05:50 | If I adjust the mod wheel, I open
it up, and then you can hear the pitch
| | 05:53 | modulation, and it's the full range.
| | 05:57 | So if I didn't want such a drastic pitch
modulation--I want more of a subtle vibrato--
| | 06:00 | what I'm going to do is bring down
this maximum amount here, so this top
| | 06:04 | part of the slider.
| | 06:06 | So here's with no mod wheel
and I'll open up the mod wheel.
| | 06:13 | It's still a little bit extreme,
but it's a more subtle vibrato here.
| | 06:15 | I'll bring that down even more. Or if
I bring down the mod wheel, no vibrato.
| | 06:22 | So this is a good way with any of the
modulations that you have happening with
| | 06:26 | the LFO to scale it using your mod wheel.
| | 06:29 | So let's see what these
other destinations are here.
| | 06:32 | Pitch was the first one.
The next one is Pulse Width.
| | 06:36 | So Pulse Width really only applies
when you have the pulse waveform selected.
| | 06:41 | So right now, when I adjust
it, you don't hear anything.
| | 06:45 | That's because I have the
sawtooth waveform selected.
| | 06:47 | So what I want to do is I'm going to set
the balance between the two oscillators
| | 06:50 | all the way up to the primary oscillator.
| | 06:52 | I'm going to set it to the square
waveform, which has Pulse Width modulation.
| | 07:00 | Okay, so now you can hear that that's happening.
| | 07:03 | I can slow the speed of this
modulation, so it's a little easier to hear.
| | 07:06 | (music playing)
| | 07:10 | All right, so you can hear
the Pulse Width modulating.
| | 07:12 | And actually on our oscilloscope,
if I zoom in a little bit--
| | 07:15 | (music playing)
| | 07:17 | --you can see that change happening.
| | 07:19 | I'll move this back out of the way a little bit.
(music playing)
| | 07:25 | And if I wanted it to be less of a
range, like I don't want this Pulse Width
| | 07:29 | modulation to happen all the way
from its minimum to its maximum, I can
| | 07:33 | decrease the intensity here.
| | 07:35 | So I'll give it less intensity.
(music playing)
| | 07:38 | So it's going to be a more subtle Pulse Width,
modulation whereas if I have this at its max --
| | 07:41 | (music playing)
| | 07:44 | --it's going to be a full cycle of modulation.
| | 07:47 | And I can increase the speed and
it becomes almost a texture change.
| | 07:51 | And it sounds like it's detuning.
| | 07:54 | So this is actually a common thing in
a lot of electronic music: you'll hear
| | 07:57 | these sort of detuned
Pulse Width modulated sounds.
| | 08:00 | A lot it sometimes is actually
just a fast Pulse Width modulation.
| | 08:03 | You'll get the sense of it being detuned a bit.
(music playing)
| | 08:07 | And as I slow it down, that's more subtle.
| | 08:11 | And of course, I can sync
it to a division of the beat.
| | 08:13 | (music playing)
| | 08:16 | And it's always good to explore
it with different waveforms as well.
| | 08:18 | So we could try it with the square
waveform where we're just going to jump
| | 08:21 | between pulse positions.
(music playing)
| | 08:26 | So maybe this is cool if I have less intensity.
(music playing)
| | 08:34 | So you can almost get those 8-bit
Gameboy sounds out of that. Or if I go in the
| | 08:40 | other direction and I sync it to the
beats, so I'll sync it to 16th notes--
| | 08:43 | (music playing)
| | 08:46 | And I'll adjust the intensity just to
find our sweet spot. It sounds good.
| | 08:49 | So sometimes having it set to a subtle
amount ends up working better than having
| | 08:55 | a real extreme setting.
| | 08:56 | But actually the extreme
setting is pretty cool, too.
| | 08:58 | (music playing)
Let's try at a slower rate.
| | 09:01 | (music playing)
| | 09:06 | And then, of course, this can also
be scaled by the mod wheel as well.
| | 09:08 | So if I split this part here, then right
now when I play it, my mod wheel is all
| | 09:14 | the way closed, all the way down.
| | 09:16 | There's no Pulse Width modulation. I'm
going to open it up, and there it is, and
| | 09:21 | so of course, that works for
any of these destinations here.
| | 09:25 | So the next one on here is Mix control.
| | 09:28 | So what that's going to adjust is the
balance between the primary oscillator
| | 09:32 | and the sub-oscillator.
| | 09:33 | So the LFO is going to
automatically control that.
| | 09:37 | The optimal way to set this up is to
actually have your mix set in the center,
| | 09:42 | and then you'll hear it better.
| | 09:43 | So I'll set this to the triangle waveform here.
(music playing)
| | 09:48 | So you can hear every half note
it's transitioning between this primary
| | 09:53 | oscillator and the sub-oscillator.
| | 09:55 | So it's just smoothly moving
this Mix slider up and down.
| | 09:59 | So I can try it with
different waveforms as well.
| | 10:01 | (music playing)
| | 10:06 | It's a great thing to spend time and
experiment with ,because a lot of times
| | 10:09 | you'll find all kinds of sounds that
you would have never intended to make, but
| | 10:13 | that are really cool, by just simple modulation.
| | 10:15 | It's not always complex stuff;
sometimes it's just the simple things.
| | 10:18 | (music playing)
| | 10:21 | So this is just adjusting
the mix between the two.
| | 10:23 | Let's try it with the square wave, so now
it's just going to jump between the two.
| | 10:26 | (music playing)
Or I could have the random waveforms here.
| | 10:32 | (music playing)
| | 10:35 | The random interpolated one.
(music playing)
| | 10:42 | So that's a good way to explore that mix
balance and the texture that that creates.
| | 10:47 | The next destination we've got here is Cutoff.
| | 10:50 | So that's the filter cutoff;
that's what that means.
| | 10:52 | I'll set that to a
triangle waveform and modulate it.
| | 10:54 | (music playing)
| | 10:56 | So that sounds a lot like wah-wah.
| | 10:58 | That's exactly what a wah-wah is.
| | 11:00 | It's a lowpass filter, or
sometimes a bandpass filter,
| | 11:03 | that's being modulated. Well,
sometimes it's a wah-wah pedal that's by your foot, or
| | 11:08 | if it's an auto wah, it's an LFO that's
doing that, or sometimes an envelope.
| | 11:12 | So I'll set basically my Cutoff to the
middle position that I want for the modulation.
| | 11:20 | It's a little different than an envelope.
| | 11:22 | An envelope, you usually set
it to the minimum position.
| | 11:24 | For Cutoff, I'm going to set it to the
middle, because when you have for example
| | 11:28 | a triangle wave that your LFO is
generating, the cutoff is going to be modulated
| | 11:32 | both in a positive direction above your
starting point and then in the negative
| | 11:37 | direction beneath it.
| | 11:38 | So you'll kind of want to
find something in the middle.
| | 11:40 | (music playing)
| | 11:44 | And if you have less intensity of modulation,
it's going to be less amount in each direction.
| | 11:48 | (music playing)
| | 11:55 | And same thing, you can adjust the rate.
| | 11:57 | (music playing)
| | 12:01 | And adjusting the intensity is going to
be a larger range of filter modulation.
| | 12:06 | So it's definitely useful for that.
| | 12:08 | And of course, don't forget
to scale it with your mod wheel.
| | 12:11 | That's a convenient way to be able
to control it in a musical way where you
| | 12:15 | don't constantly have modulation, but then
you use your mod wheel and then there it is.
| | 12:20 | So the next parameter we've got in here
is Resonance, and that's just going to do
| | 12:25 | the same thing that happened with
Cutoff, where it's going to periodically
| | 12:27 | modulate this Resonance control.
| | 12:30 | And so again, I want to start this in
sort of the center point that I want,
| | 12:34 | because it will modulate both in
positive and negative around it.
| | 12:35 | (music playing)
| | 12:39 | So it's kind of interesting.
I'll increase the rate of this.
| | 12:42 | (music playing)
| | 12:48 | So that's the resonance being modulated.
| | 12:50 | And of course, make sure to try it
with other waveforms. Try the ramp.
| | 12:54 | And the ramp in the other direction.
| | 12:57 | (music playing)
| | 13:01 | Or you could try a square waveform.
| | 13:02 | It will just jump
between two resonant positions.
| | 13:04 | (music playing)
| | 13:08 | So definitely very interesting.
And then last but not least, in terms of these
| | 13:12 | destinations in the router
for this LFO, we've got volume.
| | 13:16 | In the case of square wave, it's going
to be kind of like a tremolo effect where
| | 13:19 | it'll just gate the sound on and off.
(music playing)
| | 13:23 | Especially if you have got high intensity for it.
(music playing)
| | 13:30 | Or if I have triangle waveform,
you can hear the volume changing.
| | 13:36 | So I just imagine this LFO as sending a
control signal to this Volume slider here.
| | 13:41 | It's basically just moving it up and down.
| | 13:44 | And of course, it doesn't animate that,
but you can hear that happening, and
| | 13:47 | it's good to experiment with different waveforms.
(music playing)
| | 13:53 | Or you could have it all ramp up.
(music playing)
| | 13:56 | Kind of has a sidechain-compression type sound.
(music playing)
| | 14:01 | So the LFO is definitely useful for
creating movement, and it's nice that in ES 1
| | 14:06 | you can assign where that LFO is going,
and what it's going to modulate, and how
| | 14:10 | that's going to sound.
| | 14:10 | So next, let's explore this
modulation envelope which has all the same
| | 14:15 | destinations, and actually a few more.
| | Collapse this transcript |
| Using the Modulation envelope to add contour| 00:00 | So another really useful tool
in ES 1 is this Modulation envelope.
| | 00:05 | In some ways it's similar to the LFO
in that you can choose what you're going
| | 00:09 | to modulate, and in some ways, it's
also kind of like this ADSR envelope in
| | 00:13 | then it has Attack and Decay
parameters, but it's also its own unique beast.
| | 00:19 | One of the easiest ways to figure out
how this works is to use pitch modulation.
| | 00:24 | So I'll set the destination
here in the Router to Pitch.
| | 00:27 | Remember, with the LFO, we chose the
destinations over on the left side.
| | 00:31 | For the mod envelope we'll
choose them on the right.
| | 00:33 | So I've checked pitch here.
| | 00:35 | So I'll play note right now, and
there's no modulation happening.
| | 00:40 | So I can increase the
intensity with this slider right here.
| | 00:43 | (music playing)
| | 00:47 | So notice right now it's
just a static pitch change.
| | 00:51 | (music playing)
| | 00:56 | That's because I have this Mod envelope
set in the center here, set to full, and
| | 01:00 | so that's just going to do a constant offset.
(music playing)
| | 01:04 | Actually the one way that this can
be really useful is that with this slider
| | 01:08 | here, I can split this so that
velocity controls the intensity.
| | 01:11 | So this allows me to
change the pitch via velocity.
| | 01:14 | So you can see that the slider is
labeled here Intensity via Velocity.
| | 01:19 | So when I play softly, I get a certain
pitch, and when I play harder, I get a
| | 01:27 | higher pitch, and everything in between.
| | 01:29 | So you get a lot of interesting--
(music playing)
| | 01:33 | I'm just playing one note on the
keyboard, but I'm playing it at different
| | 01:36 | velocities, so I'm getting different pitches.
| | 01:38 | That's because of this range that I have here.
| | 01:40 | Of course, I could set this to a
smaller range so that there is less range
| | 01:44 | between the different pitches.
(music playing)
| | 01:50 | So it almost becomes microtonal, where
if I have this range really small, it's
| | 01:55 | just a slight detuning that I'm
getting depending on what my velocity is.
| | 01:58 | So if I want a more dramatic pitch
change, I am going to use the Attack and
| | 02:04 | Decay parameters of this envelope.
| | 02:06 | So what I can do is if I turn this to the
right, it's going to function as an attack.
| | 02:10 | (music playing)
| | 02:12 | I have to make sure that I
have my Intensity enabled here.
| | 02:16 | (music playing)
| | 02:20 | So you can hear the pitch ramps up,
and that happens over 1,300 milliseconds.
| | 02:26 | So this tells you the amount of time.
| | 02:27 | When I go further to the right, it's a longer
amount time of time, so it's a longer attack.
| | 02:32 | So that's the way you want to think
about, is further the right the longer
| | 02:35 | attack, and as I go closer towards
the center it's a shorter attack.
| | 02:38 | So I'm really close to the center. It's
almost instantaneous, 16 milliseconds. I
| | 02:43 | can barely hear that.
| | 02:44 | But if I set this to 2500 milliseconds,
2.5 seconds, we can hear this pitch
| | 02:51 | change happen over 2.5 seconds.
| | 02:53 | And if I increase the Intensity
here, it's going to be a wider range.
| | 02:58 | So this will start lower and go higher.
| | 03:00 | (music playing)
So that's pretty cool.
| | 03:07 | Another thing is we can
actually have Velocity control that.
| | 03:11 | If I split this apart here then my
Velocity is going to adjust the intensity
| | 03:17 | of this modulation.
| | 03:18 | So if I play softly, I'll get a certain
pitch glide; if I play harder, I'll get
| | 03:25 | a more extreme pitch glide. And I can
set this to a smaller range if I wanted.
| | 03:30 | (music playing)
| | 03:34 | And if I want to move this as a
unit--I want to keep this separation--
| | 03:38 | I can take my cursor and put in the
center and it will keep the offset.
| | 03:42 | So any time in Logic where you see these
sliders where they can split apart like
| | 03:46 | that, if you want to keep the range
that you have, just click and drag in the
| | 03:50 | middle and that will keep the offset.
(music playing)
| | 03:54 | So in addition to having attack where
the pitch is bending up, I can also have a
| | 03:57 | decay, so it's going to be the opposite;
| | 03:59 | it's going to bend down. And the closer
I'm to the center with this, the longer
| | 04:03 | the decay is going to be.
| | 04:04 | When I go to the left, you
can see it's shorter, so -74 ms.
| | 04:09 | Close to the center, I can get a 1,700-ms decay.
(music playing)
| | 04:15 | So it's going to pitch down.
| | 04:16 | I'll get rid of our Velocity range for a
moment, just make this really easy to hear.
| | 04:21 | (music playing)
| | 04:25 | So I've got that pitch descending.
And if we want to make that shorter, I'll go
| | 04:29 | further to the left.
| | 04:30 | (music playing)
Even shorter.
| | 04:33 | (music playing)
| | 04:37 | So it's working as a pitch envelope, and
that's pretty cool because it's very simplified.
| | 04:41 | So the next destination
that we have is Pulse Width.
| | 04:45 | So just like with the LFO, if I'm
modulating Pulse Width, I want to make sure
| | 04:49 | that my oscillator up here is set to a
square waveform, or a Pulse waveform. And
| | 04:55 | I'm going to adjust the Mix all the way
to the Primary oscillator, because that's
| | 04:58 | all I want to hear right now.
| | 05:00 | And then what I'll do is give this an attack.
| | 05:02 | So what should happen is over the course
of one second the Pulse Width will change.
| | 05:07 | (music playing)
| | 05:10 | Now you can hear it stays
at its destination position.
| | 05:14 | So basically this Pulse Width, over
the course of one second, it's sort of fading
| | 05:19 | up over the period of that attack. Then it
gets to the end here, and it just stays there.
| | 05:25 | So I'll set this back. And if I want
it to travel less range, so I wanted a
| | 05:30 | little bit less Pulse Width modulation there--
(music playing)
| | 05:36 | I set the Intensity to something less.
Or of course, we can have that control by
| | 05:40 | velocity, by splitting this apart.
(music playing)
| | 05:45 | Then I can get the full range.
| | 05:46 | Of course, I can do in the
opposite direction as well.
| | 05:48 | I can have this be a decay.
| | 05:51 | So when I'm closer to the center--
(music playing)
| | 05:55 | So it takes a moment for that to happen. Or I can
make it happen over a shorter period of time.
| | 05:59 | (music playing)
| | 06:02 | Over longer period of time.
| | 06:03 | (music playing)
| | 06:07 | So in this case, what's happening is
the Pulse Width is going from this narrow
| | 06:11 | back to more evenly spaced.
| | 06:15 | The next parameter we
have is the Mix destination.
| | 06:19 | So what this allows us to do is use
this envelope to adjust the balance between
| | 06:23 | the primary oscillator and the sub-oscillator.
| | 06:24 | So if I set this to attack, then I
can set this Mix slider somewhere in
| | 06:30 | the middle, and we'll hear it transition
between the sub-oscillator and the main oscillator.
| | 06:34 | (music playing)
| | 06:38 | It's kind of subtle sometimes. You can
adjust this balance and find the sweet spot.
| | 06:41 | (music playing)
| | 06:45 | And of course, I can have that work in
the opposite direction as well, where
| | 06:47 | we'll decay, and so we can have that happen over about a second.
(music playing)
| | 06:54 | We'll try to find the point where this works best.
(music playing)
| | 06:58 | So there I can hear that change.
(music playing)
| | 06:59 | So sometimes it's a little bit
abstract and you have to have to experiment with,
| | 07:04 | again, this Mix slider in the right
spot where you can hear the transition.
| | 07:07 | Something like Pitch, it's usually easy
to tell and filter cutoff, but some of
| | 07:11 | these other ones we can explore a bit.
| | 07:13 | So the next destination
we've got here is filter cutoff.
| | 07:16 | so I'll select that, and I'll set this to Attack.
| | 07:20 | So what that means is wherever I set my
filter cutoff--I'll set to its minimum--
| | 07:25 | it will open up from there over about 1100 ms.
(music playing)
| | 07:32 | So you can hear that happening.
I can make it longer.
| | 07:34 | Make it more dramatic.
(music playing)
| | 07:41 | Or I can have that work the other direction.
| | 07:43 | So where it's going to decay.
And remember, it's easy to forget that the
| | 07:47 | closer you're to the center, the
longer the decay is going to be.
| | 07:49 | So if you go further to the left, it's
going to be a short decay. So I want it
| | 07:52 | to be kind of a long decay.
(music playing)
| | 07:55 | So you can hear the filter is closing
down, because remember, decay is how
| | 07:59 | long it takes once it reaches its maximum
level to then go back down to its initial setting.
| | 08:03 | (music playing)
So that's what's happening here.
| | 08:07 | Then of course, I can set this in the
middle and just have the filter cutoff
| | 08:10 | be velocity-reactive.
| | 08:12 | So I'll split this slider here so that
I've got a velocity range, and now what
| | 08:18 | happens is when I play softly--
(music playing)
| | 08:23 | I get less filter modulation and
then if I play harder, the filter cutoff
| | 08:28 | is offset a bit more.
| | 08:30 | So it's basically my velocity
right now is directly controlling the
| | 08:35 | filter cutoff position.
| | 08:38 | So it's definitely a very useful thing.
| | 08:39 | So next we've got Resonance. And I can
kind of do the same thing with this middle
| | 08:43 | setting, set to full.
| | 08:45 | I can have Velocity just control the resonance.
| | 08:47 | (music playing)
| | 08:50 | So right now it's a bit filtered down,
so it's just getting the low end of it.
| | 08:53 | (music playing)
| | 08:55 | So depending on how hard I'm playing
the note, I get more or less resonance.
| | 08:59 | (music playing)
| | 09:04 | Or I can actually set that up with the envelope.
| | 09:06 | So we'll have the Resonance fade in -
| | 09:09 | (music playing)
| | 09:12 | Or I can have the decay out.
| | 09:14 | (music playing)
| | 09:16 | It's a very useful feature.
| | 09:18 | Then the next thing we can
do is apply it to Volume.
| | 09:20 | (music playing)
| | 09:24 | So it's just kind of like
this amplifier envelope here.
| | 09:27 | It's just simplified.
| | 09:29 | (music playing)
Right.
| | 09:35 | Those are all the normal parameters
that can also be assigned by the LFO.
| | 09:39 | There are two additional
ones for this Mod envelope here:
| | 09:43 | there is filter FM and this LFO Amplitude.
| | 09:47 | So filter FM is kind of interesting.
| | 09:49 | Basically, what that is it means
that the triangle wave from the primary
| | 09:53 | oscillator is going to
modulate the filter cutoff.
| | 09:57 | So instead of it happening with the LFO,
so happening at a low frequency,
| | 10:01 | it's going to be happening at an audio rate.
| | 10:03 | So you have to imagine that if I'm playing
A 440 Hz that that would be modulating
| | 10:09 | this filter cutoff 440 times a second.
| | 10:11 | So this cutoff now would be moving really fast.
| | 10:13 | So instead of it sounding like filtering,
it's going to a timbre change to the sound.
| | 10:18 | Let's do a little bit of that.
(music playing)
| | 10:23 | So you can hear now there is kind of a
distortion sound that's happening, that's
| | 10:26 | fading in over this 2300 ms.
(music playing)
| | 10:31 | And if I get rid of that, you'll hear without--
(music playing)
| | 10:35 | So we'll hear this distortion fade in.
(music playing)
| | 10:40 | So that's filter FM.
| | 10:41 | That's this cutoff being modulated
really fast by the triangle waveform.
| | 10:45 | Of course, you don't see it
happen, but you can hear it happen.
| | 10:47 | So I'll have it go the other direction.
| | 10:49 | We'll have a Decay.
(music playing)
| | 10:53 | So in this case it starts distorted,
then it becomes less so, so we get more
| | 10:58 | filter FM modulation happening, and then
it decreases over the length of this decay.
| | 11:03 | (music playing)
| | 11:06 | And actually, with the filter FM, you
really notice it more when you have a
| | 11:09 | higher resonant amount.
(music playing)
| | 11:14 | We are almost getting these
clangorous, metallic tones out of it.
| | 11:17 | I'll increase the drive and filter as well.
(music playing)
| | 11:22 | So pretty interesting stuff!
| | 11:23 | So we can have that fade in. Or of
course, once again, if I set this in the
| | 11:30 | center, I can select a Velocity
range here. And depending on how hard I
| | 11:36 | play the note on the keyboard, I'm going to
get more or less of this filter FM effect.
| | 11:40 | So last but not least,
we've got this LFO Amplitude.
| | 11:43 | That will modulate the
intensity of this LFO over here.
| | 11:49 | So probably the best way to hear that
is if we set this LFO to modulate the
| | 11:54 | pitch, and I'll just give it sort of a medium
intensity, and I'll set it to a triangle wave.
| | 12:00 | (music playing)
| | 12:03 | And let's have a little bit
less of a clangorous sound.
| | 12:05 | I'll turn down the Resonance, open up the filter.
(music playing)
| | 12:10 | Okay, so we've got our siren sound.
| | 12:12 | So I can have this Mod envelope
modulate the intensity of this LFO, and
| | 12:18 | that's what this is here.
| | 12:19 | So what I'll do is I'll have
Intensity fade in, so over 2.5 seconds.
| | 12:26 | What you'll hear is less modulation,
and then it will slowly fade in.
| | 12:29 | (music playing)
| | 12:33 | So you hear that Pitch modulation
increasing over time. That's because this
| | 12:39 | envelope here is controlling the intensity,
so that's this slider here, for the LFO.
| | 12:43 | If I go in the other direction, I can
have the pitch modulation be more extreme
| | 12:49 | and then fade down to being less extreme.
(music playing)
| | 12:55 | So you hear how the pitch modulation
lessens over time. And then once again, if
| | 12:59 | I got this set in the center, I could set a Velocity range here.
(music playing)
| | 13:06 | Depending on my Velocity it's
going to control the intensity.
| | 13:09 | And of course, when you have an attack
you can also use this Velocity Split here.
| | 13:13 | It's set High and Low, it's not
only something used in the center.
| | 13:16 | (music playing)
| | 13:20 | So, very useful stuff for adding
movement to the sound and just getting
| | 13:24 | everything modulating and moving.
| | 13:26 | So next, we'll explore
the global section of ES 1.
| | Collapse this transcript |
| Using the Glide and the Global Voices settings| 00:00 | All right! Let's take a look at the global section of ES 1.
| | 00:03 | First thing I want to show
you is the glide parameter.
| | 00:06 | This allows us to
transition between different pitches.
| | 00:09 | So if I'm playing a low note on a keyboard so
an A and I'm playing A an octave above that,
| | 00:13 | you can hear there's no transition right now.
| | 00:17 | So if I increase the amount of glide time,
it's going to glide between those two pitches.
| | 00:23 | We can make that even longer, and it kind
of takes on the characteristic of using
| | 00:31 | the Pitch Band wheel.
(music playing)
| | 00:37 | Sometimes it's just the most useful to
set it where it's just a little bit of
| | 00:40 | transition between notes.
(music playing)
| | 00:45 | So that's the Glide parameter.
| | 00:46 | Next we've got the fine-tuning
adjustment, and here you can adjust the tuning of
| | 00:51 | the entire instrument by either +20
cents all the way down to -20 cents, and
| | 00:58 | remember a cent is 1/100th of a
semitone, so it's very small amount.
| | 01:02 | If I want to set this back, I can hold down
Option and click. That will set it back to its default.
| | 01:08 | The Analog setting here is going to
introduce a little bit of randomness in
| | 01:12 | terms of the pitch and the filter cutoff.
| | 01:15 | So it's just a way to get a little
bit of variation in the sound, but it's
| | 01:19 | a very subtle effect.
| | 01:20 | The one thing you want to keep in mind
is that if you are creating percussive
| | 01:24 | sounds, you might want to have the
Analog setting at 0, because the oscillators
| | 01:29 | are continuously cycling.
| | 01:30 | So anytime you play a note, you can hit the
oscillator and different parts of its phase.
| | 01:35 | And for percussive sounds, you want the
phase of the oscillators to all line up
| | 01:38 | and be starting at the same point.
| | 01:40 | Next, we've got the Pitch Bend range,
which we've looked at several times in
| | 01:43 | the other instruments.
| | 01:45 | So here I can set the positive
and negative Pitch Band range--
| | 01:48 | they're going to be the same. But I can set it
all the way up to twenty-four semitones, which is two octaves.
| | 01:54 | If I want to independently control the
negative Pitch Bend range, I can do that
| | 01:58 | down here in this disclosure triangle.
We've got Negative Bender range, and so I
| | 02:03 | can set that independently. Or of course,
to set anything back to its default,
| | 02:09 | hold down Option+Click, we can set it back.
| | 02:12 | The Output Level is going to control
the maximum volume that ES 1 can output.
| | 02:18 | So if I have my amplifier and I have the
volume all the way up, it's going to be set to -3 dB.
| | 02:24 | If I change this setting so if I set
it to -7 then it's going to make the
| | 02:29 | maximum output level -7 dB.
| | 02:30 | So it's just the
ultimate volume control for ES 1.
| | 02:35 | The Voices parameter is going to
set the amount of polyphony for ES 1.
| | 02:38 | So if I would set to 1, it's going to be
monophonic, meaning I can only play one at a time.
| | 02:44 | So if I try to play chord,
I'm just going to get one note.
| | 02:48 | If I increase the polyphony, then I
can play more notes at once, and it goes
| | 02:52 | all the way up to 16.
| | 02:53 | So now you can hear. I
can play chords, no problem.
| | 02:58 | And the other important voice setting
that's going to be useful when you're
| | 03:02 | playing is the Legato mode.
| | 03:03 | So when you go above 16, it's set to Legato.
| | 03:07 | The Legato mode is interesting because
what it allows you to do is if you're
| | 03:11 | playing a note and you play a higher
note and let go of it, it goes back down to
| | 03:16 | the first note that you're playing.
| | 03:17 | So you can get some cool musical
things happening with that, some pedal tones,
| | 03:24 | that sort of thing, which is definitely cool.
| | 03:26 | The other consideration when you're
using Legato mode is that the envelopes are
| | 03:30 | not going to retrigger.
| | 03:31 | So as you can hear there, the volume was
following the shape of the envelope, so
| | 03:35 | it was decreasing because it wasn't
retriggering every note that I was playing.
| | 03:38 | So you can hear that the volume is
fading down until it reaches that sustained
| | 03:45 | aspect of the envelope, and it stays there.
| | 03:49 | And then of course, we've got the
built-in chorus, which is useful for adding
| | 03:53 | some modulation and stereo depth to your sounds.
| | 03:56 | So there are three types of
chorus in ES 1. There is Chorus 1.
| | 04:04 | Chorus 2 is very similar;
| | 04:06 | it's just a heavier modulation.
(music playing)
| | 04:11 | It's a little bit thicker. And then
the Ensemble chorus effect has a more
| | 04:15 | complex modulation routing.
| | 04:17 | So next, let's take a look at the
sidechain input where we can process audio
| | 04:26 | through ES 1's synthesis and filter section.
| | Collapse this transcript |
| Using the side chain input and LFO external feature| 00:00 | One of the really cool features
about ES 1 is its sidechain capabilities.
| | 00:04 | This allows us to input audio and use
the filter section and envelopes and LFOs
| | 00:10 | to modulate aspects of external audio.
| | 00:13 | So let's explore how we do that.
| | 00:14 | It takes a little bit of setup but to
get signal into ES 1, I have to choose the
| | 00:19 | audio from the sidechain menu.
| | 00:21 | So just looking at the background
real quick, I've got this one audio track
| | 00:26 | here, this drum track.
(music playing)
| | 00:31 | So I'd like to go to play
around with this one in ES 1.
| | 00:34 | So I've to do a little bit of setup.
| | 00:36 | So first what I'm going to do is, back
in the ES 1 interface, I'll find this
| | 00:41 | UltraBeat track and use
that as a sidechain input.
| | 00:43 | So go to Sidechain menu up top.
Here it is, Audio 1-UltraBeat.
| | 00:50 | That gives a signal in there, but
I would hear two versions of it:
| | 00:54 | I'd hear the audio from the track that's
here, and then I'd also hear it through ES 1.
| | 01:00 | So what I'm going to do on the channel strip
for this UltraBeat, I'm going to set it to No Output.
| | 01:05 | So if I solo this track, we can see
that the signal is coming through on the
| | 01:10 | channel but it's not going anywhere,
so there is no output, which is good,
| | 01:14 | because I want to actually
process it through ES 1. All right!
| | 01:16 | So back in ES 1, if we want to get
signal through, what I'm going to have to do
| | 01:23 | is select the sub-oscillator and set it to External.
| | 01:27 | And now I'm going to adjust the Mix
balance between the primary oscillator and
| | 01:32 | the sub-oscillator, all the
way down to the sub-oscillator.
| | 01:34 | So now what happens when I play this
channel here is that we'll get silence.
| | 01:41 | (music playing)
| | 01:42 | But when I play a key on the keyboard, you
can hear the audio is coming through now.
| | 01:46 | (music playing)
| | 01:51 | And you can also hear the
filters happening on it.
| | 01:53 | So let's explore the various possibilities
of what we can do with this sidechain input.
| | 01:58 | So first thing, I'm going to
turn down this modulation.
| | 02:00 | I have to make sure the track is playing
in the background, and then I press any
| | 02:04 | key--it doesn't matter what key I'm
playing on the keyboard. Then I can adjust the
| | 02:08 | Cutoff, adjust the Drive amount,
Resonance. Some neat stuff.
| | 02:17 | Especially because
ES 1 has a really good filter,
| | 02:22 | so this is a little bit more that you
can do with this than you could just do
| | 02:25 | with the channel EQ.
| | 02:27 | That's more useful, especially
because of this Drive parameter here.
| | 02:29 | So you can overdrive and filter that drum loop.
| | 02:34 | So that's one aspect that we can use.
| | 02:37 | Another thing that's actually really cool
is we can use this LFO here and set it
| | 02:43 | to the External setting.
| | 02:45 | So basically, what it's going to do is
the shape of the volume of our drum track
| | 02:49 | is going to control the filter cutoff.
| | 02:51 | So essentially it's not
functioning like a normal LFO;
| | 02:54 | it's functioning more like an envelope
follower, and it's going to adjust the
| | 02:57 | cutoff at a very fast rate because
it's following all the contours of the
| | 03:01 | volume of this drum track.
| | 03:03 | So let's explore that.
| | 03:04 | So I've set this to External, and then I
have the destination of this LFO set to
| | 03:09 | Cutoff, so that it's going to effect our
filter cutoff. And then I can increase
| | 03:13 | the amount of intensity, and then I'll
play back the audio track and I have to
| | 03:17 | press a key on the keyboard.
(music playing)
| | 03:20 | I'll filter this down more,
increase the intensity.
| | 03:25 | So you can hear, it's almost like a
little bit of a distortion or is a texture change.
| | 03:36 | I'll increase the
Resonance so it's more prominent.
| | 03:40 | It's a pretty neat sound. Not
something that you hear all the time.
| | 03:51 | Using this LFO and the sidechain
input and using as it an envelope follower
| | 03:55 | essentially, you can assign it to
any number of these destinations,
| | 03:58 | so maybe the Resonance.
| | 04:00 | So let's see what that sounds like.
| | 04:01 | So now the shape of this drum track
is going to modulate the Resonance.
| | 04:05 | (music playing)
| | 04:14 | That's, of course, going to work in
conjunction with your filter cutoff.
| | 04:16 | (music playing)
| | 04:21 | So you can definitely get some cool
effects happening with the sidechain input
| | 04:25 | and using it to modulate the filter
and these other destinations here.
| | 04:30 | Next, let's check out ES 1 in a musical example.
| | Collapse this transcript |
| Composing with the ES1| 00:00 | All right! This is a little musical example using
ES 1 where I've got five instances of ES 1
| | 00:06 | for the different melody and bass
sounds and lead sounds and things.
| | 00:09 | The drums are made with UltraBeat, and
then they're rendered out to audio. And
| | 00:13 | UltraBeat is Logic's built-in drum
machine, which we'll take a look at in one
| | 00:16 | of the later chapters.
| | 00:18 | So here's the example.
| | 00:19 | (music playing)
| | 01:16 | Okay, so let's show you what's going on
with each different instance of ES 1 here.
| | 01:21 | So in the beginning, it has this kind
of funky lead sound that's going on, so
| | 01:25 | I'll just play that part so you can hear it.
| | 01:26 | (music playing)
| | 01:32 | And notice that actually the
instrument below it is playing the same thing.
| | 01:35 | I'll play those together.
(music playing)
| | 01:41 | So they're just layered. They are
playing exactly the same MIDI part, but
| | 01:44 | this one below, this deep bass one
is more filtered down==it's just a
| | 01:48 | sub-tone underneath.
| | 01:49 | So they're kind of combine
together to make one sound.
| | 01:52 | So first let's take a look at this top one,
and then I'll show you the bottom one more.
| | 01:56 | So essentially, what's going on here--
| | 01:59 | (music playing)
| | 02:01 | --is mainly this ADSR via velocity
is modulating the filter cutoff.
| | 02:09 | So if we take a look, this
filter, it's pretty far down.
| | 02:12 | So depending on the velocity of these
notes--and if we take a look at the MIDI
| | 02:16 | part, down here you can see by the
different colors, that there is a lot of
| | 02:19 | different velocity strengths that are
happening, and so that's modulating the
| | 02:23 | Cutoff and that's really what gives
the dynamic to this particular sound.
| | 02:27 | Also, I'm going to close this
interface for a moment, but let's take a look
| | 02:31 | at the channel strip.
| | 02:33 | See, I've this sending to a bus here and
on this bus, there is distortion and reverb.
| | 02:39 | So if I don't send to this bus,
it sounds a little bit different, right?
| | 02:45 | To me, it sounds a little bit more
synthetic, and I like the sound of that, but I
| | 02:50 | want it to do is I want it a little bit
more crunchy and controlled in a way.
| | 02:56 | So this bus that I'm sending to here as
has a clip distortion and the
| | 03:00 | Space Designer reverb, and I'll
show you what's going on with both of those.
| | 03:03 | So first if I mute the Space Designer,
let's do it what this sounds like with this
| | 03:06 | clip distortion here.
| | 03:07 | (music playing)
So, pretty crunchy.
| | 03:15 | So I thought that was a little bit
much. So the Space Designer, it's actually
| | 03:18 | not set to a reverb setting.
| | 03:20 | One of the really cool things about
Space Designer that can easily be overlooked
| | 03:24 | is that it has impulse responses that
are part of the built-in Logic library
| | 03:28 | that are speaker cabinets.
| | 03:30 | So depending on if you have the full
Logic suite installed, there is actually
| | 03:35 | a category here called Warp Spaces
and underneath that, there's a category
| | 03:38 | for Speaker Cabinets.
| | 03:39 | So that's where I found this one, this
Amp Cabinet Speaker, and this is included
| | 03:43 | in the exercise files.
| | 03:44 | So you'll have this impulse response
even if you don't have the full set of
| | 03:47 | Logic content installed on your computer.
| | 03:49 | But what this does is it makes it
sound like it's running through a speaker
| | 03:53 | cabinet or an amplifier.
| | 03:54 | So I though that was cool, but it's
lacking a little bit low ends, but beneath
| | 03:59 | that have exactly the same MIDI part,
but it's really filtered down, and this is
| | 04:05 | just creating this sub-bass aspect.
| | 04:08 | You can see the lowpass filter's
all the way down, so that's cutting out all of
| | 04:11 | the high frequencies.
| | 04:13 | Then you combine the two
and they just blend together.
| | 04:22 | So that's one way you can layer
things and get stuff sounding good.
| | 04:25 | The next synth that we've got here is this
ES 1 called filteredSynth, and that's this sound.
| | 04:30 | (music playing)
It takes a moment for it to kind of rise up.
| | 04:36 | If you watch the Cutoff knob,
you can see that it's automated.
| | 04:39 | (music playing)
| | 04:45 | You can hear there is a lot of movement in this sound.
| | 04:48 | What's creating the movement is this LFO here.
| | 04:51 | We can look, it's set to full
intensity for this Mix control.
| | 04:54 | So you imagine this Mix slider here
between the primary and sub-oscillators
| | 04:59 | moving really, fast back
and forth every 8th note.
| | 05:01 | So that's what's creating that sense
of pitch change because remember, the
| | 05:07 | sub-oscillator here is an octave
lower than the primary oscillator.
| | 05:10 | So every time this slider moves up and
down, you are hearing a change in octave.
| | 05:14 | So every 8th note, there's this octave
change that's happening, and then there is
| | 05:18 | also, of course, the filtering that's going on.
| | 05:20 | So you can take a look at
the automation for that.
| | 05:23 | So if I'm in my Arrange window here
and I press the A key on the keyboard, it
| | 05:28 | brings me to automation view, and so then
I'll make sure to select ES 1: Cutoff.
| | 05:32 | If you don't see it here, you can just
always go to the instrument for ES 1 and
| | 05:38 | you can see all the
parameters that you can automate.
| | 05:40 | So I'll just go to Cutoff, and
that's where I wrote that automation.
| | 05:44 | If I wanted to add some more
automation--which I'll do--
| | 05:47 | I'm going to set the Automation mode
something other than Read, because Read is
| | 05:51 | just going to read back
whatever automation I already have.
| | 05:54 | So I'm going to set it to the Latch parameter.
| | 05:57 | That means anything I move on the
ES 1 interface, it's going to write the
| | 06:01 | automation for that and when I let go
off it, it's just going to stay at the
| | 06:04 | last value I had it set to.
| | 06:05 | So we'll open up the interface here, and I
am going to automate the amount of drive.
| | 06:11 | So I'll just start it from here.
| | 06:13 | So you can see, as I move this Drive
control, it's writing the automation for it.
| | 06:21 | So it's very simple to do.
| | 06:25 | Remember, this Drive is the
input level into the filter.
| | 06:29 | (music playing)
| | 06:40 | Okay, so that's enough for that, and
you can see it just kept it where my
| | 06:43 | last value was there.
| | 06:45 | And then I want to make sure
to switch this back to Read;
| | 06:48 | otherwise, it's just going to continue
to write automation if I touch anything.
| | 06:51 | So I don't want to do that.
| | 06:53 | So that wrote the automation, which is
cool. And the next thing I've got is this
| | 06:57 | LittlePluck sound here, and that's this one.
| | 07:00 | (music playing)
| | 07:01 | So you can hear a really short decay,
and it's obviously going through reverb.
| | 07:07 | because it's got that long tail to it.
| | 07:09 | Sure enough, when we look at the interface--
| | 07:11 | take a look at the ADSR,
the amplifier envelope here--
| | 07:14 | you can see that the decay is pretty short.
| | 07:20 | That's mostly what's going on with the sound;
| | 07:21 | it's just the shape of it's short,
and the reverb here. We've got a pretty long
| | 07:28 | reverb, 6.7 seconds, Marble Church
reverb. And beneath that, this next ES 1, and
| | 07:36 | the last one we've got in here,
has kind of a chorusing '80s sound.
| | 07:40 | And you can see if we look at the global
section of ES 1, I've got the Chorus 1 engaged for it.
| | 07:49 | It also has somewhat of a long release.
| | 07:52 | You can hear that aspect of the sound
because it naturally kind of fades down.
| | 07:59 | And also there is a little bit of
filter FM happening that's being modulated
| | 08:03 | depending on the velocity.
| | 08:05 | So that's adjusting the Cutoff.
| | 08:07 | Remember, that's the triangle wave. From
this oscillator, it's hardwired so it can
| | 08:12 | modulate the cutoff at an audio rate,
| | 08:14 | so you get some interesting
little distortion artifacts with that.
| | 08:18 | So let's hear the entire thing one last time.
| | 08:21 | (music playing)
| | Collapse this transcript |
|
|
5. The EFM1 FM SynthesizerGetting started with EFM1| 00:00 | Hi! I'm Brian Trifon.
| | 00:02 | Welcome to Virtual Instruments in Logic Pro.
| | 00:05 | In this chapter, we will be exploring
EFM1 frequency modulation synthesizer.
| | 00:09 | EFM1 is an FM synthesizer that is
really excellent for creating anything from
| | 00:14 | rich detailed textures, subtle
modulating pads, or harsh digital leads and
| | 00:19 | grinding metallic sounds.
| | 00:21 | In the following videos, I will walk you
through the basics of FM synthesis and
| | 00:26 | how to set up the Carrier and Modulator
oscillators to create a solid foundation
| | 00:30 | to construct FM sounds.
| | 00:32 | Next, I will show you how to use the
Volume and Modulation envelope to shape
| | 00:36 | both the timbre and amplitude of the sound.
| | 00:38 | Then we will explore how to use the
LFO to create periodic modulation of both
| | 00:43 | the pitch and timbre.
| | 00:45 | After that, I will show you how to
thicken your sound with the Unison, Detune,
| | 00:49 | and the Sub-oscillator.
| | 00:50 | We will wrap things up by taking a
look at the very useful randomization
| | 00:54 | features in EFM1, which make the
process of programming new and variations on
| | 00:59 | existing presets incredibly simple.
| | 01:01 | So let's check out what EFM1 sounds like.
| | 01:04 | (music playing)
| | Collapse this transcript |
| FM synthesis basics and signal flow| 00:00 | So let's take a look at the
EFM1 interface and signal flow.
| | 00:04 | EFM1 is a little bit different than what we
have seen so far, because it's an FM synthesizer.
| | 00:09 | So FM stands for frequency modulation.
So it's going to react a little bit
| | 00:13 | differently and the signal flow is
going to be different than the subtractive
| | 00:17 | synthesizers that we've taken a look at so far.
| | 00:19 | So what we have is a Carrier oscillator
that's going to generate sine waves, and
| | 00:24 | we have a Modulation
oscillator over on the left side.
| | 00:27 | The Modulation oscillator
is called the Modulator.
| | 00:30 | What that's going to do is send pitch
modulation information to the Carrier, and
| | 00:35 | the way that we control the intensity
of that is with this FM Intensity dial
| | 00:38 | that's in the center.
| | 00:40 | So basically what's happening is a
really fast pitch modulation. That's how
| | 00:43 | we are going to generate all the
different tones in EFM1 is by pitch modulation
| | 00:48 | or frequency modulation and
controlling the amount of intensity.
| | 00:53 | If we look down below in the
Amplifier section here, we've got the Master
| | 00:58 | Level Output and the ADSR Envelope,
which is going to control the shape or the
| | 01:03 | volume of the sound.
| | 01:04 | We also have a velocity control with
that, so what that's going to allow us to
| | 01:08 | do is depending how hard we are playing
the notes on the keyboard, so if we are
| | 01:11 | playing soft or loud, to give some dynamic range.
| | 01:14 | So it will respond to the volume of our playing.
| | 01:18 | So up at the top of the interface
we have the Modulation envelope.
| | 01:22 | The Modulation envelope is going to
control the shape of the depth of the FM
| | 01:26 | intensity and that's going to work in
conjunction with the FM Depth knob. Or
| | 01:32 | it's going to control the
shape of the modulator pitch,
| | 01:35 | so for the modulator that's
over on the left-hand side.
| | 01:39 | Above that we've got our
global controls for EFM1.
| | 01:42 | So there is a Unison control here and
when that's engaged, what it's going to
| | 01:46 | do is, when we are playing a note on the
keyboard, it's going to double up the voices.
| | 01:50 | So you will be hearing the notes stacked on top of
themselves, so it just creates a thicker sound.
| | 01:55 | To the right in the global section we
have the Voices parameter, and this is
| | 01:58 | where we can control the polyphony of
EFM1, so it can have sixteen voices or go all
| | 02:03 | the way down to one where it would be
monophonic. And it also has a Legato mode,
| | 02:07 | much like we saw in ES 1.
| | 02:10 | Beneath that is the Glide parameter,
and this allows us to transition between
| | 02:13 | pitches on the keyboard.
| | 02:15 | So if we set some glide time, you will
hear it slide between the different pitches.
| | 02:20 | Over on the left, we've got the
Transpose for the whole instrument, so we can
| | 02:23 | transpose down two octaves or up two
octaves. And we have the Fine-Tuning
| | 02:28 | control beneath that, where we can
offset the tuning of the instrument by twenty
| | 02:32 | cents in either direction.
| | 02:33 | If we take a look at the hidden portion
of the interface down at the bottom--so
| | 02:37 | I will open this disclosure triangle--
here you can assign MIDI controls to the
| | 02:42 | FM Depth, so that's that knob in the
center, or a MIDI control to the vibrato.
| | 02:47 | The last feature that I want to show
you on this interface that's actually
| | 02:50 | sometimes overlooked but really
useful is the Randomize control.
| | 02:53 | This allows us to randomize all of
the parameters on the EFM1 interface by
| | 02:58 | a certain percentage.
| | 03:00 | So sometimes it's cool if you have a
preset and you like it and you just want to
| | 03:04 | have a variation of it, to randomize
by something like 7 percent. Or if you want to
| | 03:08 | create an entirely different patch
that's completely different and set the
| | 03:12 | randomization to 100% and get
a completely different result.
| | 03:15 | So the next movie let's take a look at
the Carrier oscillator and how we can
| | 03:19 | set the pitch for that.
| | Collapse this transcript |
| Setting the carrier pitch| 00:00 | Let's take a look at this
Carrier oscillator and how it works.
| | 00:03 | So the Carrier oscillator is a bit
different than some of the oscillators we
| | 00:06 | have seen in the other synths, just
because it only generates sine waves.
| | 00:10 | So if I play a note on here, we
can see that the waveform is the sine
| | 00:15 | waveform. If we look on this Analyzer,
there's really only one component of the
| | 00:19 | sound, just the fundamental frequency.
| | 00:21 | So I'm playing an A note to
220 hertz, that's really it.
| | 00:25 | If you look at other types of waveforms,
like a sawtooth waveform, you see a whole
| | 00:29 | lot of other harmonic components to the sound.
| | 00:31 | The sine waveform is pretty
characterless, but the good thing is that the
| | 00:35 | Modulation oscillator that they call
the Modulator, that's what's going to be
| | 00:39 | creating the texture.
| | 00:41 | So it's the modulation between this
Modulator and Carrier that's going to create
| | 00:45 | the shape of the sound.
| | 00:46 | So it's okay that this Carrier
oscillator only generates sine waves.
| | 00:51 | One thing that's interesting
about it is the tuning aspect of this
| | 00:54 | Carrier oscillator.
| | 00:55 | It doesn't transpose in semitones. So for
example, when I adjust this knob here--
| | 01:00 | (music playing)
| | 01:03 | --those are much bigger than semitones, right?
| | 01:07 | So it's tuning based on the harmonic series.
| | 01:09 | So it's integer relationships
between the note we're playing.
| | 01:12 | So integer means whole numbers.
| | 01:15 | So here is just the basic note. I'm
playing an A. I'm going to set this to
| | 01:20 | the second harmonic.
| | 01:22 | It's an A in octave higher.
| | 01:22 | When I set it to the third
harmonic it's an octave and a fifth.
| | 01:27 | So the fourth harmonic
it's two octaves, and so on.
| | 01:34 | (music playing)
| | 01:39 | We tune it with the harmonic series
instead of semitones, and I'll get into that
| | 01:43 | more when we look at the
Modulator--the reasoning behind that.
| | 01:46 | We've also got a Fine-Tuning control
here where we can offset the tuning in
| | 01:51 | cents, so by very small amounts.
| | 01:53 | If I want to reset this back
to its neutral position,
| | 01:58 | I can just click on this O
right here, or I can Option+Click.
| | 02:03 | The last control on the Carrier
oscillator is this Fixed control.
| | 02:06 | This is going to separate the note
that I am playing on the keyboard from the
| | 02:09 | actual pitch that we are hearing.
| | 02:11 | If I engage Fixed what's going to
happen is I play notes on the keyboard, and they
| | 02:16 | are all generating the same frequency.
| | 02:18 | This is a really low frequency right here.
| | 02:19 | So I'm going to change the harmonic.
| | 02:20 | (music playing)
I can even go higher than that.
| | 02:25 | (music playing)
| | 02:28 | So I'm playing a chromatic scale on the
keyboard now, but notice it doesn't sound
| | 02:32 | very chromatic, does it?
| | 02:34 | That's because it doesn't matter what I
play on the keyboard, it's just going to
| | 02:37 | play that fixed frequency, so
that's what this Fixed mode does.
| | 02:40 | You just set the harmonic and
it just plays that constant note.
| | 02:45 | And we will understand the utility and
the reasoning behind that more when we
| | 02:48 | look at this Modulator.
| | 02:50 | So with that, let's take a look at this
modulation oscillator, the Modulator.
| | Collapse this transcript |
| Changing timbre with the modulator| 00:00 | The Modulator or modulation
oscillator is really what's going to create the
| | 00:04 | character of the sound.
| | 00:06 | So essentially what's happening is the
Modulator is just an oscillator, very
| | 00:11 | much like the Carrier, and instead of
sending a signal to the Amplifier, it's
| | 00:16 | sending a signal to the Carrier.
| | 00:17 | So it's modulating the pitch of this
Carrier oscillator, but instead of it doing
| | 00:22 | it at a low frequency, it's
doing it at a very high rate.
| | 00:25 | So when I play a note on my keyboard
here, so I will play an A, so that's 220
| | 00:30 | hertz, and then my Carrier is set to a
ratio of 1. Notice so is the Modulator.
| | 00:35 | So what that means is that this
Modulator is going to be modulating the pitch of
| | 00:39 | the Carrier 220 times a second.
| | 00:41 | And in order to make that happen, I'm
going to use this FM Intensity control to
| | 00:46 | adjust the amount of modulation.
(music playing)
| | 00:50 | Turn this up. You can see that
the waveform starts to change.
| | 00:55 | When I have this at a low level we
can see it starts to look more like a
| | 00:59 | sawtooth waveform just a little bit, and as
I increase it, it really becomes different.
| | 01:05 | If you look at our EQ Analyzer
we can see there is a lot more
| | 01:07 | harmonic components. And as I
increase the Intensity, there's even more.
| | 01:15 | The sound becomes a bit more harsh as well.
(music playing)
| | 01:23 | So that's really what's happening.
| | 01:24 | It's just a pitch modulation.
| | 01:26 | So you might think, well, why not just use
an LFO, like a more simple way of doing that?
| | 01:31 | So let's take a look at what happens
when we use the LFO to modulate the pitch.
| | 01:34 | So down here in EFM1 we have this LFO section.
| | 01:38 | It can be used to create vibrato, which
is pitch modulation. So I will do that.
| | 01:43 | I'm going to take this control
and move it a bit to the left.
| | 01:46 | (music playing)
| | 01:48 | So you can hear the pitch is now vibrating.
| | 01:51 | I can control the rate with the Rate knob,
so we can have it be pretty slow or faster.
| | 01:58 | So let's increase the
intensity of this modulation.
| | 02:00 | So there is a pretty wide range of pitches.
| | 02:03 | Now if I increase the Rate, and I get
past to a certain point, like about 20
| | 02:14 | hertz, it doesn't really
sound like a pitch-shift anymore.
| | 02:21 | It's more of a texture or a timbre change.
| | 02:24 | You can see also the waveform is much
different, and if you look at the EQ
| | 02:28 | Analyzer, there is also a lot more
harmonics. There is even sub-harmonics that
| | 02:31 | are happening below the fundamental.
(music playing)
| | 02:35 | So that's basically FM synthesis.
| | 02:38 | But when I try to play notes in the
keyboard, so I play chromatically--
| | 02:42 | (music playing)
| | 02:46 | It doesn't really track all that well,
| | 02:48 | so it's not as musically useful.
| | 02:51 | So if I reset this, whole reason this
Modulator uses the harmonic tuning system
| | 02:56 | is so that we can control the pitch
modulation so it's musically relevant.
| | 03:01 | So when I have this fast modulation
that's going on, so 220 times a second
| | 03:06 | because I am playing A 220 hertz, and
so I'll play some notes on the keyboard.
| | 03:12 | (music playing)
| | 03:15 | So no problems tracking pitch,
definitely musically useful.
| | 03:19 | So that's why this
harmonic tuning system is great.
| | 03:22 | And one thing that's really going to
affect the character of the sound is
| | 03:25 | the relationship, or the ratio, between the
harmonics of the Modulator and the Carrier.
| | 03:30 | So right now we have a one-to-one relationship.
| | 03:33 | So if I set the Modulator to a different ratio.
| | 03:36 | (music playing)
| | 03:38 | You can hear it changes the
timbre of the sound a bit.
| | 03:41 | It's still pretty constant sound.
| | 03:43 | (music playing)
| | 03:48 | So that kind of relationship has a
pretty constant sound, and it's just--
| | 03:53 | depending on what the harmonic is set to, so if
I've got a harmonic of 7, so the 7th harmonic,
| | 04:00 | it's going to bring out that range of
frequencies in the Carrier, in the modulation.
| | 04:05 | (music playing)
| | 04:09 | So the fundamental pitch isn't
changing and we're still getting all this
| | 04:12 | texture that's happening.
(music playing)
| | 04:15 | We can hear the emphasis of the
sound is higher in the higher harmonics.
| | 04:18 | (music playing)
| | 04:24 | So if I want to make a more metallic
or dissonant sound then I can adjust the
| | 04:27 | fine-tuning of the Modulator.
(music playing)
| | 04:30 | So it still tracks pitch fine, but
it's a little bit more of an edgy,
| | 04:39 | industrial kind of sound.
| | 04:42 | It's harder to hear exactly what the pitch is.
| | 04:45 | So if I set that back, another way we
can actually create some radical change
| | 04:50 | with this is if I change the
wave shape of the Modulator.
| | 04:53 | So I will go ahead and set
this harmonic to 1, so we've got a
| | 04:56 | one-to-one relationship.
| | 04:58 | Turn down the level of
modulation, so just a little bit.
| | 05:01 | Now I will adjust the
wave shape of the Modulator.
| | 05:04 | So by default, or if you have it all the
way to the left, it's going to be a sine wave.
| | 05:09 | So it's a sine wave
modulating another sine wave.
| | 05:11 | If I change this, some different waveforms, it
really changes the character of the sound.
| | 05:18 | (music playing)
| | 05:24 | Then if I also adjust
the amount of FM Intensity--
| | 05:27 | (music playing)
| | 05:33 | --I get a wide range of sounds.
| | 05:34 | Here I will play an octave lower.
(music playing)
| | 05:43 | So you can almost get any texture you
can imagine when you start changing the
| | 05:46 | wave shape and you try to
balance the amount of FM intensity.
| | 05:50 | So I definitely recommend playing
around with that, because you will discover a
| | 05:54 | lot of things in that process.
| | 05:56 | Next, let's take a look at how we
can shape the sound further with the
| | 05:58 | Modulation envelope and
then Volume envelope as well.
| | Collapse this transcript |
| Using the volume and modulation envelope to shape the sound| 00:00 | Let's take a look at how we can shape
the sound further with the Modulation
| | 00:03 | envelope and the Volume envelope.
| | 00:06 | The Volume envelope is very similar
to what we've seen so far in the other
| | 00:10 | synthesizers, such as ES 1 and ES P.
| | 00:13 | It's a four-stage ADSR envelope and
it's going to control the shape of the
| | 00:17 | volume of the sound.
| | 00:18 | So as a quick review, remember that the
attack is going to be the amount of time
| | 00:22 | it takes from the signal to go from
absolute silence to its maximum volume.
| | 00:26 | So right now it's set to
0, so it's instantaneous.
| | 00:29 | If I give this a longer
attack, the sound will fade in.
| | 00:32 | (music playing)
| | 00:35 | So it takes a moment for it
to take it to its full volume.
| | 00:39 | Decay is the amount of time it takes,
once it's reached its maximum volume, to
| | 00:43 | then fade back down to either
silence or at the sustain level.
| | 00:47 | So for the case of this
example, let's pull down Sustain.
| | 00:50 | We'll have no sustain.
| | 00:52 | So we've got a long decay, so this
will fade out over a long period of time.
| | 00:56 | So I'll make this shorter.
| | 00:58 | (music playing)
| | 01:00 | It's more like a pluck when we've
got to the short decay like this.
| | 01:03 | (music playing)
It fades out really quickly.
| | 01:05 | (music playing)
| | 01:09 | So now if I give this some sustain level,
instead of it fading all the way down
| | 01:13 | to silence, or decaying down to silence,
it will decay down to my sustain level.
| | 01:18 | (music playing)
| | 01:20 | So my sustain level is here,
somewhere in the middle.
| | 01:23 | We're just going to stay at this
volume as long as I'm holding the note.
| | 01:25 | If I increase the sustain level --
(music playing)
| | 01:32 | --you can see that it decays, but
it still has a lot of amplitude.
| | 01:36 | (music playing)
| | 01:43 | Release is the amount of time it takes
once I've let go of the note for to fade
| | 01:47 | back down to silence.
| | 01:48 | So if I'm holding the note here and I
let go, it takes moment to fade out.
| | 01:55 | I'll give it a longer release so you
can here and increase the sustain.
| | 01:58 | (music playing)
| | 02:00 | So I'm holding the note, and I let go.
It takes a little while for it to
| | 02:04 | fade down to silence.
| | 02:05 | So that's a long release. Okay.
| | 02:10 | So that should all be pretty familiar.
| | 02:12 | The other thing that should also be
familiar is this Velocity control.
| | 02:14 | This just allows us to control the
volume of the sound with how hard we're
| | 02:18 | playing on the keyboard.
| | 02:19 | So if I play softly, I get a low volume.
| | 02:22 | If I play with more force,
I get a louder volume.
| | 02:26 | So that's a really great way to
sort of have things be dynamic.
| | 02:30 | And the Main level control for the
amplifier, that's just our master output level.
| | 02:34 | So let's take a look at this Modulation
envelope because this is actually really
| | 02:37 | cool and really useful.
| | 02:38 | So Modulation envelope has the same
stages that are in this Volume envelope,
| | 02:43 | ADSR, but they're going to be applied
to the FM intensity, or the FM depth
| | 02:49 | is what they call it here,
and the pitch of this modulator.
| | 02:51 | So let's try it as used
with this FM intensity here.
| | 02:55 | So what I'm going to do is I'm
going to set everything to 0 on this
| | 02:59 | Modulation envelope.
| | 03:00 | Let's just hear a small
amount of modulation happening,
| | 03:04 | so I'll play a note and
I'll increase the FM intensity.
| | 03:07 | Okay, so we hear what that sounds like.
| | 03:11 | So let's have that be
controlled by this envelope.
| | 03:13 | So I'll adjust the FM depth here.
| | 03:15 | So I'll give it a positive amount by turning
it to the right, and I'll give it some attack.
| | 03:20 | So what's going to happen is this FM
depth, it's going to fade in over the
| | 03:24 | period of this Attack portion.
| | 03:26 | (music playing)
| | 03:29 | So you hear that fade in and
then it cut off right away.
| | 03:32 | So that's when it reached the decay
portion, because our decay time is really short.
| | 03:36 | It's just cutting off immediately.
| | 03:37 | So maybe what I'll do now is try the opposite.
| | 03:41 | I'll set instantaneous
attack, give it some decay.
| | 03:44 | So what will happen is it will jump to
a higher modulation level and then it
| | 03:48 | will fade back down to no modulation.
| | 03:50 | (music playing)
| | 03:55 | So you can hear that
happening. I'll make this shorter.
| | 03:57 | (music playing)
| | 04:00 | So if I want to emphasize the
beginning of the sound, give it a short decay--
| | 04:04 | (music playing)
| | 04:06 | And then of course, wherever my
starting place is of this FM intensity control,
| | 04:12 | the envelope is going to offset that. So--
| | 04:14 | (music playing)
| | 04:15 | --if I'm starting with more modulation,
it's going to increase from there. So
| | 04:19 | that during this Decay parameter, it
will open up even further and then decay
| | 04:22 | back down to wherever my
starting place is that's here.
| | 04:24 | (music playing)
So I can make this longer.
| | 04:27 | (music playing)
| | 04:31 | And so the sustain portion of this
envelope is going to be the place where this
| | 04:36 | modulation ends up being as
long, as I'm holding the note.
| | 04:38 | (music playing)
| | 04:43 | Now it's at the sustain portion.
You can hear that it's just sort of a small
| | 04:46 | amount of modulation.
| | 04:47 | I can increase the sustain.
(music playing)
| | 04:51 | And you can hear now it's at
a higher level of modulation.
| | 04:53 | So let's engage these first three
stages: so Attack, Decay, and Sustain.
| | 04:59 | So what's going to happen is the
modulation amount will fade in over the attack
| | 05:04 | period of this Modulation envelope.
| | 05:06 | Then during the decay portion, the
modulation amount will decrease to whatever
| | 05:10 | the sustain level is.
| | 05:12 | So let's hear that happen.
| | 05:13 | (music playing)
| | 05:16 | So you could hear those three stages
happening, and now it's on the sustain.
| | 05:19 | (music playing)
| | 05:22 | The Release portion here is going to
be once I let go of the note, it's going
| | 05:26 | to be the amount of time it takes for this FM
intensity to go back down to its initial setting.
| | 05:32 | (music playing)
| | 05:34 | We're now at the sustain portion.
I'll let go and it instantly cuts off.
| | 05:38 | And the reason for that is because our
Volume envelope has no Release, so I'll
| | 05:42 | increase the release on our Volume envelope.
| | 05:44 | And now we should hear all four
stages of this modulation envelope.
| | 05:47 | (music playing)
| | 05:49 | And I'll let go of the note, and we can
hear the modulation fades back down, as well
| | 05:55 | as the volume of the sound.
| | 05:57 | So that's this Modulation envelope
controlling the FM depth, or FM intensity.
| | 06:01 | The other thing we can actually do with
that is give it a negative amount so the
| | 06:06 | envelope works in the opposite direction.
| | 06:08 | So essentially what's going to happen is
during the attack period, the FM amount
| | 06:12 | is going to be decaying and so on and so forth.
| | 06:15 | But it's worth exploring.
(music playing)
| | 06:17 | So check that on your own because
sometimes you can get some really cool musical
| | 06:21 | things happening with that.
| | 06:24 | Okay, so now let's try using this Modulation
envelope to control the pitch of the modulator.
| | 06:31 | So I'll start with a pretty neutral setting.
| | 06:34 | So what I'll do is first give
this a bit of FM intensity here.
| | 06:38 | (music playing)
| | 06:40 | So we need a little bit of
modulation happening in order to actually hear
| | 06:43 | this because with no modulation, all
we're hearing is the carrier signal.
| | 06:46 | So now what I'll do is give
this a bit of pitch modulation.
| | 06:50 | So I turn this to the right
to give it a positive amount.
| | 06:53 | (music playing)
| | 06:55 | And then I have to engage the envelope here.
| | 06:57 | So we'll give this a bit of attack and
over the period of this attack stage, the
| | 07:01 | pitch of the modulator will rise.
| | 07:03 | So let's listen to that.
(music playing)
| | 07:07 | All right! So you could hear it rising and then
once it hits the decay, it snaps back to
| | 07:11 | the note that I'm playing. Let's give it some
decay, so it will rise and then it will fall during the decay portion.
| | 07:17 | (music playing)
| | 07:22 | And if I get rid of the attack and just
have a decay, we'll just hear it pitched down.
| | 07:26 | (music playing)
| | 07:28 | Because the attack is instantaneous, so
then the decay is the only thing we're hearing.
| | 07:32 | (music playing)
| | 07:35 | We can get an even shorter decay
for a more percussive sort of tone.
| | 07:39 | (music playing)
| | 07:40 | And if I want it to be a further
range of pitch that's happening with this
| | 07:43 | envelope, I'll increase the intensity.
| | 07:46 | So if I go all the way the right, that's the
maximum intensity for this pitch modulation.
| | 07:49 | (music playing)
| | 07:53 | That gives it definitely more of a snap to the sound.
(music playing)
| | 08:00 | Then I can adjust the sustain level
as well of this Modulation envelope.
| | 08:03 | (music playing)
| | 08:06 | And then of course it has the release,
which is once we let go of the note, how
| | 08:09 | long it takes for the modulation to
settle back down to its initial value.
| | 08:14 | (music playing)
| | 08:16 | In order to really hear that, we have
to make sure that there is enough release
| | 08:19 | happening with our Amplifier
envelope or our Volume envelope.
| | 08:22 | (music playing)
| | 08:25 | So you can hear, when I've let off
the note, the pitch started changing.
| | 08:28 | So I'm playing the note and I let go, and you
can hear that Modulator pitch is changing also.
| | 08:35 | Another thing to keep in mind is that
this modulation envelope can control the
| | 08:39 | modulator pitch and the FM depth
at the same time. So let's do that.
| | 08:44 | So now we've got it
controlling FM depth and pitch.
| | 08:47 | (music playing)
So it's a little more drastic of a sound.
| | 08:52 | Let's get this to a more
musically useful envelope shape.
| | 08:54 | So I'm just going to do something where
we've got a bit of attack and decay and release.
| | 08:59 | (music playing)
| | 09:02 | So that's probably too much a
range of pitch, so I'll decrease that.
| | 09:05 | We've got a little bit of
pitch modulation and some FM depth.
| | 09:09 | (music playing)
| | 09:12 | And if I decrease the starting place, I
think it will be more musically useful.
| | 09:16 | (music playing)
| | 09:18 | So you can get some interesting stuff,
having it modulate both the pitch of the
| | 09:21 | modulator and FM depth at the same time.
| | 09:23 | (music playing)
| | 09:28 | I can also invert the direction of the
Modulation envelope for pitch just like
| | 09:32 | we did for FM depth, so I can do that here.
| | 09:34 | So now the Pitch envelope is working
in the opposite way that the Modulation
| | 09:38 | envelope is working for FM depth.
| | 09:39 | (music playing)
| | 09:43 | So now you can get some
interesting effects by exploring that.
| | 09:45 | So next, let's check out the LFO, which
can be used to modulate the FM intensity,
| | 09:51 | or like we saw earlier, it can
be used to create vibrato.
| | Collapse this transcript |
| Adding movement with the LFO| 00:00 | The LFO in EFM1 could be used both to
modulate the FM intensity and as we saw
| | 00:05 | earlier, it can be used to modulate
the pitch to create a vibrato effect.
| | 00:09 | Just as a reminder, LFO, that
stands for Low-Frequency Oscillator.
| | 00:14 | So it's an oscillator that generates
a periodic signal like oscillators do,
| | 00:17 | but instead of it being an audible
signal, it's one that automates the
| | 00:22 | movement of some parameter.
| | 00:24 | So in this case, we can modulate the
FM intensity, if I move this control to
| | 00:29 | the right. Remember, the FM
intensity is this knob here in the center. Or
| | 00:35 | if I move this to the left, it's going
to be a pitch modulation, and therefore
| | 00:39 | create a vibrato effect.
| | 00:41 | In the center, this LFO isn't active.
| | 00:44 | So to reset this to the center position,
I can click on the O above the knob or
| | 00:48 | I can just Option+Click on it,
and it moves it back the center.
| | 00:51 | So right now I'll play the notes so
you can hear where we are starting.
| | 00:54 | (music playing)
| | 00:55 | Okay, so there's a little bit of FM
modulation happening, and we have got the
| | 01:00 | Modulation envelope
with some activity going on.
| | 01:03 | Let's bring in the LFO amount for FM intensity.
| | 01:06 | (music playing)
| | 01:10 | So now I have got a little bit of
modulation and as I increase the amount,
| | 01:16 | you can hear it's a more pronounced effect.
(music playing)
| | 01:22 | And I can adjust the speed of
that here with the Rate control.
| | 01:24 | (music playing)
| | 01:28 | If I want to do a long change, I can
set it to slow rate, or I can speed it up.
| | 01:40 | If I go really fast, I get sort
of distorted overdriven sound.
| | 01:46 | But the problem is is that even if it
works for one note, it doesn't necessarily
| | 01:49 | mean it is going to sound good on every note.
| | 01:53 | So this doesn't really track pitch too well.
(music playing)
| | 02:01 | As we looked at earlier too, if we
take this to the left, we'll get vibrato.
| | 02:05 | (music playing)
| | 02:09 | Sometimes with vibrato effect
it's nice to have just a small amount.
| | 02:13 | (music playing)
| | 02:21 | Because then it's more of a subtle
effect and has more of a nostalgic sound.
| | 02:25 | (music playing)
| | 02:27 | It's pretty out of control.
| | 02:28 | So as you can see, the LFO is a
great way to add a more periodic type of
| | 02:33 | modulation that's constant to the
sound, whereas the envelope is great for
| | 02:37 | doing like a one-time modulation
where the FM intensity is adjusted or the
| | 02:42 | modulator pitch is adjusted.
| | 02:44 | The LFO is really great because it's a
continuous modulation, so it's a way to
| | 02:49 | add consistent movement to the sound.
| | 02:51 | Next, let's take a look at how we can
add more bass with sub oscillator and
| | 02:56 | thicken the sound with the
stereo de-tune in Unison.
| | Collapse this transcript |
| Using unison, detune and sub osc for thick sounds| 00:00 | Sometimes when we are creating FM
sounds you end up losing some bass, the more
| | 00:05 | modulation you have.
(music playing)
| | 00:07 | So as I increase the FM intensity here,
the sound gets more harsh, but it's less
| | 00:13 | focused on the low end.
(music playing)
| | 00:18 | And actually, if you take a look at
this analyzer on an EQ and watch the
| | 00:21 | lowest harmonic, you see as I increase the
FM intensity, at certain points it decreases in its level.
| | 00:30 | (music playing)
| | 00:32 | And as I bring it down, you can see
that it's a couple of dB louder now.
| | 00:38 | So one way that EFM1 solves that
problem is by the sub-oscillator control.
| | 00:44 | And what this does is it brings in a
pure sine wave an octave beneath the note
| | 00:48 | you are playing that's un-modulated,
so it's not being FM-processed at all.
| | 00:53 | (music playing)
| | 00:55 | So if I turn this up, you can hear it's bringing
this tone an octave lower, try to find the right balance here.
| | 01:05 | (music playing)
| | 01:12 | So you can get a nice full-range
sound with that, which is really cool.
| | 01:17 | And then instead of having a chorus,
they have a very similar thing in EMF1,
| | 01:20 | Stereo Detune. It kind of takes on a
chorusing quality, so it's a de-tuned
| | 01:25 | signal that's mixed into dry signal
that increases the stereo field, the
| | 01:29 | width of the sound. So let's explore that.
(music playing)
| | 01:37 | And I'll just bring up FM intensity so we
can hear everything a little bit more.
| | 01:43 | So notice here is no Stereo Detune--
it's a very mono signal--and as soon as
| | 01:48 | I engage this, all of a sudden,
especially if you are listening on
| | 01:51 | headphones, it's very wide.
| | 01:52 | (music playing)
| | 01:54 | As I increase it, you can hear some
modulation happening, and the speed of that
| | 01:58 | modulation increases the
further I turn this knob to the right.
| | 02:01 | (music playing)
| | 02:07 | So this Stereo Detune knob is a really
good way to add some width to the sound.
| | 02:12 | It's very cool feature.
| | 02:14 | And the next thing we can do to
actually fatten up the sound even more is to
| | 02:18 | use the Unison control.
| | 02:19 | So the Unison's up here at
the top in the global settings.
| | 02:22 | So when I turn that on, what is going
to happen is every time I play a note on
| | 02:26 | the keyboard, instead of it just
allotting one voice, it's going to play two
| | 02:29 | voices for that note.
| | 02:31 | (music playing)
| | 02:32 | So the first thing I notice is that it
makes the signal much louder, so what I
| | 02:35 | want to do is turn down the amplifier level.
| | 02:37 | So that's here, this main level.
| | 02:39 | (music playing)
| | 02:45 | So the Unison has an increased the
overall volume, but because it's two
| | 02:49 | independent EFM voices playing on top
of each other, we also just get more
| | 02:53 | variation and depth to the sound.
(music playing)
| | 02:58 | I'll bring in some Stereo Detune.
(music playing)
| | 03:05 | So now we have got a pretty thick sound.
(music playing)
| | 03:12 | Once you get your EFM 1 sound the way
you want, sometimes it's nice to be able
| | 03:16 | to add some randomization
to get variations on sound,
| | 03:19 | so let's explore that in the next movie.
| | Collapse this transcript |
| Randomize, do you feel lucky today?| 00:00 | So I like the sound that we have started.
(music playing)
| | 00:03 | That's pretty cool, but it'd be really
great if we could create some variations on it.
| | 00:07 | It's one thing that's great about EFM1
is it has this Randomize feature that
| | 00:11 | allows us to add just a certain amount
of controlled randomness to our preset.
| | 00:15 | The first thing I want to do, if you
actually make a sound that you like, this
| | 00:20 | here, you are going to want to save
it as a preset so you don't lose it.
| | 00:24 | The way you can do that is you go to
this menu up top, the Preset menu, and go to
| | 00:28 | Save Setting or Save Setting As.
| | 00:30 | Usually Save Setting As is a good
idea because you want to change the name.
| | 00:35 | So when I do that, what I can do
is just type a new name for it.
| | 00:37 | So I will call this CoolPresent.
| | 00:41 | Usually it helps to give
things a meaningful name.
| | 00:43 | In this case CoolPreset is meaningful to me.
| | 00:47 | Okay, so now that we have that,
I want to make some variation on this.
| | 00:50 | So what I can do is I can tell the amount of
randomness I want to add to my current preset.
| | 00:56 | So an amount like 7 percent is actually pretty
good. That's the default they have set here.
| | 01:01 | Because it's enough that we'll hear the
change, but it's not so much that it would
| | 01:05 | be entirely different, because this
Randomization parameter can go all the way to
| | 01:09 | 100%, where if we click the Randomization
button at the 100%, it's a completely new,
| | 01:13 | entirely different sound that's
unrelated to your original one.
| | 01:16 | So let's try adding 7% randomness.
| | 01:21 | So I clicked and you saw that
everything moved a little bit.
| | 01:23 | So now I can hear that the
harmonic is different of the modulator.
| | 01:28 | Everything sounds a little bit different.
Let's try it again.
| | 01:32 | It's definitely different, but still
maintains a lot of the character of
| | 01:36 | this original sound.
So there I did it again. This is nice.
| | 01:42 | It's really cool because sometimes
you'll find unexpected things that you wouldn't
| | 01:45 | even come up with, and also
sometimes sounds that don't work out at all.
| | 01:49 | (music playing)
| | 01:51 | So we can increase this even more.
| | 01:53 | So let's try 50%, somewhere around there.
| | 01:56 | Okay, so first I have to click the
Randomize button, and you see that some knobs
| | 02:02 | and sliders moved around.
(music playing)
| | 02:05 | Okay, so this is definitely much different
territory than what we had before. It's pretty cool.
| | 02:11 | Let's try it again.
(music playing)
| | 02:15 | So, yeah, much different.
(music playing)
| | 02:18 | And of course, if we do a 100%, it's
just going to be entirely different.
| | 02:22 | (music playing)
| | 02:25 | If you look at the ratios of Carrier or
Modulator, 11 and 14, much different.
| | 02:31 | Notice that if I press this a bunch of times,
everything changes except for a few parameters.
| | 02:35 | (music playing)
| | 02:39 | So you can see that everything is
changing except the number of voices, the
| | 02:44 | global transpose, and the global fine-
tuning, but everything else will change.
| | 02:51 | So sometimes what I will do is just
hold down a node, press the Randomize, and
| | 02:58 | sometimes you really luck out with some
interesting sound effects and things like
| | 03:00 | that, like this right here. And of course,
if you come up with the setting you
| | 03:05 | like, make sure to save it as a new preset.
| | 03:07 | So what I can do is go back to that
menu up top, go to Save Setting As.
| | 03:13 | We'll call this, this is our Alien Sound
Effect (AlienSFX), and we save that, and
| | 03:21 | then what's great is it
shows up in the menu in future.
| | 03:24 | So here we have our
CoolPreset. Here is our new AlienSFX.
| | 03:26 | So if want to go back to the
CoolPresent, there, go back to it.
| | 03:30 | (music playing)
I've got that and we've got our new one too.
| | 03:34 | Once we've got some presets and things
are sounding good, it's really great to
| | 03:37 | be able to assign a MIDI controller
to control the FM amount so that we can
| | 03:41 | actually test some things out and be more
expressive with playing on the keyboard.
| | 03:44 | So we'll check that out next.
| | Collapse this transcript |
| Assigning MIDI controls to FM| 00:00 | Sometimes it's really useful to be able
to assign a MIDI controller to a parameter.
| | 00:05 | Fortunately, EFM1 has a built-in way to
do this really easily, especially for the
| | 00:09 | most important parameters.
| | 00:11 | So they've got the Assignment page
down here where you can assign the FM
| | 00:15 | intensity to a controller, and you can
also assign the vibrato to a controller.
| | 00:18 | So by default they have this FM
intensity assigned to the mod wheel, so
| | 00:24 | let's check that out. So if I'm playing a note
and I open up the mod wheel, you can hear the FM
| | 00:31 | intensity is increasing.
| | 00:32 | Now I'll close it back down.
| | 00:35 | Notice you don't see the knob move.
| | 00:37 | This big knob in the center, that
didn't moved at all, but you could hear it
| | 00:40 | changing. That's what
happens with CC assignments;
| | 00:44 | you hear it, but you don't see it.
| | 00:45 | The other thing to think about
here is I've got this Ctrl FM Amount.
| | 00:50 | That's essentially scaling the
amount that the mod wheel is going to
| | 00:53 | modulate the FM intensity.
| | 00:55 | So right now it's set to 0.20,
and this is on a scale from 0 to 1.
| | 00:59 | So what happens if we increase that?
| | 01:01 | I will set it to 1. So now when I play a note and
| | 01:03 | I open the mod wheel, you can hear I
have a much greater range of intensity.
| | 01:09 | (music playing)
| | 01:13 | So sometimes you want to limit it though;
you don't want that full range if you
| | 01:17 | have a control or your mod wheel.
You want it just be a subtle amount that you
| | 01:20 | are affecting it. Then you can control out here.
| | 01:23 | So maybe I want it 0.10.
(music playing)
| | 01:28 | So as I open and close the mod wheel,
you can hear a slight adjustment, but it's
| | 01:32 | subtle; it's not that much intensity difference.
| | 01:34 | Let's say I wanted to assign
this to a different controller.
| | 01:37 | I don't want this to be the mod wheel.
| | 01:38 | So what I can do is go to this menu
here and I can choose it from this long list.
| | 01:44 | The only problem is that I have to
know on the keyboard controller what the
| | 01:48 | continuous controller number is for the
slider or knob that I want to assign it to.
| | 01:52 | So the keyboard I'm using
right now, which is an Axiom Pro 61,
| | 01:56 | I'm not sure what CC number the sliders are.
| | 01:58 | Fortunately, if I go up to the
top, I've got this Learn button.
| | 02:02 | This will just learn
whatever slider or knob that I move.
| | 02:06 | So I click on that and I move the
slider on my MIDI controller and I can see
| | 02:10 | that it did something. And so it's
telling me here that the slider that I moved
| | 02:15 | is continuous controller number 74.
And sure enough, when I play a note and I
| | 02:21 | move that slider, I can hear
the FM intensity adjusting.
| | 02:24 | And if I want to increase the
intensity, I can adjust the scale here.
| | 02:30 | So just so it's obvious, set it to the
full amount here, and I'll move the slider.
| | 02:36 | Now I can cover the full range of FM intensity.
| | 02:42 | So I can do the same thing
for the Vibrato control as well.
| | 02:46 | By default, it isn't assigned to anything.
| | 02:47 | So I can go here and again if I know
my CC number for a slider knob in my
| | 02:53 | controller, I can just find it in this
list or sometimes it's easier to learn it.
| | 02:57 | So I hit Learn.
| | 02:59 | I'll move a different slider on my
controller and there we go. Now I've
| | 03:03 | got Vibrato controller.
(music playing)
| | 03:07 | All right! So if I've got the slider down, no Vibrato.
| | 03:11 | Bring up the slider, it's
increasing the intensity of the vibrato.
| | 03:15 | So it's a very useful feature and makes
it so that if you are good at playing the
| | 03:20 | keyboard you can be more expressive,
because you can be playing a melody and then
| | 03:24 | adjust the sliders and adjust the
FM intensity and vibrato all at once,
| | 03:27 | so it definitely makes for
a more dynamic performance.
| | 03:30 | So now that we have things set in EFM1,
let's take a look a musical example and
| | 03:36 | hear EFM1 in action.
| | Collapse this transcript |
| Composing with the EFM1| 00:00 | Let's check out EFM1 in a musical example.
| | 00:03 | I have got six instances of EFM1 that
are creating all the synth sounds and bass
| | 00:08 | sounds and pads, and then the
drums were created by UltraBeat.
| | 00:12 | So let's hear it and then I
will show what's going on.
| | 00:14 | (music playing)
| | 01:02 | All right! The first thing I will show you is this
SynthAccent track that we have got here.
| | 01:06 | So let me play that for you.
| | 01:08 | (music playing)
| | 01:13 | We can see on the interface when
this one little accent happens--
| | 01:17 | (music playing)
| | 01:20 | --the FM Intensity knob is moving.
That's because of the Track Automation on
| | 01:24 | it that's doing that.
(music playing)
| | 01:28 | That's really the only
modulation that's happening in this.
| | 01:31 | There is no LFO or envelope amount that you can see.
| | 01:34 | The other thing to take note of is that
the Carrier is set to a fixed amount, so
| | 01:38 | it's not tracking the pitches on
the keyboard. So when I play--
| | 01:40 | (music playing)
| | 01:44 | --I can still play notes that will track
on the keyboard, but that's because it's
| | 01:47 | tracking the Modulation oscillator.
| | 01:49 | If I uncheck this, it's
going to sound a lot different.
| | 01:52 | (music playing)
| | 01:55 | So it's one of those things we were
experimented and it just sounded cool with the
| | 01:59 | fixed setting. And on that particular
note, the modulation sounded really good.
| | 02:05 | The other aspect of the sound that
gives it sort of the crunchiness that it
| | 02:10 | has is that the Modulator is set to
a waveform that's not a sine wave.
| | 02:14 | So if this was all the way to the left, it
would be a sine wave. It's much smoother
| | 02:18 | modulation. But as I move this control,
so let's hear that again--right, it
| | 02:24 | really changes the texture of sound.
| | 02:26 | So changing the wave shape of the
Modulator really makes a big difference.
| | 02:29 | (music playing)
| | 02:33 | So the next sound in there
is this Fretless Wave sound.
| | 02:38 | I will show you what's going on with that.
| | 02:40 | (music playing)
| | 02:43 | It kind of has this vowel quality to it.
| | 02:46 | It's bit of a growling sound.
| | 02:47 | It's also pretty simple in its
construction, and you can see that the movement is
| | 02:54 | really happening from this Modulation envelope.
| | 02:56 | We have got the Modulation envelope
applied to the FM intensity--that's this
| | 03:00 | control here--and you can see what's
happening is that when you play a note, this
| | 03:05 | FM intensity, over the period of attack,
it opens up and then over the decay it
| | 03:10 | closes down and remains at the same level.
| | 03:13 | So if I just play some
notes on the keyboard here--
| | 03:15 | (music playing)
| | 03:19 | --so you can hear how it has
that movement just built into it.
| | 03:23 | Part of the character of the sound, too, also
has to do with this bus that it's sending to.
| | 03:28 | So there are a lot of things going
on in this bus. It's got an EQ, Clip
| | 03:32 | Distortion, Space Designer, Reverb, Phaser.
| | 03:35 | So let me mute some of these, so
you can hear them individually.
| | 03:39 | So here is the sound
without any of those effects.
| | 03:43 | The Clip Distortion, what that's going to do is
add in more crunchiness and more harmonics.
| | 03:49 | So the Clip Distortion is a really
good way to saturate the sound, and you
| | 03:53 | can get both really harsh and
smoother types of distortion with it,
| | 03:56 | so it's definitely worth exploring.
(music playing)
| | 03:59 | And so I am following that with the
Space Designer, which instead of being set
| | 04:03 | to a Reverb setting, it's
set to a speaker cabinet.
| | 04:07 | So with Logic there are some impulse
responses that come with it that you can
| | 04:10 | load into Space Designer that are
models of speaker cabinets, and they have all
| | 04:15 | kinds of other stuff too.
| | 04:16 | (music playing)
| | 04:19 | That kinds of makes it sound more like
it's in a room playing through a speaker,
| | 04:23 | and I like the vibe. That sounds like guitar amp.
| | 04:25 | Then there's a phaser which is just
adding a little bit of slight modulation.
| | 04:29 | (music playing)
| | 04:30 | And then finally, it's being shaped by EQ.
| | 04:33 | So now the reason why I have this on a
bus is that I didn't want this to be a
| | 04:38 | fully wet signal, meaning I didn't want
to apply this distortion and this Space
| | 04:43 | Designer just directly on the
signal, so it's a 100% going through it.
| | 04:46 | I just wanted to add a little bit.
| | 04:48 | So I can control that amount
with this send control right here.
| | 04:52 | So if I bring this down, it's not
going to this channel strip at all.
| | 04:57 | I can adjust the amount.
(music playing)
| | 05:02 | So I could even have it do quite a bit more.
(music playing)
| | 05:05 | And then if I didn't want it actually
that crunchy, so I have found kind of a
| | 05:11 | nice setting in the middle where it
blended well with this SynthAccent sound.
| | 05:15 | (music playing)
| | 05:18 | That sounds pretty good.
(music playing)
| | 05:23 | And the next setting we
have got here is this FMOrgans.
| | 05:26 | So I will play that, take
a look at the interface -
| | 05:27 | (music playing)
| | 05:38 | So the main thing that's happening
here, it's really this Modulator, it's the
| | 05:42 | waveform in the Modulator is set
to something other than a sine wave,
| | 05:45 | so that's what's giving it a bit of crunch.
| | 05:46 | There is also the Modulation envelope
which is slightly modulating the FM intensity.
| | 05:52 | So if I play a note on the keyboard
here, we can hear just a little bit of
| | 05:58 | crunch to it, and that's
because of the Modulator waveform.
| | 06:01 | If I set it all the way to left so
it's a sine wave, there's a lot less of that.
| | 06:06 | (music playing)
| | 06:09 | The other, and actually probably more
important, aspect of the sound is the
| | 06:12 | Volume envelope, or the Amplifier envelope.
| | 06:14 | You can see that there is little bit of
attack, so the sound is fading in, and it
| | 06:19 | also has a bit of a release, so that
it takes a moment for it to fade out.
| | 06:22 | And so that's really what gives it the
shape of the sound that makes it a pad,
| | 06:25 | in terms of its characteristic.
| | 06:27 | Then we've got the FM Reverb Stretch
here, and what this is is at the end it's
| | 06:33 | just sort of a washed-out pad.
(music playing)
| | 06:37 | It's in the background.
(music playing)
| | 06:42 | So you can see it's a 16-second reverb,
fully wet, so it's just puts it in the
| | 06:48 | background, and it's to add
contrast and space to the rest of the mix.
| | 06:52 | You actually really can't hear much of the sound.
| | 06:54 | If I get rid of this reverb, it's
going to sound quite a bit different.
| | 06:58 | (music playing)
| | 07:04 | Don't hear that aspect coming through.
| | 07:06 | I just wanted something in the
background that was really spacey.
| | 07:09 | So it's got the long reverb. And what
the Tremolo effect it's doing is that's
| | 07:12 | working an auto-panner, where it's panning
back and forth between left and right.
| | 07:16 | So let's listen to that again.
| | 07:18 | (music playing)
| | 07:19 | So the tremolo is usually going to be
modifying the volume on the particular
| | 07:24 | track that you have running through it,
but it has a phase control so that's
| | 07:27 | going to make it function like an auto-panning.
(music playing)
| | 07:35 | Last but not least, we have got
this other pad, this PostRockPad here.
| | 07:39 | (music playing)
| | 07:41 | And so that's also a really
washed-out sounds in the background.
| | 07:45 | (music playing)
| | 07:47 | If we take a look at this here, you can
see that this is a pretty long reverb,
| | 07:52 | 17.8 seconds, fully wet.
| | 07:55 | So it's just to push in the background.
| | 07:57 | I will play for you dry so you can just hear
what the difference and what it sounds like.
| | 08:01 | (music playing)
Kind of a very different setting.
| | 08:07 | So Reverb really pushes it back.
(music playing)
| | 08:13 | So the last thing I want to show you is this
Percussion part that's up top. So I'll play you that.
| | 08:24 | (music playing)
| | 08:29 | Not necessarily that much going on in terms of
the pitch, but it functions in the background with
| | 08:34 | everything else as part of the percussion.
| | 08:37 | (music playing)
| | 08:39 | So really what's creating this sound,
| | 08:41 | so if I play this, and what gives it
the metallic quality is the ratio between
| | 08:45 | the Modulator and Carrier.
| | 08:47 | So notice that it's 4:9 and you
can't really evenly divide 9 by 4.
| | 08:52 | So when you have those kind of ratios
you end up getting more metallic sound.
| | 08:56 | (music playing)
| | 08:57 | If I were to change this to 8, it's going
to be a little bit more consonant of a sound.
| | 09:01 | (music playing)
| | 09:03 | All right, so there is a little less
edge to it, a little less metallic. And then
| | 09:07 | of course a big portion of
the sound is the Amp envelope.
| | 09:09 | It has a short decay, instantaneous attack.
| | 09:12 | So I will set this back to 9, so
we have got the more metallic sound.
| | 09:16 | (music playing)
| | 09:19 | I felt like that blended in well with the drums.
| | 09:21 | So I'm going to unsolo this track here,
and let's listen to the entire mix and
| | 09:26 | try to listen for how all these
different EFM1s blend together.
| | 09:29 | (music playing)
| | Collapse this transcript |
|
|
6. The EVOC 20 PolySynthGetting Started with EVOC 20| 00:00 | In this chapter, we'll take a look
at the EVOC 20, which is a polyphonic
| | 00:03 | synthesizer combined with the 20-band vocoder.
| | 00:06 | EVOC 20 is capable of creating classic,
digital synth, and FM synthesis sounds
| | 00:11 | as well as the stereotypical singing
robot vocoder sounds that you'd hear from
| | 00:15 | Kraftwerk or Daft Punk.
| | 00:16 | So what is a vocoder?
| | 00:19 | Vocoder is an abbreviation for voice encoder.
| | 00:22 | Essentially what it does is it will
analyze some kind of modulation input, and
| | 00:26 | it'll do that through the sidechain up here.
| | 00:28 | Usually that's your voice.
| | 00:29 | It could be either singing or spoken
word. And it'll apply the characteristics
| | 00:34 | from your voice to the synthesizer
section and hence you get the singing robot
| | 00:38 | sounds that are normally
associated with a vocoder.
| | 00:40 | So taking a look at the interface of the
EVOC 20, there are three main sections.
| | 00:45 | Over on the left, we've got the
Synthesizer section, and here is where we're
| | 00:49 | going to be creating our starting-
place sound, and it can either stand on its
| | 00:52 | own or it's going to be the
basis for the vocoded sound.
| | 00:55 | In the center, we've got all the
vocoder parameters, and so this is where we're
| | 00:58 | going to adjust the analysis of the
modulation signal, so of our voice, and adjust
| | 01:04 | the sound of the vocoder.
| | 01:06 | Over on the right we've
got the amplifier section.
| | 01:08 | Here you can adjust the output level,
add in a chorus effect, adjust the stereo
| | 01:13 | width, and also choose what
you're monitoring as well.
| | 01:15 | So let's check out EVOC 20 in action.
| | 01:18 | I've got a musical example here that
has a couple of instances of EVOC 20, some
| | 01:22 | acting as just a synthesizer, some of
them acting as a vocoder, so that you can
| | 01:26 | hear the range of sounds that are possible.
| | 01:28 | (music playing)
| | Collapse this transcript |
| Vocoding Basics: Making your synth sing!| 00:00 | Let's take a look at how to
set up EVOC 20 as a vocoder.
| | 00:05 | So what we're going to do is
run an audio file through it.
| | 00:08 | So we've got this audio track in Logic here.
| | 00:10 | It's called NothingToSay,
and you'll hear what that is.
| | 00:12 | (Male speaker: I have nothing to say.
I have nothing to say.)
| | 00:16 | Okay, so you can hear, he has nothing to say.
| | 00:18 | So, what I want to do is turn
that into a singing synthesizer part.
| | 00:22 | So the first thing I'm going to do
is set the output of this NothingToSay
| | 00:27 | track to No Output, because I don't want to
hear this dry sound against our vocoded sound.
| | 00:32 | So on the channel strip itself, what
I'll do is, underneath Stereo Output, go to
| | 00:37 | No Output, and then now check it out.
If I play, there is nothing.
| | 00:41 | So we go back to our vocoder here,
EVOC 20, and what I want to do is route in
| | 00:47 | that NothingToSay audio in here.
| | 00:49 | So what I'll do is go to the
Side Chain input that's up top and I
| | 00:53 | choose NothingToSay.
| | 00:54 | So what that's going to do is it's
going to send that signal through the
| | 00:57 | Sidechain Analysis input, and then
the characteristics of that sound are
| | 01:03 | going to be transferred to the Synthesizer
section, and we'll be able to perform that part.
| | 01:07 | So now I've got that signal routed
through the Side Chain input. In order for
| | 01:11 | me to hear it, I actually have to
change the Signal Monitoring mode that's in
| | 01:15 | the Amplifier section.
| | 01:16 | So right now it's set to Synth.
| | 01:18 | So if I play back Logic,
well I don't hear anything.
| | 01:22 | If I play keys on the keyboard--
| | 01:23 | (music playing)
| | 01:25 | It sounds like a synthesizer, right?
| | 01:27 | We don't get any vocoded thing happening.
| | 01:29 | If I change this setting here to the Analysis--
| | 01:33 | (Male speaker: I have nothing to say.
I have nothing to say.)
| | 01:36 | then we're going to hear our analysis input.
| | 01:38 | That's what's coming from our sidechain.
And then I can change this to Vocoder,
| | 01:43 | and what happens is right now if it's
playing back, there's nothing, but when I
| | 01:46 | play a key on the keyboard--
(music playing)
| | 01:51 | we can hear that the sound is vocoded, right?
| | 01:54 | So I'm able to control the pitch.
| | 01:56 | It sounds like the synth is
actually saying, "Nothing to say.
| | 01:59 | I have nothing to say."
| | 02:00 | So that's the way you can set
up the audio routing for this.
| | 02:03 | And a good thing to do once you have this
routing set up is to explore some of the presets.
| | 02:09 | So what you can do is go to this menu
up here, and a good place to start is
| | 02:12 | these vintage vocoder ones.
| | 02:13 | They try to cover the
basis of the classic sounds.
| | 02:16 | Let's start with Clear Voice Vocoder
and let's listen to what that sounds like.
| | 02:21 | I start playback in Logic so that we've
got the Side Chain input coming through,
| | 02:25 | but in order to hear anything, I
have to press the keys on the keyboard.
| | 02:28 | So I'll play something.
| | 02:29 | (music playing)
I can play chords.
| | 02:35 | Of course, that depends on our
polyphony settings, but we'll talk about that
| | 02:38 | later, and let's check out
some of these other ones too.
| | 02:42 | So, another one that's kind of
neat is Galactic Warriors.
| | 02:45 | (music playing)
| | 02:52 | So you kind of get the part sung, and
you can create a whole composition out of the
| | 02:56 | "nothing to say," and pitching
around, do all kinds of things.
| | 02:59 | Definitely pretty neat, definitely
worth spending the time to explore some
| | 03:02 | of these presets, just to get a sense of the
range of sounds that the vocoder can create.
| | 03:06 | What we'll do is in the next video
take a look in much greater detail of the
| | 03:10 | Synthesizer section and how
actually everything works in there.
| | Collapse this transcript |
| Exploring the synthesis section | 00:00 | Let's take a look at the
Synthesis section of the EVOC 20.
| | 00:03 | Here we are basically going to be
creating either a stand-alone synthesizer
| | 00:06 | sound that sounds really awesome or
we are going to be creating the sound
| | 00:10 | that's going to be vocoded.
| | 00:11 | So it's really important to get
something that you like here and that sounds
| | 00:14 | good, because it's going to be
the basis for everything else.
| | 00:17 | So, place to start.
There's two different modes here.
| | 00:21 | There is Dual and FM.
| | 00:22 | Let's take a look at Dual.
| | 00:23 | So what we've got is two different
waveforms that you can choose, and you are
| | 00:27 | going to adjust the
balance between the two of them.
| | 00:29 | So what I'll do is go ahead and set the
balance all the way to waveform 1, so I
| | 00:33 | can play it right now.
(music playing)
| | 00:35 | And we here the Wave 1 and I can adjust that.
| | 00:37 | I mean there are 50 different waveforms.
(music playing)
| | 00:41 | So I can scroll from here. And they are
all interesting digital waveforms, Digi
| | 00:47 | Waves, as they call them, and you can set
the octave right beneath that, here, so
| | 00:51 | 16 feet or 8 feet or 4 feet. And so
the terminology comes from pipe organs,
| | 00:57 | because the longer the pipe, the lower the note.
| | 01:00 | So I can choose the octave. And if I
bring the balance back down to the bottom
| | 01:05 | here, then we can listen to Wave 2.
(music playing)
| | 01:08 | So same thing. I can choose any of
those 50 waveforms and I can adjust the
| | 01:14 | semitone tuning of waveform 2,
so I can offset it in semitones.
| | 01:18 | (music playing)
| | 01:20 | So I can tune it up a fifth and then
I've got a fine-tuning adjustment, this
| | 01:23 | Detune, which goes 50 cents in either direction.
(music playing)
| | 01:29 | You're really not going to notice too
much of that until you've got the balance
| | 01:32 | of these waveform 1 and 2.
(music playing)
| | 01:35 | So now you can here that difference,
and you can make it really out of tune or
| | 01:43 | get it perfectly tuned as a fifth there.
| | 01:46 | So that's the Dual mode.
| | 01:47 | The other mode, FM, is a little bit
different. So it's the same type of synthesis
| | 01:51 | that we saw in EFM1, which is FM
synthesis. And what happens here is that Wave 2
| | 01:57 | is going to modulate the frequency of Wave 1.
| | 01:59 | So Wave 1 in FM Mode is
always going to be a sine wave.
| | 02:03 | It doesn't matter what the number is here.
| | 02:04 | It's actually disabled.
| | 02:05 | It's always going to be a sine wave.
| | 02:07 | And Wave 2, which is going to modulate
Wave 1, you can choose the waveform and
| | 02:11 | you use what was formerly the Balance
slider, which is now our FM Intensity
| | 02:15 | slider, to adjust the amount of modulation.
| | 02:18 | Also notice that the Ratio here
is going to control our tuning.
| | 02:22 | So before we had Semitone and Detune, and
now it's Ratio course and Ratio fine-tuning.
| | 02:28 | So I'll set our Ratio to 1 so we are
just getting the first harmonic, and what we
| | 02:33 | can do is modulate waveform 1
with waveform 2. So I'll play.
| | 02:36 | (music playing)
| | 02:41 | And notice that if I change waveform 2,
it really changes the timbre of the sound.
| | 02:45 | (music playing)
| | 02:50 | So that makes a big difference as well.
| | 02:53 | The next feature that we have in this
Synthesizer Mode here, right next to it, is
| | 02:57 | the Noise Oscillator.
| | 02:58 | So this will allow us to
introduce some white noise into the sound.
| | 03:02 | (music playing)
| | 03:05 | So I can just control the level of that
noise here. And beneath it with the Color
| | 03:08 | knob, we can adjust the color of the noise.
| | 03:10 | So basically what that's going to do is
adjust it from white noise to blue noise.
| | 03:14 | So it's going to filter out the low-
frequencies, so it's a high pass filter.
| | 03:17 | (music playing)
| | 03:19 | And that just changes the emphasis
of the noise from being evenly spread
| | 03:23 | throughout the spectrum to just
focusing on the high frequencies.
| | 03:26 | (music playing)
| | 03:29 | So next to that we've got the built-in
Low Pass filter and that's right here and
| | 03:33 | so I can cut out the high frequencies.
| | 03:35 | (music playing)
| | 03:38 | And that has a Resonance control as well.
| | 03:40 | So if I increase the Resonance, what
it's going to do is create a little bump or
| | 03:45 | boost around the cutoff point and it's
going to emphasize wherever my cutoff is.
| | 03:49 | (music playing)
| | 03:51 | That's how I can get those vowel
sounds and squelchy acid sounds as with a
| | 03:54 | higher amount of Resonance on the filter.
| | 03:58 | Next to that we've got a very
simplified Attack and Release envelope, and this
| | 04:02 | is to control the shape of the volume
of this sound in the Synthesis section.
| | 04:06 | So if I want a long attack or long
fade-in, I can adjust the attack time here,
| | 04:10 | and we'll here the sound fades in.
| | 04:12 | (music playing)
| | 04:15 | And I can give it a long release as well.
| | 04:17 | What that's going to do is once I let
go the note, it will take a moment for it
| | 04:20 | to fade back down the silence.
| | 04:24 | So I let go, you can
hear it's still fading down.
| | 04:25 | So that's a long Release.
| | 04:26 | So this Synthesizer section is really
important because it's going to be either
| | 04:31 | our super-cool synth sound that
stands on its own or it's going to be the
| | 04:35 | basis for the vocoded sound, and
the settings here really affect the
| | 04:38 | intelligibility of the vocoded sounds.
| | 04:40 | So in the next video, let's take a look
at how the global voice settings affect
| | 04:45 | the performance in the Synthesis section.
| | Collapse this transcript |
| Managing the Global voice settings| 00:00 | Let's take a look at the
global voicing settings in EVOC 20.
| | 00:04 | So we've got these up here: the
polyphonic, mono, legato and unison.
| | 00:09 | So these are going to really affect
the way that the instrument performs, and
| | 00:12 | unison is great for creating
really thick, textured, layered sounds.
| | 00:15 | So we'll take a look at that.
| | 00:18 | So, in polyphonic mode, what this means is
that you can play multiple notes at a time.
| | 00:23 | And you set the number of voices you
can play or the number of notes you
| | 00:25 | can play right here.
| | 00:26 | So the maximum is 16.
| | 00:27 | That means you could play a 16-note
chord, or 16 different notes basically
| | 00:32 | all together, and you can
adjust the polyphony here.
| | 00:35 | Then we've got monophonic mode.
| | 00:37 | It's just going to allow us
to play one note at a time.
| | 00:40 | So you can't play chords.
| | 00:41 | So if I try to play a chord, it
just chooses one of those notes.
| | 00:45 | But one of the neat side effects of
mono mode is that if you play a note that's
| | 00:51 | down here and I play an octave higher
and then I let go of the higher octave, it
| | 00:56 | goes back down to the lower octave.
| | 00:58 | So I didn't actually have
to play that note again.
| | 01:00 | So you can do these paddling synth
phrases like really easily in monophonic mode,
| | 01:05 | which is really cool.
| | 01:06 | Then you have legato mode.
| | 01:09 | And what's going to happen here is
it's also going to be monophonic, but it's
| | 01:13 | not going to retrigger your Attack
Release envelope, when you're playing notes
| | 01:17 | that are right next to each other in time.
| | 01:19 | So what happens if I give this a long
attack then the first note I play will
| | 01:23 | take a long time for it to fade in, but
then when I play adjacent notes without
| | 01:27 | any pausing in between, I
won't retrigger that envelope,
| | 01:30 | so they will happen right away.
| | 01:32 | So I'll play a note now.
(music playing)
| | 01:34 | So you can hear it fades in, and when I
play other notes, they happen right away.
| | 01:40 | So it's not retriggering
this envelope every time.
| | 01:43 | So that's legato mode.
| | 01:46 | So if I want to really thicken the
sound, the thing to do is unison.
| | 01:50 | So let's start in monophonic.
| | 01:53 | So I'll press this button here to turn
on unison. And what's going to happen is,
| | 01:56 | depending on what our voice setting is
here, it's going to stack that number, so
| | 02:00 | 16 voices, on top of every note we are playing.
| | 02:03 | So you have to imagine that you had 16
EVOC 20s open, all playing the same note,
| | 02:08 | then you get this kind of sound.
| | 02:09 | Also it's going to really increase the
volume, because you get all these sounds
| | 02:13 | on top of each other.
| | 02:13 | So if I play a note, we can hear
that that was really loud and clipped.
| | 02:17 | It's because we have 16 stacked voices.
| | 02:19 | So I can bring this number down, something
like 6, and you get a really loud thick sound.
| | 02:26 | One way to make it more manageable
and even appear as a bigger sound is to
| | 02:31 | detune some of these unison voices.
| | 02:33 | So the way to do that is this
Analog control that's down here.
| | 02:36 | What this is going to do is for each
unison voice you'll get some amount of detuning.
| | 02:41 | So obviously the further this is the
left, the less detuning you get and the
| | 02:45 | further you turn it to right, the more detuning.
| | 02:46 | So let's just have a little bit here.
(music playing)
| | 02:50 | I'll increase the amount.
(music playing)
| | 02:54 | All right! And so that you can get it really
thick lead sounds by just having it in unison
| | 03:00 | mode and using this Analog
control to detune the unison voices.
| | 03:03 | (music playing)
| | 03:06 | So that's in monophonic mode.
| | 03:08 | This also works in polyphonic mode, and what
it's going to do is allows me to play chords.
| | 03:13 | (music playing)
| | 03:16 | And then I still have
that detuning between voices.
| | 03:19 | Instead of stacking three voices onto
every note that I'm playing, what it's
| | 03:22 | actually doing is for any note I am
playing, it's going to have one unison copy.
| | 03:28 | And then this is where I set
the maximum number of voices.
| | 03:31 | And notice that instead of it going up
to 16, like it did before, now it only
| | 03:34 | goes up to 8, and that's because for
every note that I'm playing it's playing a
| | 03:38 | unison voice on top of it.
| | 03:39 | (music playing)
| | 03:41 | And if I wanted this to all be more
in tune, I can make this less analog.
| | 03:44 | So I'll bring down the Analog control here.
| | 03:47 | (music playing)
| | 03:50 | So you still get some of that
texture of the detuning, but it's a little
| | 03:54 | bit more manageable.
| | 03:56 | So that's how the unison voices work here.
| | 03:59 | Another global feature that we have in
the Synthesizer section is the Bender Range.
| | 04:03 | So I can adjust the pitch bend
range to go up to an octave in either
| | 04:07 | direction, and then I can adjust the
fine-tuning of the entire instrument by
| | 04:12 | 50 cents in either direction.
| | 04:14 | And so what that's going to do is if
we have another synthesizer or some
| | 04:17 | recorded live instrument that's slightly
out of tune that we need to match, here
| | 04:21 | we can adjust the global tuning of
everything to make that all work.
| | 04:25 | The global voice settings are really
important for how the instrument is going
| | 04:28 | to respond, both in terms of its
polyphony and also creating the texture of the
| | 04:32 | sound with the unison control.
| | 04:33 | In the next video, let's check out
the vocoding features of EVOC 20.
| | Collapse this transcript |
| Using the filterbank section to shape the vocoded sounds| 00:00 | Let's take a look at the
vocoder aspects of the EVOC 20.
| | 00:04 | So we'll take a look at how to bring
in audio through the Side Chain input,
| | 00:07 | analyze it, and re-synthesize it
through the Synthesis filter bank to get a
| | 00:12 | variety of the vocoded sounds.
| | 00:13 | So the place to start is our audio that we
have in the range here. So this is our --
| | 00:18 | (Male speaker: I have nothing to say.)
Nothing to say, yeah.
| | 00:20 | (Male speaker: I have nothing to say.
I have nothing to say.)
| | 00:23 | So I want to vocode that and be able
to play around of it in the EVOC 20.
| | 00:26 | So the first thing that I am going to
do is set the Output here to No Output.
| | 00:32 | That's because I don't want to hear it
playing on top of the vocoded signal.
| | 00:36 | So then in EVOC 20, what I am going to
do is go to the Side Chain menu up here
| | 00:41 | and choose Audio 1 - NothingToSay.
So now it's routed through here.
| | 00:47 | But I don't hear anything.
(music playing)
| | 00:48 | And when I play the synth part,
it just sounds like a synth.
| | 00:51 | So what I've to do is change my Signal
Monitoring here to vocoder, this Voc.
| | 00:56 | So now what happens is when I play
back and I play notes, and it's vocoded.
| | 01:03 | Here it's I have nothing to say, but
it's not all that intelligible and it's a
| | 01:09 | little bit rough around the edges.
| | 01:10 | So there is a lot we can do to address that.
| | 01:12 | But first it's good to get a sense of
what's actually happening with this whole
| | 01:16 | process. What do these lines
and things mean and all that?
| | 01:19 | So, let's go through that.
| | 01:21 | So essentially, what's happening is the
Side Chain input, that's where the audio files
| | 01:24 | coming through, and you have to imagine
that's going up here and it's coming down
| | 01:28 | through the top and it's being split
into these five different frequency bands
| | 01:33 | here, and it can actually be more than five.
| | 01:35 | I could have it be all the way up to 20 bands.
| | 01:36 | And so this top part, this blue
area, is the analysis filter bank.
| | 01:41 | So what that's doing is it's taking our
audio file, I have nothing to say, and
| | 01:45 | it's splitting it into these
different frequency ranges.
| | 01:48 | And then there's an envelope follower
on the end of each of these band pass
| | 01:52 | filters that's in these frequency ranges.
| | 01:55 | So that's going to track the
shape of the volume of the sound.
| | 01:57 | Then what it's going to do is
it's going to send that down to our
| | 02:00 | synthesis filter bank.
| | 02:02 | That's here, that's in the green.
And then the synthesis filter bank will take
| | 02:06 | that volume information from the
different bands and apply it to the synthesizer
| | 02:10 | and then you end up getting the
synthetic reproduction of our input sound.
| | 02:15 | So what happens is here's frequency
from left to right, so 80Hz to 8000. So
| | 02:21 | let's say this band right here, maybe
this is 200Hz to 500Hz, so it's going to
| | 02:27 | track the volume in that range and
then in this next range and so on.
| | 02:30 | So the more bands that I have then
each of these slices of the frequency
| | 02:35 | spectrum is smaller, and it's
tracking the volume in a smaller slice and
| | 02:39 | therefore you get a more accurate
representation, because basically there's just
| | 02:42 | more of little slices that are
here where it's tracking volume.
| | 02:46 | So what happens when I've got more
bands, like 20 here, is it's going to sound a
| | 02:49 | little bit more intelligible.
| | 02:50 | So I'll play the sound.
| | 02:51 | (music playing)
All right!
| | 02:54 | So you can hear pretty clearly what he is
saying, and then I'll bring this down, less bands.
| | 03:00 | And you can still hear it, but it's a
little bit more grungy less distinct.
| | 03:06 | (music playing)
| | 03:09 | So another thing that's going to really
make a difference in terms of the sound
| | 03:12 | is if we adjust the attack and release
on the envelope followers that are part
| | 03:17 | of our analysis filter bank.
| | 03:18 | So here is our analysis filter bank
and so when I adjust the release, you'll
| | 03:22 | hear that really makes a difference.
| | 03:24 | (music playing)
All right!
| | 03:27 | So I get a longer
release and it's less distinct.
| | 03:29 | (music playing)
| | 03:33 | And when I get down to about six
milliseconds or so, you can hear it's a pretty
| | 03:39 | accurate representation. It's pretty clear.
| | 03:41 | When I go lower, it gets a bit more
grainy because it's really short release.
| | 03:45 | I can also adjust attack too.
| | 03:47 | That's going to make more of a
difference on a more percussive sound, where it's
| | 03:49 | going to just make the transient softer on it.
| | 03:52 | The other thing that's kind of neat
that I can do is if there's a certain
| | 03:54 | portion of this sound that I like, like
a certain vowel or something, I can just
| | 03:59 | freeze the analysis and then I can play
that shape and just play the synthesizer
| | 04:07 | part, so that's kind of cool.
| | 04:09 | The other aspect we've got here is I
can set the low and high frequency for
| | 04:14 | our filter bank here. So--
(music playing)
| | 04:18 | if I set the low-frequency, that's
basically acting as a high-pass filter.
| | 04:23 | 420Hz is the lowest frequency.
| | 04:28 | So I can make that really extreme.
| | 04:31 | And I can do the same with
this highest frequency here too.
| | 04:34 | This acts as a low-pass filter, so it's
cutting out the high-frequencies. And I
| | 04:42 | can actually move this as a unit.
| | 04:43 | If I just click in the middle and drag, I can
move the spectrum around, which is kind of neat.
| | 04:49 | And then the other thing I can do is
if I don't want these to work as a high-
| | 04:53 | pass and a low-pass filter, I can have
the lowest bands, so from here to here,
| | 04:57 | and the highest band, just be band-pass filters.
| | 05:01 | So if I make the rest of this very
narrow, you can hear there are still low
| | 05:07 | frequencies from this lowest band,
because it's just a band pass, and there are
| | 05:10 | also high frequencies in the highest
band, but the rest of them are all kind
| | 05:13 | of squished together.
(music playing)
| | 05:19 | So as you can see, all these
parameters here with our analysis and synthesis
| | 05:22 | filter bank really make huge
difference to the vocoded sound.
| | 05:26 | So in the next video we'll take a
look at how we can stretch and shift
| | 05:29 | the formants of this synthesis
filter bank to get even more interesting
| | 05:32 | vocoded sounds.
| | Collapse this transcript |
| Tweaking the formants and adding movement with the LFO's| 00:00 | So let's take a look at how we can
tweak our vocoded sounds more with the
| | 00:04 | Formant Stretch, and Formant Shift, and
some of these LFO controls that we have
| | 00:08 | down in the Modulation
section at the bottom here.
| | 00:11 | Formant is any kind of
resonance in the frequency spectrum.
| | 00:14 | So at each of these band-pass filters in
our analysis and synthesis filter banks
| | 00:19 | we essentially have a format.
| | 00:21 | So any of the speech sounds and
vocal sounds, like vowels, usually contain
| | 00:25 | about four different formants, or resonances,
that come together to make that vowels shape.
| | 00:30 | So it's very important part of human speech.
| | 00:33 | So what this allows us to do is we can
adjust the formants or stretch them for
| | 00:39 | the synthesis filter bank.
| | 00:40 | So I can make them wider and more narrow.
| | 00:43 | So let's hear what that sounds like.
| | 00:45 | So first what I am going to want to do
is make sure that my audio routing set up.
| | 00:49 | And it still is. I have got this nothing to say,
audio track routed into our side chain input.
| | 00:54 | And then I am going to just switch
EVOC_20 to vocoder. There it is.
| | 00:59 | Now I can go ahead and play back, vocode
it, and I will up the number of bands so
| | 01:06 | it's a little bit more intelligible.
(music playing)
| | 01:10 | And now I can shift the formant
here, this knob in the center.
| | 01:13 | So it's going to shift those resonances in
the synthesis filter bank either up or down.
| | 01:22 | And it's a pretty cool sound,
especially when it's moving.
| | 01:26 | So fortunately, we have got this LFO down here
that can do that, so we'll come back to that.
| | 01:30 | The other thing I can do is stretch
the formants too, in the synthesis filter
| | 01:34 | bank so, see how it stretches them out
in the spectrum, or I can condense them
| | 01:41 | in, get a more narrow sound.
(music playing)
| | 01:46 | And then I can do some combination of
stretch and shift and get really out-
| | 01:51 | there, strange sounds.
| | 01:53 | So it's pretty neat.
| | 01:55 | The other thing we've got right here is
just the Resonance control, and this is the
| | 01:58 | resonance for each band pass filter
that we have as part of our filter banks.
| | 02:02 | I can just adjust the Resonance.
| | 02:04 | So if crank it up and shift the
formants, that makes the shifting sound a
| | 02:11 | little more pronounced. So that's pretty cool.
| | 02:18 | And if we go down here, we can actually
automate that process of shifting the
| | 02:22 | formants, using this LFO.
| | 02:24 | So the LFO is a low-frequency oscillator.
| | 02:26 | It generates a periodic waveform.
| | 02:29 | I can decide what that is in
terms of its speed in hertz, and then I can
| | 02:33 | adjust the intensity of that formant shift.
| | 02:36 | Also, I can set the wave shape for this LFO.
| | 02:40 | So right now it's a triangle waveform. And the
speed is going to be 5.6 Hz. I'll adjust the Intensity.
| | 02:47 | So you can hear it's shifting
the formants 5.6 times a second.
| | 02:52 | But I can slow it down. Make it more musical.
| | 02:56 | And if I go to the left here, it's
going to be in divisions of the beat.
| | 02:59 | So every quarter note I could have that shift.
| | 03:02 | But notice when I change the waveforms
for this LFO it's going to sound a bit
| | 03:07 | different and you get pretty cool
sounds by using different waveforms with LFO.
| | 03:11 | (music playing)
So that now it's ramping up every quarter note.
| | 03:20 | I've got a square wave here, where
it's going to jump between two different
| | 03:23 | formant shift values and my intensity
is going to make a difference of what
| | 03:28 | values it's jumping to.
| | 03:29 | We have got the opposite of that.
| | 03:32 | And the last two are
different types of random wave shapes.
| | 03:39 | So this is called a sample-and-
hold wave shape where it randomly steps
| | 03:43 | between different values.
| | 03:45 | The last one is randomized waveform,
but instead of stepping, it
| | 03:49 | interpolates, so it's a smooth transition
between random shift values basically. Cool!
| | 03:58 | So then the other thing we
have got here is a Pitch LFO.
| | 04:01 | So this is so that we can
modulate the pitch of the EVOC 20.
| | 04:06 | So right now it's set to 32 bars, which is a
pretty long pitch change, so maybe let's do .4 Hz.
| | 04:14 | And then in order for this to be
active, I adjust the Intensity here.
| | 04:17 | The more intensity I give it the
bigger range of pitch shift is.
| | 04:25 | So its over a wider range of pitches
and a small range of pitches and adjust
| | 04:30 | the speed, adjust the shape of this
waveform for this LFO. And then the one
| | 04:37 | really cool feature is I can actually control
the intensity of this modulation with my mod wheel.
| | 04:43 | So I set my minimum value. You see what I did.
| | 04:45 | I just split this control here.
And so when my mod wheel is all the way closed
| | 04:50 | down, it's going to be a pitch
modulation of this minimum value.
| | 04:54 | And then there is going to be a range
all the way up to when I have my mod wheel
| | 04:58 | all the way open, it will have
pitch modulation of this value.
| | 05:01 | So let's just hear that difference.
| | 05:03 | So, here it's at its minimum value
and then when I open it up, you can hear,
| | 05:08 | now I have got a much wider pitch modulation.
| | 05:13 | So, all of this here is a really good way
to add more strangeness to vocoded sounds.
| | 05:19 | In the next video, let's explore
using the UV detection to get more
| | 05:23 | intelligible vocoded sounds.
| | Collapse this transcript |
| Getting more intelligible results with U/V detection| 00:00 | One way to increase the
intelligibility of vocoded sounds is to use the UV
| | 00:04 | detection aspect of the EVOC 20.
| | 00:08 | UV detection stands for unvoiced detection.
| | 00:11 | So human speech consists of voice
sounds, which are tonal sounds or formants, and
| | 00:15 | unvoiced sounds, which are more noisy.
| | 00:18 | So voice sounds are typically
produced from oscillations of the vocal cords,
| | 00:22 | whereas unvoiced sounds are produced
by blocking or restricting airflow via
| | 00:25 | either your lips, tongue,
palate, throat, or larynx.
| | 00:29 | So in most good vocoders we will have
two different ways of synthesizing voice
| | 00:34 | sounds and unvoiced sounds.
| | 00:36 | So that's why I have got this
whole UV detection aspect right here.
| | 00:40 | So let's run some audio through here.
| | 00:42 | We have got that same good old
Nothing to Say audio your track.
| | 00:47 | And I have got that routed through the
Side Chain input, like you have seen before.
| | 00:51 | And then to make sure that we are
monitoring this properly, I want to make sure I
| | 00:54 | have got to set the vocoder so
that I can hear the vocoded signal.
| | 00:58 | Okay, so if ahead and hit play and I'll
play notes on the keyboard,
| | 01:03 | (music playing)
so we have got the vocoded sound.
| | 01:07 | So I can increase intelligibility in
the first place by just upping the number
| | 01:10 | of band pass filters. Okay, there we go.
| | 01:16 | So now to recreate the unvoiced sounds,
I am going to turn on this Noise mode in
| | 01:24 | this UV detection area.
| | 01:25 | So what it will do is synthesize the
unvoiced sounds with just noise. And it's
| | 01:29 | a whole separate noise generator than the
noise oscillators that's in our Synthesis section.
| | 01:34 | So let's hear that.
| | 01:34 | So you can hear the S is much more
clear. I can adjust the Sensitivity, like if
| | 01:40 | I was getting too much noise, I can
bring it down, or if that wasn't enough, I
| | 01:46 | could increase it, and then I could
adjust the volume and the level of it.
| | 01:49 | So now that S is really pronounced.
| | 01:52 | It sticks out probably too much.
| | 01:54 | So the next mode we have got in here is
Noise+Synth so this will be the
| | 02:00 | noise plus the synthesis engine together.
| | 02:02 | So that sounds good. It's pretty similar
to the previous one. A lot of it depends on
| | 02:09 | your source material.
| | 02:10 | So if we had a different voice sample that
was going through, it might react differently.
| | 02:14 | So you kind of have to adjust the
sensitivity and level and such accordingly.
| | 02:19 | The last mode that's in here is Blend
mode, and what this will do is it will mix
| | 02:24 | in a high-pass filtered version of
our voice in with the vocoded signal.
| | 02:30 | So let's listen to that.
| | 02:31 | So you can hear, we've got the
dry signal in there, but has no
| | 02:36 | low frequencies in it. So I can
adjust the level of that.
| | 02:42 | When I am in Blend mode
Sensitivity control doesn't do anything.
| | 02:45 | It's not affecting anything, so
I can just leave it where it is.
| | 02:48 | And once I have got that all set and
I have got a vocoded sound, the sound is
| | 02:51 | pretty accurate, one thing I might want to do
is add a chorus effect to make this more lush.
| | 02:57 | So fortunately, in our Amplifier section
here, there is two different types of chorus.
| | 03:00 | We have got Ensemble 1, and then we
have got Ensemble 2, which had a little
| | 03:06 | bit more modulation.
| | 03:07 | So that's pretty cool, and then down
here, too, we can also control the stereo
| | 03:14 | width of the vocoded sound.
| | 03:16 | All right, so I can make it more narrow,
so it's focused in the center, or I can
| | 03:22 | turn this all the way to the right and
we have sort of an exaggerated stereo
| | 03:25 | image of our sweet vocoded sound.
| | 03:28 | So as you can see, the unvoiced
detection really helps intelligibility and
| | 03:34 | then you can widen things up in this
Amplifier section with the chorus and stereo width.
| | 03:40 | So, so far we have covered most of the
typical uses of a vocoder and how that
| | 03:44 | works in synthesizing voices,
| | 03:46 | so in the next video let's explore some
creative sources that we can vocode and
| | 03:50 | what that sounds like.
| | Collapse this transcript |
| Making your beats melodic: vocoding drums| 00:00 | One of the really cool things you
can do with the EVOC 20 is vocode other
| | 00:03 | sources other than just voice. You can
vocode drums, get really cool results.
| | 00:08 | So let's explore that.
| | 00:09 | So I am going to go ahead and pull in
a drum track from somewhere, so we will
| | 00:13 | mute our Nothing To Say voice. And if we
go to the Media tab here and go to the
| | 00:18 | Apple loops, I have selected All
Drums as the filter. Then there's this 2-Step
| | 00:23 | Flux Beat here, so I will just
pull that in and see what that's like.
| | 00:28 | Okay, so let's audition.
Let's check it out.
| | 00:30 | (music playing)
| | 00:34 | Cool, so I am listening more for the
rhythmic pattern of it rather than the
| | 00:37 | sounds because we are going to vocode it,
so it's not going to sound like the
| | 00:41 | original, but the rhythmic
pattern will be the same.
| | 00:45 | So what I am going to do is set the
output of this to No Output, because we don't
| | 00:48 | want to actually hear this in our range.
| | 00:50 | Okay, so there we go, and then go back
to the EVOC_20 and open it up and use the
| | 00:58 | Side Chain input here and select 2-Step Flux
Beat because that's what we want to vocode.
| | 01:03 | Cool! So then the next thing I want to do
is make sure that our signal is set to
| | 01:08 | vocoder, because that's what we want to
monitor in here, and now I am going to hit
| | 01:13 | play and then I press the key on the keyboard.
(music playing)
| | 01:17 | Hear the beat is vocoded.
| | 01:19 | So if I up the number of bands, it's
going to be a little bit more higher
| | 01:24 | resolution. You can hear it's a
little bit more accurate-sounding.
| | 01:28 | (music playing)
I can play different pitches on here.
| | 01:34 | Then I can adjust our Side
Chain analysis input envelope.
| | 01:37 | So if I want to give us a longer release, you
can hear everything is going to sustain more.
| | 01:43 | I'll make this short,
make this all a bit tighter.
| | 01:49 | And if I want to bring in some of the
characteristic of the original drums, what
| | 01:52 | I can do is bring up the Noise Oscillator level.
| | 01:56 | (music playing)
| | 02:01 | Actually, you can increase that quite a
bit to taste to get a good balance.
| | 02:06 | If I adjust the color of the noise
to focus more on the higher end of the
| | 02:11 | spectrum, so this high-pass filter noise here--
| | 02:13 | There we go. That sounds pretty natural.
| | 02:16 | And when I have got my low-pass filter
cutoff all the way open like it is, what
| | 02:20 | I can do is increase the Resonance,
and that's going to boost the high
| | 02:23 | frequencies because our cutoff point
is in the high frequency range and this
| | 02:28 | will create a little bump in that area.
| | 02:30 | (music playing)
| | 02:34 | Then if we want to have some fun
with it, we can do the formant
| | 02:36 | stretching, make it more of a narrow sound, and
then use the Formant Shift to sweep it around.
| | 02:49 | And of course this formant shifting
process can be done with the shift LFO here.
| | 02:54 | So let's set that to happen every
quarter note. We will decrease. I just
| | 03:00 | want it to be a more of a subtle thing.
(music playing)
| | 03:03 | And we will really notice a more
of increase in the Resonance too.
| | 03:05 | (music playing)
May be that's too extreme, so let's bring that down.
| | 03:14 | So now we have got our vocoded drums.
As you can see, it's just endless. You can
| | 03:18 | explore this and get all
kinds of fun, interesting results.
| | 03:22 | So I highly recommend trying all kinds of
sources and see what sounds good vocoding.
| | 03:25 | In the next video, I want to show you a
musical example that has a number of EVOC 20s.
| | 03:30 | Some are acting just as a synthesizer,
others are acting as a vocoder, but you
| | 03:34 | can get a sense of the
variety of sounds you can get with it.
| | Collapse this transcript |
| Composing with the EVOC 20| 00:00 | So let's check out this musical example.
| | 00:02 | I've got a couple of the EVOC 20s in here.
| | 00:05 | Some are functioning as a synthesizer and
others are vocoding the incoming audio signals.
| | 00:10 | So let's check out the example, and then
I'll talk through what's going on with sounds.
| | 00:14 | (music playing)
| | 00:56 | So, up top here, we have got our EVOC 20, so
I'll open this up so we can take a look.
| | 01:02 | So this one is just acting as a
synthesizer, so this is the growler sound.
| | 01:06 | That's what I'm calling it.
| | 01:07 | So I'll just play you that so
you can hear what that's doing.
| | 01:10 | (music playing)
| | 01:14 | So you can see that there are
some knobs and things moving here.
| | 01:17 | So what's happening is the FM
intensity is being automated and so is this
| | 01:22 | Low Pass Filter Cutoff.
| | 01:23 | So that what's really mostly
what's creating this sound.
| | 01:27 | So if I just stop this and play this
sound--it's a pretty static sound, so
| | 01:34 | it's the movement of this in conjunction
with the filter cutoff here that really
| | 01:41 | give it sort of a vocal quality.
| | 01:43 | Notice that there is no vocoding happening,
nothing coming in through the Side Chain input.
| | 01:47 | So it's all just happening in the
Synthesizer section here, and it's in FM Mode,
| | 01:51 | and we've got this Wave 2
modulating the frequency of Wave 1.
| | 01:55 | So that's what's going on.
| | 01:57 | Not too complicated, but it's
actually kind of an interesting sound.
| | 02:00 | So if we take a look at the track, here
you can see the automation, so it's the FM
| | 02:06 | intensity and then we have also got
that filter cutoff. And so you can see how
| | 02:12 | this automation here, it's very consistent.
| | 02:14 | That's because once I got one of these
right, I just copied and pasted it and
| | 02:18 | with that, I copied the automation.
| | 02:21 | So that way I get a very consistent
performance, because it'd be really hard to
| | 02:25 | do it that consistent just
moving the knobs on the interface.
| | 02:29 | So the other part of this sound is
that it's compressed pretty heavily with
| | 02:33 | the compressor here.
(music playing)
| | 02:37 | So if I stop that for a moment, bypass
it by Option+Clicking, it's a little bit
| | 02:43 | more dynamic, and it's also being
bussed to a bitcrusher in an EQ.
| | 02:49 | So if I get rid of the bitcrusher, it's
really going to make the impact less of the sound.
| | 02:53 | So here it's much more subtle, and now
it has more of a growl and grit to it.
| | 03:01 | So with this routing here, what I am
doing is I'm sending to this auxiliary
| | 03:05 | channel and that has an EQ where I am
cutting out the low frequencies and the
| | 03:09 | extreme highs, because really all I want
to do is bitcrush and bitcrush is a type
| | 03:13 | of distortion. Just the midrange frequencies.
| | 03:17 | Because if I bitcrush the low end, it's
really going to change the character of
| | 03:19 | the sound and when you bitcrush or
sample-rate-reduce a sound, what can happen
| | 03:24 | is you can get some harsher
high frequencies in there.
| | 03:27 | So that's why I have another EQ here.
| | 03:29 | You can see I have a pretty steep low-
pass filter that's cutting out the high
| | 03:33 | frequencies and I have got this notch
in here because there is a frequency
| | 03:36 | that was ringing out.
| | 03:38 | So that all together kind of
makes that growler sound.
| | 03:41 | Next, we have this one called Crazy Talk.
| | 03:44 | So if I take a look at this, I can
see that it has a Side Chain input
| | 03:48 | that's coming in on Bus 3.
| | 03:49 | So if play this, well, we are not
going to hear anything, because I have to
| | 03:54 | activate the track that's going to Bus 3.
| | 03:57 | So I know that this Mikal's Lyric down
here is the one that's coming in through
| | 04:02 | the Side Chain input.
| | 04:04 | So this Mikal's Lyric is just an audio
file, and we can actually listen to it. And
| | 04:08 | if you look in the channel here,
notice it has no output, so that's why if I
| | 04:12 | solo this track, we don't
actually hear it in the arrangement.
| | 04:16 | So it's just being bussed to this
Aux 3 here, and I am using that as the
| | 04:22 | input for the EVOC 20.
| | 04:23 | But let's listen to what this sample is
first, and then we can sort of listen to
| | 04:27 | what the vocoded sound is, and you
will get an idea of the whole picture.
| | 04:30 | So I'll set the Output here to Stereo
Output, and so let's listen to this sample.
| | 04:35 | (Male speaker: It's like a loop machine.
It's like a loop machine.)
| | 04:43 | So he is saying "It's like a loop machine."
| | 04:45 | But I can't really tell.
| | 04:46 | It's sort of stretched out in
there and kind of weird-sounding.
| | 04:49 | So I just thought this was kind of a
interesting source, so I was like, well,
| | 04:53 | what happens if I vocode this?
| | 04:54 | So what I am going to do is once again
set that Output to No Output because I
| | 04:57 | don't want to actually hear the dry
signal, and I am going to solo the bus.
| | 05:02 | And that way what I can do is I can
actually hear it inputting into this EVOC 20.
| | 05:09 | So now we should be a
able to hear this Crazy Talk.
| | 05:11 | (music playing)
| | 05:17 | So it doesn't quite sound
like the loop machine dry sample.
| | 05:21 | It's very vocoded and it sounds very different.
| | 05:24 | So what's happening here is that Mikal's
Lyric sound is coming in and then we've
| | 05:30 | got 20 bands in this vocoder.
And notice that the high and low bands are set
| | 05:36 | really close together,
| | 05:37 | so it's very narrow. And we've got
this Formant Shift happening and
| | 05:41 | Formant Stretch also,
| | 05:43 | so it's being heavily processed.
Also, quite a bit of resonance as well.
| | 05:47 | So part of what's really making the sound
though is the Shift LFO. Look at the rate of this.
| | 05:53 | It's 100 Hz, so that's a hundred
times a second that it's modulating
| | 05:57 | this Formant Shift.
| | 05:59 | So let's just listen to the sound again.
(music playing)
| | 06:02 | So now I am going to turn down
this LFO rate. So, much different.
| | 06:11 | So here is with none of that modulation.
| | 06:15 | So this is just vocoded on one note.
| | 06:17 | So this shift modulation is happening
so fast that it's completely changing the
| | 06:22 | texture of the sound.
| | 06:24 | I liked the texture of that and that's why
I did that, and it also works really well
| | 06:27 | combined with this growler sound,
so here is the two of them.
| | 06:32 | So those are those two, and then
we've got this Organish sound.
| | 06:36 | Let me make sure that I
unsolo that bus. There we are.
| | 06:39 | So I've got this Organish sound
here, so let's check this out.
| | 06:47 | (music playing)
| | 06:50 | So this is kind of holding
down the low end. There's no vocoding.
| | 06:54 | It's just synthesis, in dual mode.
| | 06:56 | We have got Wave 15 and Wave 49, and
those are detuned from each other by a
| | 07:01 | little bit, 15 cents. And so this is really
filterered down, and some of that has to do
| | 07:08 | with EQ and some of it's
also this low-pass filter.
| | 07:11 | So let's first bypass this
EQ and then take a listen.
| | 07:17 | Okay, so then if I open up this low-pass
filter, you can hear the unfiltered sound.
| | 07:23 | But I really wanted to focus on the low
energy of it, because this actually kind
| | 07:26 | of makes a good sub-bass sound.
| | 07:28 | So what I did actually with that
Channel EQ, if I open it up, you can see that I
| | 07:32 | have it high-pass filtered to cut out
the lowest frequencies and then I have
| | 07:36 | quite a bit of resonance on it so
that I get this boost around 60 Hz, and so
| | 07:40 | that really brings out the bottom end.
| | 07:43 | And so let's listen to what that
sounds like, so a very deep low end.
| | 07:47 | (music playing)
| | 07:51 | And the next sound in here is called
Noise Side Chain, and this one is a vocoded
| | 07:57 | sound, and it's actually the drums being vocoded.
| | 08:01 | So what I am going to do to listen to
this is I am going to solo it and I am
| | 08:04 | going to solo the bus
that the drums are going to.
| | 08:07 | So the Ultrabeat that's creating the
drum parts is being routed to bus 5.
| | 08:13 | So if I solo that, then I'll hear the
drums and I'll also hear the vocoded signal.
| | 08:21 | So what I'd like to do is
only hear the vocoded signal.
| | 08:23 | So I am just going to change
the Output of bus 5 to No Output.
| | 08:27 | Okay, so let's listen to this.
| | 08:28 | (music playing)
| | 08:39 | So that's the drums being vocoded, and
so part of this sound also is that there
| | 08:46 | is all these effects in the channel.
| | 08:47 | So let's take a look at those.
| | 08:49 | I am going to actually turn these off,
so we have got a Space Designer and
| | 08:51 | this Delay Designer.
| | 08:52 | I'll leave the Compressor on, and
let's see what it sounds like now.
| | 08:55 | (music playing)
| | 08:59 | So you can kind of hear the drums
coming through, and notice that the Sidechain
| | 09:04 | Analysis input has a long
attack and a long release.
| | 09:06 | That's part of the reason it's
not quite as rhythmic as the drums.
| | 09:10 | It's a little less distinct.
| | 09:11 | So we just get these little accents,
and what I did is added the reverb and
| | 09:16 | delay, especially the delay, to just
ring out like those accents happen and then
| | 09:21 | this delay just echoes a whole bunch
and just keeps that rhythm going with it.
| | 09:26 | So let's check that out.
| | 09:27 | (music playing)
| | 09:34 | Also notice there's only five
bands in this vocoding setting here.
| | 09:40 | So that also makes it a little less
distinct, where it sounds less like the
| | 09:43 | actual drums, but still a pretty cool
sound. And then let's see. Next what we have
| | 09:50 | is this Silky Strings here.
| | 09:55 | (music playing)
So they don't sound too silky.
| | 10:01 | So this is just synthesis,
no vocoding happening.
| | 10:04 | But it sounds like a formant shift is
happening, but that formant shift is not
| | 10:08 | happening in EVOC 20.
| | 10:10 | That's on of the effects on the channel strip.
| | 10:12 | So let's take a look.
| | 10:13 | So first what I'll do is I'll just
bypass the effects in the Channel just so can
| | 10:17 | hear this without effects.
(music playing)
| | 10:21 | So that sounds like silky string.
| | 10:23 | So this is just FM synthesis that's
happening here and not too much else, just a
| | 10:27 | very simple setting, a short
attack, kind of shortish release.
| | 10:32 | So what's creating all that texture is
this vocal transformer, which
| | 10:35 | is just a plug-in that's part of Logic.
| | 10:37 | It starts over here. There we go.
| | 10:40 | So you can see that I have automated
this formant shift in the vocal transformer.
| | 10:48 | So it's kind of neat because if you are
not vocoding a sound but you still want
| | 10:52 | to be able to use something that's like
this Formant Stretch and Formant Shift,
| | 10:57 | this Vocal Transform is a great tool
to do that, and I just have it automated.
| | 11:00 | So if you look at the track here, you
can see I have got the Formant automated
| | 11:07 | with each of those hits, and that kind
of blends in well with the background and
| | 11:11 | with the drums and everything,
| | 11:13 | so it's definitely kind of a neat sound.
| | 11:15 | And the last sound we have in here
is actually an unprocessed vocal.
| | 11:18 | So this is from EXS24, which is the
sampler in Logic, and so it's just triggering
| | 11:23 | this EasternVox, because sometimes it's
nice to actually have a real voice that's
| | 11:31 | along with the vocoded sounds, because
they tend to all blend well together.
| | 11:34 | So this also has, you can hear there's
a delay on it and an EQ after that and
| | 11:40 | that's going to a Bus which has a
pitch shifter and then delay so
| | 11:42 | we are getting these pitch-shifted echoes.
And the Pitch Shifter is set up an octave,
| | 11:46 | so that's kind of an interesting trick
that I have been exploring recently is
| | 11:50 | just putting a Pitch Shifter on some of
the buses so I get these pitch-shifted delay.
| | 11:54 | So that's something to experiment with.
| | 11:56 | So now that we have talked about all this,
let's hear it once again and you can
| | 11:59 | pay attention to all the different
sounds that the EVOC 20 is making and how
| | 12:03 | they work together.
| | 12:04 | (music playing)
| | Collapse this transcript |
|
|
7. ES2 Getting Started with ES2| 00:00 | In this chapter we're going
to look at the ES2 synthesizer.
| | 00:03 | ES2 combines a powerful tone-
generation system with extensive
| | 00:07 | modulation features.
| | 00:09 | It seamlessly blends Subtractive, FM
and Wavetable synthesis to generate a
| | 00:13 | huge range of sounds.
| | 00:14 | This makes it the perfect synthesizer
for creating intense leads, evolving
| | 00:18 | textures, rich basses, and
futuristic synthetic tones.
| | 00:21 | So taking a look at the
interface here, on the left we have the
| | 00:26 | Oscillator section.
| | 00:27 | So this is where we're going to be
generating the basis of our sound.
| | 00:30 | So, there're three oscillators and you
can select between a variety of different
| | 00:34 | waveforms and modulate one oscillator
with another. And then we're going to
| | 00:38 | balance the level between the oscillators
| | 00:40 | with this very clever mix triangle here,
so you can adjust the balance between
| | 00:45 | all three oscillators.
| | 00:46 | And so once we've got our sound that's
happening in the Oscillator section, it
| | 00:50 | goes into the Filter section,
so that's in the center here.
| | 00:53 | You can see there are two different filters.
| | 00:55 | So there's one multimode filter.
| | 00:57 | So, filter 1 here. We can select if it's going
to be a low pass, high pass, so on and
| | 01:01 | so forth, and then a second low-pass filter.
| | 01:04 | And the really cool thing is
these can be either run in a series or
| | 01:08 | parallel, and so we'll talk about
the difference between those and how
| | 01:11 | that's going to affect the sound.
| | 01:13 | Then over the right we've
got the Amplifier section here.
| | 01:16 | So this is where we're going to set our
output level. It can also bring back in
| | 01:20 | some of the unfiltered
sine from the first oscillator.
| | 01:24 | And then we can add effects as well.
| | 01:26 | So, there's a Distortion and
we've got some modulation effects with
| | 01:28 | Chorus, Flanger, and Phaser. So, really cool!
| | 01:32 | The whole bottom half of ES2
is dedicated to modulation.
| | 01:35 | So, in the center here
we've got the Modulation Router.
| | 01:38 | This is where we can assign the two
LFOs and the three envelopes to modulate some
| | 01:43 | aspects of the oscillators,
filters, and amplifier section.
| | 01:48 | Down at the very bottom of the
interface we have these macro controls, and these
| | 01:53 | allow us to affect more
change than just a single knob.
| | 01:56 | So, for example, this cutoff macro here
is going to affect the filter cutoff for
| | 01:59 | both filter 1 and 2, so
it does it at the same time.
| | 02:03 | One other aspect that's really neat in this
modulation section is the Vector envelope.
| | 02:09 | This allows us to take a snapshot of
the different oscillator, filter, and
| | 02:13 | amplifier settings at certain moments
in time and interpolate between them,
| | 02:17 | so it sort of seamlessly morphs
between these different states over time.
| | 02:21 | So you get really expressive sounds of
the vector envelope. It's really cool.
| | 02:26 | Also, down at the bottom here we've got
this MIDI tab, and this is where we can
| | 02:29 | assign MIDI controllers, so
you can interact more with the ES2.
| | 02:32 | So, now that we've taken an overview of
the interface of ES2, let's hear it in action.
| | 02:38 | So, I've prepared an example here
that has four instances of ES2 that are
| | 02:42 | creating all the melodic and bass and
synthetic sounds that are happening.
| | 02:46 | So, you can hear that there's a quite a
range of sounds that the ES2 can produce.
| | 02:49 | (music playing)
| | Collapse this transcript |
| Exploring the ES2 Oscillators and Mix Triangle| 00:00 | Let's take a look at the
Oscillator section of ES_2.
| | 00:04 | To make this more visually interesting,
I'm going to pull up an oscilloscope so
| | 00:08 | we can view the waveform as I'm
experimenting with the oscillators.
| | 00:13 | So if I go here to Audio Units, I have
one that's a third-party plug-in that's
| | 00:16 | called s(M)exoscope.
| | 00:18 | So I'll load that up. and
it's actually a free download.
| | 00:22 | If you go to bram.smartelectronix.com,
you can download the Audio Unit
| | 00:26 | version, and install it.
| | 00:28 | And it's really a good way to
visualize what you're hearing.
| | 00:31 | It doesn't actually affect the sound at all;
| | 00:32 | it's just a visual aid. Okay.
| | 00:34 | S, now when I play, you can see
the waveform here on the oscilloscope.
| | 00:38 | So in the Oscillator section, the first
thing that you want to do is make sure
| | 00:41 | that your oscillator is on.
| | 00:43 | So for each oscillator there's
a little on and off button here.
| | 00:46 | So I just turned off Oscillator 1.
| | 00:48 | I can turn it back on, and here's the
one for 2 and 3, and you can see it's got
| | 00:53 | this fancy animation when
you turn them on and off.
| | 00:57 | I can adjust the balance between the three
oscillators with this very clever mix triangle.
| | 01:02 | So this top corner would be Oscillator 1,
100% mix, this would be 100% listening
| | 01:08 | to Oscillator 2, and 100% listening to
Oscillator 3. And then of course, you can
| | 01:12 | get any kind of balance between them.
| | 01:14 | So it's a very clever way of
balancing the levels between the oscillators.
| | 01:18 | The first thing we'll do is talk
about the tuning for Oscillator 1.
| | 01:23 | You can adjust it in semitones,
| | 01:25 | +36 or -36 semitones, that's a three-octave range.
| | 01:33 | If I want to reset this back to its
neutral position, I can Option+Click on it
| | 01:39 | and that'll reset it.
| | 01:40 | Then I can do a fine-tune
adjustment +50 or -50 cents.
| | 01:43 | So remember, cents is a
semitone split into 100 divisions.
| | 01:50 | If I want to reset this one,
I can Option+Click on it as well.
| | 01:53 | So in terms of this oscillator, we've
got a number of different waveforms.
| | 01:57 | So there's a sawtooth waveform.
| | 01:59 | That's what I'm on right now.
(music playing)
| | 02:01 | I can set this to a triangle waveform
here, so it's a little bit more subdued.
| | 02:06 | And then down at the bottom here,
it says sine, but we actually have 100
| | 02:10 | waveforms right here.
| | 02:12 | So if I scroll up with my mouse, you
can see it's going to go through a number
| | 02:20 | of different waveforms of all different types.
| | 02:21 | If I want to see this as a menu
instead of just scrolling up and down, I can
| | 02:25 | Ctrl+Click and you can see
it's got all of them listed here.
| | 02:28 | So if you wanted to load up iron2
instead of scrolling through a hundred of
| | 02:32 | them, you can just select it, and
then you have the iron2 waveform.
| | 02:37 | So, moving these up here, I've got a
square waveform, and right next to that is a
| | 02:43 | similar one. This is a pulse waveform.
| | 02:45 | So it's basically like a square
waveform, but it's not symmetrical.
| | 02:49 | So you can see that one of the
sides is closer together than the other.
| | 02:53 | Then at the very top here,
we have FM modulation.
| | 02:57 | So if I only have Oscillator 1 on, all
I hear is a sinewave, and this dial, this
| | 03:02 | range here doesn't control anything.
| | 03:04 | However, if I have Oscillator 2 on,
the Oscillator 2 is going to frequency
| | 03:09 | modulate Oscillator 1, and this dial is going
to control the intensity. So let's check that out.
| | 03:14 | So I'll turn on Oscillator 2, and notice
that my mix is still set 100% to Oscillator 1,
| | 03:20 | so all we're hearing is Oscillator 1.
But now when I adjust this FM intensity
| | 03:24 | amount, you can hear that
Oscillator 2 is modulating Oscillator 1.
| | 03:33 | And if I change the waveform in Oscillator
2, it's going to affect the sound as well.
| | 03:37 | So if I change this to a pulse wave here,
it's going to affect how it sounds.
| | 03:44 | So that's definitely something to explore.
| | 03:46 | Try all the different
waveforms of Oscillator 2 frequency-
| | 03:49 | modulating Oscillator 1.
| | 03:51 | So let's actually take a look at Oscillator 2.
| | 03:54 | So we'll adjust our balance here, all the
way to Oscillator 2, 100%. And so let's
| | 03:59 | start with where we are here.
| | 04:00 | We have this pulse waveform up top that
gives us control over the pulse width.
| | 04:04 | So right now it's a perfectly
symmetrical square waveform, but I can adjust the
| | 04:10 | pulse width, and make it much more
narrow, and you can see that it's not
| | 04:16 | symmetrical at all. It's very narrow.
(music playing)
| | 04:20 | So I can leave this in a static
position or we can modulate that.
| | 04:24 | So in the modulation router, I can
set up a routing called pulse width
| | 04:27 | modulation where it will
modulate the width here.
| | 04:30 | So the other things we have in
Oscillator 2 is the sawtooth waveform just like
| | 04:36 | we had in Oscillator 1, triangle
waveform as well, and then we've got this
| | 04:41 | square sync waveform.
| | 04:43 | So what that's going to be is it's actually
an interaction between Oscillators 1 and 2.
| | 04:47 | So what it's going to do is it's going
to force Oscillator 2 to reset its phase
| | 04:53 | with every cycle of Oscillator 1, even
if Oscillator 2 is at a different pitch.
| | 04:57 | So if I change the pitch of Oscillator 2,
(music playing)
| | 05:03 | it's re-synchronizing with every wave
cycle of Oscillator 1.
| | 05:06 | So it doesn't actually sound like a
pitch shift because the fundamental
| | 05:09 | frequency is still the same,
but it's like a texture change.
| | 05:14 | So I have the square sync, and then I
also have a saw sync that's right beneath it.
| | 05:22 | You can see it shares the
words sync there between the two.
| | 05:24 | (music playing)
So, slightly different sound.
| | 05:30 | Then next we have ring
modulation mode for Oscillator 2.
| | 05:33 | So what that's going to do is it's
going to take the signal from Oscillator 1
| | 05:37 | and multiply it together with the
square waveform of Oscillator 2. And so you
| | 05:40 | end up getting kind of metallic sounds and
some interesting things happening with that.
| | 05:46 | So first, what I am going to do is just reset
our tuning on Oscillator 2 back to just 0 here.
| | 05:51 | It's good with a ring modulation to
experiment with the tuning of both
| | 05:55 | oscillators 1 and 2.
| | 05:56 | (music playing)
So you can get some pretty crazy sounds.
| | 06:04 | You can also get some pretty stable
sounds as well. And one way to explore is to
| | 06:09 | actually set Oscillator 1 to a sine waveform.
(music playing)
| | 06:15 | That's kind of the more traditional
ring-modulated sound. And it's also fun to
| | 06:19 | experiment with the tuning of
Oscillator 2 as well when you're ring-modulating.
| | 06:22 | So you get different interactions
between the two oscillators, that some
| | 06:28 | sound better than others.
| | 06:30 | Then also like we saw in Oscillator 1,
we've got these digi-waves, the same 100
| | 06:34 | that you can choose here.
| | 06:36 | So let's take a look at Oscillator 3.
| | 06:39 | Oscillator 3 is pretty
much the same as oscillator 2.
| | 06:42 | The only difference is that it has a
noise generator as part of it, and that's
| | 06:47 | what makes it different from Oscillator 2.
| | 06:49 | So if we go here, we can generate white noise,
and everything else about it is the same as 2.
| | 06:56 | You have the synchronization, the hard sync,
and it's going to synchronize with Oscillator 1.
| | 07:00 | So oscillators 2 and 3, when they're in
sync mode, they sync with oscillator 1.
| | 07:04 | So one other neat thing that you can do
with the oscillators is detune them, and
| | 07:09 | it actually has this mode here, this
constant beat detuning, where it's going to
| | 07:14 | detune the higher range and lower
range of the keyboard so that you get a
| | 07:19 | constant interaction
between those different ranges.
| | 07:22 | So first, let's explore just a simple
detuning with this constant beat off.
| | 07:27 | So what I'm going to do is just set this
mix balance between Oscillators 1 and 2
| | 07:31 | to somewhere around 50-50. And I've got
these both set to sinewaves and they're
| | 07:36 | playing the same frequency.
(music playing)
| | 07:38 | So when they're playing the same
frequency, you don't really hear it as two
| | 07:41 | oscillators; you just sort of hear one sound.
| | 07:43 | Now, if I offset the tuning by a couple
of cents on Oscillator 1, you can hear
| | 07:50 | that there's now this pulsing
between Oscillators 1 and 2.
| | 07:54 | When I play different keys, so if I play
higher, higher than that, the beating
| | 07:59 | happens at a different rate.
| | 08:01 | So it's happening faster higher, and
now when I'm playing lower, it's slower.
| | 08:10 | So this constant beat detuning
allows you to have a constant rate of
| | 08:15 | that beating happening.
| | 08:16 | So if I set this to 100%, so I play at
this range here, and if I play higher,
| | 08:24 | that beating is at the same rate with the
detuning and if I play lower, it's the same rate.
| | 08:28 | So it's pretty cool. And you have a range here.
| | 08:31 | You don't have to set it at 100%; you
can set it somewhere in between and it's
| | 08:34 | worth exploring that.
| | 08:35 | But essentially what's happening is
it's deviating from equal-tempered tuning.
| | 08:39 | So when you have this off, you have an
equal temperament tuning and when you
| | 08:44 | turn this on, it's the high octave.
| | 08:47 | So anything above C3 is detuned and
anything below C3 is detuned so that they
| | 08:53 | correlate with each other more than
if you just have it equal tempered.
| | 08:57 | So once you have your sound set in this
Oscillator section and you get a good
| | 09:00 | mix balance with your mix triangle here,
probably what you want to do is shape
| | 09:04 | the sound with the Filter section,
| | 09:05 | so let's explore that next.
| | Collapse this transcript |
| Tweaking the ES2 filters to shape expressive sounds| 00:00 | So, let's take a look at
the filter section of ES2.
| | 00:03 | So, we create our sound with the
oscillators and get a good blend happening with
| | 00:07 | the mix triangle and from there,
the signal goes into the two filters.
| | 00:11 | So, we've got Filter 1 that's right here
and we've got Filter 2 that's over here.
| | 00:15 | So, Filter 1 is a multimode filter
and Filter 2 is just a low-pass filter.
| | 00:19 | So, what I'm actually going to do is
I've got this a s(M)exoscope here so we
| | 00:22 | can visualize what's happening.
| | 00:24 | I've also got the Channel EQ here so
that we can view an FFT analysis of
| | 00:30 | the signal as well.
| | 00:31 | So, what I'm going to do is adjust the
scale of this here, and we'll turn on the
| | 00:36 | Analyzer, and we'll set it to a high resolution.
| | 00:40 | So, now when I play a note--
(music playing)
| | 00:44 | --so you can see all the different
harmonics in the waveform throughout
| | 00:47 | the frequency spectrum.
| | 00:49 | So, that's pretty cool! So back to ES2.
| | 00:53 | Let's take a look at Filter 1.
| | 00:54 | So, I've got this blend control up here.
| | 00:57 | This is going to set the
balance between Filter 1 and Filter 2.
| | 01:00 | So, I'm going to set it all the way to
the left, or to -1, which is just Filter 1.
| | 01:06 | So, the first thing we've
got here is a low-pass filter.
| | 01:08 | So, as I play this and I bring down
the Cutoff knob, it's cutting out the high
| | 01:13 | frequencies, and you can see that
on our EQ when that's happening.
| | 01:19 | When I adjust the resonance, it's
boosting around the Cutoff point,
| | 01:24 | so it's going to emphasize that region.
| | 01:26 | So if I increase the resonance quite a
bit, it's sort of dramatic.
| | 01:28 | (music playing)
You get those squelchy valley type-sounds from it.
| | 01:36 | So another way to think about a low-
pass filter is actually just on the
| | 01:38 | equalizer itself I can engage this
button here, and then here's my Cutoff.
| | 01:43 | (music playing)
| | 01:45 | You can hear that it pretty much sounds
the same as the low-pass filter in ES2.
| | 01:49 | And so what resonance would be,
| | 01:51 | so I adjust this parameter here, you can
see I've got this boost of my Cutoff point.
| | 01:55 | Here's my cutoff.
| | 01:56 | So, when I move that around--
(music playing)
| | 01:58 | --it's emphasizing the frequencies
around the cutoff and if I give a lot of
| | 02:03 | resonance, it really rings out.
(music playing)
| | 02:07 | So, on my EQ, if I want to resettle this,
I can just Option+Click, and it sets it
| | 02:11 | back to its default settings.
And I'll turn off the low-pass filter.
| | 02:14 | And so now back to this ES2 filter, the
other mode what we have here is high pass.
| | 02:20 | So, what this is going to do
is cut out the low frequencies.
| | 02:24 | So, when I have this filter all the way
open, like it is, you can see that there
| | 02:27 | are no low frequencies happening,
| | 02:30 | When I bring this down, it brings them back in.
| | 02:33 | Same thing. We've got resonance, which is
going to boost the area around the Cutoff point
| | 02:36 | (music playing)
| | 02:38 | And real quickly on an EQ, this would be
your high-pass filter. So I can cut out
| | 02:44 | the low frequencies.
| | 02:45 | Next, we've got a peak filter.
| | 02:49 | So, peak is pretty interesting,
because what it's going to do is it is
| | 02:52 | just going to boost a certain range of
the frequencies and leave the rest of
| | 02:56 | them alone. And resonance is
going to control the width of that band
| | 02:59 | that's been boosted.
(music playing)
| | 03:06 | So the way you can think of that on EQ
would be if you make a little EQ bump
| | 03:09 | like this--I'll make it a little more narrow,
and I can boost the frequency of it here.
| | 03:15 | So, if I were to move that around--
| | 03:16 | (music playing)
| | 03:20 | --that's essentially
like the peak filter in ES2.
| | 03:25 | Next what we've got is a Band Reject filter.
| | 03:28 | So, a Band Reject filter is
also known as a Notch Filter.
| | 03:30 | It's basically a dip in the EQ spectrum,
and the cutoff is going to control where
| | 03:34 | it is in the frequency spectrum, and the
resonance controls the bandwidth of it.
| | 03:38 | (music playing)
| | 03:43 | So, it's a pretty cool sound and on an EQ
what that would look like, this would be
| | 03:47 | a notch, would be like this, and this
would be like the resonance parameter, the
| | 03:52 | bandwidth of it, and then I can move it around.
| | 03:54 | (music playing)
| | 04:00 | And last but not least, we
have a Bandpass filter here.
| | 04:03 | (music playing)
| | 04:05 | What that's going to do is let a
certain band of frequencies through and the
| | 04:09 | cutoff moves that band around, and the
resonance, it controls the bandwidth of it.
| | 04:13 | (music playing)
| | 04:19 | So, on an EQ you can imagine what I can
do is I'll set a certain band using the
| | 04:25 | high-pass filter and the low-pass filter.
| | 04:29 | So, I have basically got this little
window right here where the sound is going
| | 04:31 | to come through, and the Bandpass
filter, when I adjust the cutoff, it's moving
| | 04:35 | this area here, this window, around.
| | 04:38 | So, it's kind of nice because what
happens is it's not losing some aspect of the
| | 04:42 | frequency spectrum, it
changes as you adjust the Cutoff.
| | 04:47 | The second filter in ES2
is just a low-pass filter.
| | 04:51 | So, if I adjust the blend here all
the way to the right, I can low-pass the
| | 04:58 | signal, and this one I can choose
the slope of the low-pass filter.
| | 05:03 | So, if we had a low-pass filter on our
EQ, notice this has a slope control as
| | 05:07 | well, and you can see that as I
increase the number here from 12dB to 24, it
| | 05:12 | increases the steepness,
| | 05:13 | so it's cutting out high
frequencies at a faster rate.
| | 05:16 | So, that's what you've got here, 12 dB per
octave, 18dB per octave, and 24 dB per octave.
| | 05:24 | The last button that you've got
here in this row is the fat button.
| | 05:28 | What this does is sometimes when you
have some higher amounts of resonance with
| | 05:32 | the low-pass filter you end up
losing some of the low end.
| | 05:35 | So, this fat control compensates for it.
And so this fat mode can be used with
| | 05:42 | any of the slopes of this low-pass filter.
| | 05:46 | The final control that you've got
with this Filter 2 here is this FM.
| | 05:51 | So, what this is going to do is it's
going to modulate the filter cutoff at a
| | 05:57 | very high rate, because what's
happening is the sine wave from Oscillator 1 is
| | 06:01 | modulating this filter cutoff at a very
high rate, and so you really notice it
| | 06:06 | when you crank up the resonance.
So, I'll crank up the resonance here.
| | 06:10 | It's a really chaotic, so maybe
I'll bring down the level of FM.
| | 06:13 | (music playing)
| | 06:19 | So, it's a different type of FM than
the FM you deal with in the oscillators.
| | 06:23 | That stands for frequency modulation;
this is for filter modulation. But they're
| | 06:27 | both happening at very fast rate,
| | 06:29 | so in some ways they actually kind of
have some similarities in terms of the sound.
| | 06:33 | One of the other unique features of
this filter is you can actually use your
| | 06:39 | mouse to control both
filter cutoffs at the same time.
| | 06:42 | You can see there's this little chain
symbol here and if I move my mouse, you
| | 06:46 | can see it adjust both cutoffs.
Same is true with any of these chain symbols
| | 06:50 | that you have in the filter.
| | 06:51 | Here's one that will adjust the Cutoff
and Resonance together of Filter 2, and
| | 06:55 | then I've got one also for Filter 1.
| | 06:57 | So, that's just a neat way if you want
to tweak more than one thing at a time.
| | 07:01 | So now that we've taken an
overview of how both filters work,
| | 07:05 | in the next video let's explore
how having them routed in series or
| | 07:08 | parallel affects the sound.
| | Collapse this transcript |
| Series or Parallel? | 00:00 | One of the really cool features of
ES2's filter section here is that it can be
| | 00:04 | routed in either a series or in parallel.
| | 00:07 | So the signal, remember, we are going
to generate with the oscillators. That's
| | 00:10 | where we get our super-cool sound from.
| | 00:12 | And then it gets mixed in this mixed
triangle here. And then from there, the
| | 00:17 | signal is going to flow into the
filter's input, so filter 1 here.
| | 00:22 | And then it gets filtered down. And
then the output of filter 1 goes into the
| | 00:26 | input of filter 2, and from there,
the signal goes to the amplifier.
| | 00:29 | So that's a series routing.
| | 00:31 | So to parallel what's
happening is our oscillator signal is
| | 00:36 | being summed in this mix triangle, and then
the signal is going two places at the same time.
| | 00:41 | It's going to go into filter one and
it's also going to go into filter two.
| | 00:45 | And then those get
combined in the amplifier section.
| | 00:48 | So that's the parallel routing.
| | 00:50 | So let's explore some of the possibilities
of what we can do with the series routing.
| | 00:54 | First I will point out, that I have
this s(M)exoscope, it's an oscilloscope, in
| | 00:58 | the background here by Smartlectronix.
| | 01:01 | In that way we can visualize
what's happening with the waveforms.
| | 01:04 | So with the series routing, what I
can do is I can get a balance between
| | 01:08 | filter 1 and filter 2.
| | 01:10 | (music playing)
| | 01:12 | So I've got a low-pass filter here and
then the output of that would be going
| | 01:16 | into the low-pass filter 3.
| | 01:19 | So probably what's going to be more
interesting is actually to have a different
| | 01:23 | filter type for filter one.
| | 01:25 | So maybe we can set this to a Bandpass filter.
| | 01:27 | (music playing)
| | 01:31 | So I can get my Bandpass sound and
then once I've got that this sounds good,
| | 01:37 | I can filter with a low-pass filter.
| | 01:39 | (music playing)
| | 01:45 | So that's sort of interesting in terms
of this sound, but really, it's missing a
| | 01:49 | little something, and that's
where the Drive parameter comes in.
| | 01:52 | Because what the drive is going to do is it's
going to saturate the filter and add harmonics.
| | 01:57 | Now depending on how we have our
filter blend and whether we are in series
| | 02:01 | or parallel, the Drive parameter is going to
be in a different position in the signal flow.
| | 02:06 | So when we've got a series routing and
we've got our blend set at 0, so in the
| | 02:11 | middle here, the drive is
between filter 1 and filter 2.
| | 02:15 | So that means that we've got our sound.
(music playing)
| | 02:20 | It's band-pass filtered,
sounds cool, and then I add drive.
| | 02:24 | (music playing)
| | 02:27 | So that's happening after the Bandpass
filter, and then I can filter down that
| | 02:30 | overdriven band-pass sound with the
low-pass filter of this filter 2.
| | 02:34 | (music playing)
| | 02:40 | So listen to this without drive. It's a much
smaller sound. And then I saturate the
| | 02:45 | signal and add harmonics with this
Drive parameter, and it's much more
| | 02:51 | aggressive of a sound.
| | 02:52 | It's now with this Filter Blend and
Drive, let's try different routing so you
| | 02:56 | can hear what happens.
| | 02:58 | So if I take this Filter Blend and I go
all the way to the right here, so to 1,
| | 03:03 | then all I am hearing is filter 2,
so it's just a low-pass filter.
| | 03:08 | (music playing)
| | 03:10 | But I can also use this overdrive.
So what's happening is I am getting the signal
| | 03:14 | from the mix triangle, then it's being
overdriven, and then I'm filtering it
| | 03:18 | down with filter 2.
(music playing)
| | 03:23 | So the next routing possibility is, if
I have this at around .5 here, then
| | 03:28 | what I've got is a little bit of
filter one, because remember this Blend
| | 03:30 | control is going to crossfade between
filter 1 and filter 2 just in terms
| | 03:35 | of the balance of them.
| | 03:36 | So I hear a little bit of filter 1.
Then that signal is being overdriven by
| | 03:41 | the Drive parameter, and then we are
filtering it again with this filter
| | 03:45 | 2, low-pass filter.
(music playing)
| | 03:49 | If we go all the way to left here
then we are only going to hear filter 1.
| | 03:53 | (music playing)
| | 03:56 | But what happens is this Drive
parameter is now happening before the Band
| | 04:01 | Pass filter, so it's happening immediately
after the mix triangle, before it hits filter 1.
| | 04:06 | So that's where we are saturating the signal.
(music playing)
| | 04:10 | So probably the most complicated
routing, but also one that's quite
| | 04:13 | interesting, is this -.5.
| | 04:17 | So what this does is we've got the signal
from our oscillators in the mix triangle.
| | 04:22 | Then it's overdriven, then it hits
filter 1, though we can adjust, and then
| | 04:28 | there is another drive circuit between
filter 1 and filter 2. And you don't
| | 04:32 | actually see any of this happen.
| | 04:33 | It just happens under the
hood and you can hear it.
| | 04:35 | So we've got this second overdrive
between the two filters, and then I can
| | 04:39 | filter that with the low-pass filter.
| | 04:40 | (music playing)
| | 04:44 | So lots of filtering going on, lots of
different possibilities with that, and
| | 04:48 | it's definitely worth taking the
time to explore what you can do with it.
| | 04:51 | So then of course, we have the other mode,
which is Parallel, so I will click this here.
| | 04:56 | We can set up our Blend back to 50-50
once again, and in this case, just while we
| | 05:02 | are on the topic of the Drive parameter,
when we are in the Parallel routing,
| | 05:06 | the Drive parameter is going
to happen before the filters.
| | 05:09 | So we've got mix triangle where
the oscillator's signal is mixed. Then the
| | 05:14 | signal's overdriven, and then it
enters both filters where it's filtered
| | 05:18 | down independently.
| | 05:19 | (music playing)
| | 05:22 | So one really cool thing about a
parallel routing that we can do is I can have
| | 05:26 | a Bandpass filter happening up here,
and then on this parallel track with
| | 05:32 | filter 2, I can have it low-pass filtered.
(music playing)
| | 05:38 | So what happens is I get this
consistent low end from the low-pass signal and
| | 05:43 | that's mixed in equally with this
bandpass signal what's happening on top.
| | 05:46 | So you can hear this better if
I play maybe at a lower note.
| | 05:48 | (music playing)
| | 05:51 | So even as I adjust the Bandpass
filter you can hear there is a constant low
| | 05:55 | end and that's the filter
2; it's just filtered down.
| | 05:58 | And I could give it a steeper slope.
(music playing)
| | 06:01 | Give it some more resonance to make
that stand out a bit more.
| | 06:06 | It's a real solid low end, and then I
have got the movement of the Bandpass
| | 06:11 | filter on top, so that's definitely a
really cool thing to do, and it's worth
| | 06:15 | exploring the different filter types as well.
| | 06:16 | I'll try a Band Reject filter against the
low-pass filter in this parallel routing.
| | 06:21 | (music playing)
And the others too.
| | 06:26 | So once you have your sound sculpted
in the filter, the signal goes into the
| | 06:29 | amplifier and effect section.
| | 06:31 | So let's explore that in the next video.
| | Collapse this transcript |
| Understanding the amplifier effects| 00:00 | In the right side of ES2 we have
got the Amplifier and Effects section.
| | 00:04 | So this is the last stage of the signal flow,
| | 00:06 | because we've got the oscillators, then
it goes through the filters, and then it
| | 00:10 | hits the amplifier and effects.
| | 00:13 | So in the amplifier
we've got the Volume Control.
| | 00:14 | This is just our master
volume, which you can adjust--
| | 00:17 | (music playing)
| | 00:18 | --up and down. If you want to reset it,
just Option+Click sets it back to its
| | 00:22 | default setting at 0dB.
| | 00:24 | Beneath that we have actually a
really cool feature. This is Sine Level.
| | 00:27 | So what it's going to do is this is
going to bring in a sine wave from
| | 00:30 | oscillator 1 underneath
whatever sound we have that's happening.
| | 00:35 | And it's going to be
unfiltered sine wave too.
| | 00:37 | So it goes directly from the
Oscillator into the Amplifier stage.
| | 00:42 | And the cool thing is we actually
don't even need to have Oscillator 1 on.
| | 00:45 | So if I turn Oscillator 1 off and I turn
down the Sine Level, we should have silence.
| | 00:51 | So I am playing the
keyboard now and there's nothing.
| | 00:53 | So I can bring up the Sine Level.
| | 00:55 | (music playing)
| | 00:57 | So you can hear there is a Sine wave
now. And now I can add back in the
| | 01:02 | Oscillator, or we could have
several oscillators happening.
| | 01:04 | (music playing)
| | 01:06 | And I can blend this pure sine wave
with our oscillated and filtered sound, and
| | 01:12 | that way I can always
have this solid low end to it.
| | 01:15 | So this is a very cool control.
| | 01:16 | So from there we've got the Effects section.
| | 01:19 | So we have a Distortion that has
two different modes: Soft and Hard. So
| | 01:23 | let's take a look at those.
| | 01:25 | So right now here's no
Distortion, but I can adjust the amount--
| | 01:30 | (music playing)
| | 01:32 | --and it's going to increase the level,
it's also going to overdrive the signal.
| | 01:34 | (music playing)
| | 01:36 | So maybe I will turn down
our output just a little bit.
| | 01:38 | (music playing)
| | 01:40 | And I can adjust the color or the tonality
of this overdrive, so I will adjust the
| | 01:44 | Tone Parameter here.
(music playing)
| | 01:50 | And then we have the other mode, Hard.
| | 01:52 | This is more of a harsh distortion.
(music playing)
| | 01:55 | Especially when I have this open to bright.
(music playing)
| | 02:01 | So you can hear it's really thick,
crunchy sounds, and that's what distortion is
| | 02:05 | generally known for.
| | 02:06 | So beneath that, we have a
couple of modulation effects as well.
| | 02:10 | There is a chorus, flanger, and phaser.
| | 02:12 | All three are time-based effects and
in some ways, they're similar in the way
| | 02:15 | they sound but there are slight differences.
| | 02:17 | So let's explore them.
| | 02:18 | Here's chorus. So what I can do is I've got
two controls for intensity and I have speed.
| | 02:25 | So chorus is generally good for helping
make things more stereo and more lush.
| | 02:30 | So let's up the intensity a little bit.
| | 02:32 | (music playing)
| | 02:36 | So you can hear already that there's a
much wider stereo image, and then I can
| | 02:41 | adjust the speed of the chorus.
(music playing)
| | 02:47 | Maybe slow it down. And what you want to
try to do usually is find a good balance,
| | 02:51 | like if you have too much
intensity, it just overwhelms the sound.
| | 02:55 | So finding the good
balance is sort of the art of it.
| | 02:59 | So then we have the Flanger
effect as well. This is similar.
| | 03:02 | (music playing)
| | 03:04 | A bit of a different
characteristic to its modulation.
| | 03:11 | And then last but not least, we have Phaser,
which again is another modulation effect,
| | 03:14 | (music playing)
but also has different characteristic to it.
| | 03:21 | So you can get a really wide range of
effects. It's the combination of distortion
| | 03:26 | and modulation effects--
(music playing)
| | 03:30 | --for any even very simple sound like
we've got here, you can really thicken it up.
| | 03:33 | That's really cool.
| | 03:34 | So we've covered the top half and the
main components of ES2: the Oscillator,
| | 03:39 | the Filter and Amplifier and Effects section.
| | 03:41 | Next let's explore the
modulation sections below.
| | Collapse this transcript |
| Bringing life to ES2 with the modulation router| 00:00 | One of my favorite aspects of ES2 is
it's extensive modulation capabilities.
| | 00:05 | So in the bottom half of the interface
we've got the modulation section, so we
| | 00:09 | have a modulation router, two
LFOs, and three envelopes.
| | 00:14 | So all this modulation stuff, what it's going
to do is it's going to bring life to the sound.
| | 00:18 | Because what we can do is
automate things like the Filter Cutoff or
| | 00:22 | Oscillator Pitch and all sorts of
other parameters and have periodic or just
| | 00:27 | one-time movement that's happening and
that helps create more expression with
| | 00:31 | our synthesizer sound.
| | 00:32 | So let's take a look at this Modulation Router.
| | 00:34 | Essentially what you've got is ten
different channels where you can assign
| | 00:38 | different modulations.
| | 00:40 | So the target is the thing
that's going to be modulated.
| | 00:44 | So that might be like Filter Cutoff or
Pitch, so let's take a look at the list here.
| | 00:49 | So we have got this long list of targets,
all sorts of things that can be modulated.
| | 00:53 | Let's just start with something simple.
| | 00:55 | Let's modulate the pitch of Oscillator
1, so I'll choose that as the target.
| | 01:00 | And then we've got the source down here.
| | 01:02 | And this is the thing that's
going to be doing the modulating.
| | 01:05 | So it could be an envelope or an LFO
or the X-Y Planar Pad, which we'll take a
| | 01:11 | look at, or Velocity.
| | 01:13 | Let's have LFO 1 modulate Oscillator
1's pitch. So now if I play a note--
| | 01:20 | (music playing)
--well, I don't hear any pitch modulation.
| | 01:22 | That's because I have to give
it a certain amount of intensity.
| | 01:26 | So this slider right here with this
green triangle is the Amount slider, so
| | 01:30 | when I increase this--
(music playing)
| | 01:35 | --you can hear I get more pitch modulation.
| | 01:38 | Bring it back down.
(music playing)
| | 01:41 | I can go in a negative direction too.
| | 01:42 | (music playing)
It just inverts the modulated signal.
| | 01:45 | (music playing)
| | 01:49 | So that's all great.
| | 01:50 | And then the other menu we
have here is this via parameter.
| | 01:53 | This is where we can
modulate the amount of modulation.
| | 01:56 | It sounds confusing to say, but the
concept is not that confusing.
| | 02:00 | So what I could choose
here is something like ModWhl.
| | 02:02 | This will allow me to scale the
intensity of the modulation with the ModWhl.
| | 02:07 | So when I selected this, you can see it
split the Amount slider into two parts.
| | 02:11 | So I have got the green and the orange part.
| | 02:13 | So the orange part is going to be the top of
the range, so let's just click on that, drag it.
| | 02:22 | So this is going to be the maximum
intensity of my modulation, and then the
| | 02:25 | green portion down here is set to minimum.
| | 02:28 | So I will set that at 0 and my
maximum, we'll set it to around .5. So now the
| | 02:34 | ModWhl will control this
range of pitch modulation.
| | 02:37 | So if I play the note now and
my ModWhl is completely closed,
| | 02:41 | (music playing)
I have no pitch modulation.
| | 02:43 | So now I'll play the note and slowly
open the ModWhl, and I will hear the amount
| | 02:47 | of pitch modulation increases.
(music playing)
| | 02:53 | And so now it's fully open, and
then I'll close back down the ModWhl.
| | 02:55 | So it's pretty neat.
| | 02:59 | And then you can have ten different
modulations all happening at the same time.
| | 03:04 | So another thing we could do that's
actually pretty cool is one of the
| | 03:08 | sources is this Planar Pad--
| | 03:10 | you can also refer to as an X-Y Pad--where
| | 03:12 | we can have different modulation targets,
either for the horizontal or vertical axis.
| | 03:18 | So let me show you what I mean.
| | 03:20 | So I want to modulate the cutoff of filter two.
| | 03:23 | So I am going to set my target as Cutoff 2.
| | 03:26 | I want the Source to be the
X axis of this Planar Pad,
| | 03:33 | so I will choose Pad-X as my Source. And
then here's where I adjust the intensity
| | 03:40 | of the modulation. Let's just do
it full on. So now when I play
| | 03:43 | and I move this horizontally, you
can hear it's filtering the sound.
| | 03:49 | (music playing)
| | 03:52 | And so I could assign a completely
different modulation target to the
| | 03:55 | vertical, or the Y, axis here. So let's do that.
| | 03:58 | So maybe just because we're already
dealing with it, let's assign Pitch 1, so
| | 04:03 | the pitch of Oscillator 1, to the vertical axis.
| | 04:07 | So I will do Pad-Y, and then
let's give it the full amount.
| | 04:11 | It's a really dramatic effect.
| | 04:12 | So now what happens, I move
horizontally and it filters the sound.
| | 04:16 | (music playing)
| | 04:17 | I move vertically and it
changes the pitch of Oscillator 1.
| | 04:20 | So you can get this complex interaction,
basically between two unrelated things,
| | 04:27 | with this X-Y Planar Pad.
| | 04:29 | So you can get a lot of fun and
expressive sounds by assigning modulation targets
| | 04:34 | to the X-Y Pad, and in general just
assigning different modulation targets to
| | 04:39 | sources in the router here.
| | 04:40 | So next let's take a look at how we can
use the two LFOs in conjunction with the
| | 04:45 | router to add more periodic
modulation and life to the sounds.
| | Collapse this transcript |
| Creating rhythmic movement with the LFO's| 00:00 | So let's dig in a bit deeper with
the two LFOs in the modulation section.
| | 00:05 | So here's LFO1 and here's LFO2,
and for both of them we can have
| | 00:09 | different waveforms.
| | 00:10 | You select the waveform for LFO1 right here,
and for LFO2 you select it right here.
| | 00:15 | So just as a reminder, LFO stands for
low-frequency oscillator, and basically
| | 00:21 | it's an oscillator just like we
have in the Synthesis section.
| | 00:23 | The difference is the synthesis
oscillators get routed through the filter
| | 00:28 | and routed to the amplifier and then
they come out through the speakers and
| | 00:31 | you hear the sound.
| | 00:32 | The LFO, instead of sending an audible
signal, sends a control signal and its
| | 00:36 | whole purpose is to modulate some other
parameter, but it does it in a periodic
| | 00:40 | way, because it's a
waveform like a triangle waveform.
| | 00:43 | So it will modulate the parameter back
and forth, and then usually they happen
| | 00:48 | at a lower rate or a lower frequency.
| | 00:50 | So, for example, this LFO1 can happen
as slow as 0.01 Hertz, and it can go all
| | 00:58 | the way up to 100 Hertz.
| | 01:00 | So let's see this LFO in action.
| | 01:02 | So what I want to do is in my
Modulation Router I want this LFO to
| | 01:06 | periodically modulate the pitch.
| | 01:08 | And so what we'll do is we'll choose
Pitch 1, and the source is going to be LFO1,
| | 01:14 | because that's the thing doing the modulating.
| | 01:16 | So now I can adjust the intensity here.
So if I play a note, I've no pitch
| | 01:21 | modulation, but I can increase the amount.
(music playing)
| | 01:29 | So it kind of sounds like a siren,
and I can adjust the rate here.
| | 01:32 | (music playing)
| | 01:35 | The neat thing about this LFO is it
has an envelope that's attached to it.
| | 01:38 | So if I want to delay the onset of this LFO,
or of this modulation, I can adjust that here.
| | 01:44 | So I can set this to, for
example, 1,000 milliseconds.
| | 01:47 | And that means the intensity of this LFO is
going to fade in over that period of time.
| | 01:52 | So let's play.
(music playing)
| | 01:57 | So you can hear, it started much less
intense and then the intensity fades in.
| | 02:01 | And I can make that even more
dramatic by making this longer here.
| | 02:04 | (music playing)
So you can hear the modulation is fading in now.
| | 02:09 | It can also work the other way around.
| | 02:13 | So if I take this parameter and I bring
this slider down, I can have it decay.
| | 02:17 | So we'll start with a lot of modulation,
and then it will decay down to none.
| | 02:22 | (music playing)
| | 02:25 | So you can hear it adds this pitch
modulation and then that sort of faded away.
| | 02:29 | And the closer I have it to the
center, the longer that's going to be.
| | 02:31 | (music playing)
So that all happened over about in 2.3 seconds.
| | 02:39 | Or you can have it be really short,
and that's kind of interesting too.
| | 02:41 | (music playing)
Because then it just sounds like an articulation.
| | 02:45 | So if I have it really short, and even if
I have a pretty wide pitch modulation--
| | 02:49 | (music playing)
| | 02:52 | --that almost gives it a
percussive quality to it.
| | 02:54 | (music playing)
| | 02:56 | So there are a lot of interesting
things you can do with that using
| | 02:58 | this built-in envelope.
| | 03:00 | The other interesting factor
about this LFO1 is it's polyphonic.
| | 03:04 | So what that means is that for every
note that I'm playing, I get a separate LFO
| | 03:09 | that's modulating the pitch.
| | 03:10 | So that means that if I'm playing a
note, you can hear that it has a certain
| | 03:15 | cycle of modulation.
| | 03:17 | If I play another note, it
has an independent phase.
| | 03:22 | So they don't necessarily line up in
their pitch modulation, like one can be
| | 03:25 | pitching up and the other one is pitching down.
| | 03:27 | And that's because this is a polyphonic LFO.
| | 03:29 | Now to contrast, LFO2 is monophonic.
So let's try the same thing with LFO2.
| | 03:36 | So set our source here as LFO2,
and let's set it to a similar rate.
| | 03:42 | So let's set it to like 1.6ish Hertz.
| | 03:46 | That will do, and let's listen to that here.
| | 03:48 | So here's one note.
| | 03:50 | (music playing)
| | 03:51 | That sounds the same, but when I play another one--
(music playing)
| | 03:56 | --you can hear the timing and the
phase of the modulation is happening
| | 04:00 | together because it's monophonic.
| | 04:02 | So that's one of the primary
differences between LFO1 and 2.
| | 04:06 | The other difference is that LFO1, you
can't synchronize the rate here to the beat.
| | 04:11 | It's all in Hertz.
| | 04:13 | LFO2, when I'm in the center, I have
no modulation. And if I go up, then it's
| | 04:18 | going to be in Hertz or cycles per second.
| | 04:22 | If I drag this down, it's going to be
in divisions of the beat, so then it's
| | 04:25 | musically related to the tempo of the song.
| | 04:27 | (music playing)
| | 04:31 | So that's the other
difference between LFO1 and 2.
| | 04:34 | And then one thing that's definitely
worth exploring is trying different
| | 04:38 | waveforms for your LFOs.
| | 04:41 | So for example, even just this pitch
modulation we have here, let's try some of
| | 04:45 | these different waveforms.
| | 04:46 | So right now, it's on triangle
waveform, but let's select the ramp down.
| | 04:50 | (music playing)
Or I can have a ramp up.
| | 04:54 | (music playing)
| | 04:57 | Or here I could have it
transition between two different pitches.
| | 05:00 | So this is actually a unipolar square wave.
| | 05:03 | So what that means is that
it's only going to pitch up.
| | 05:07 | (music playing)
| | 05:12 | Whereas, the next one is a bipolar
squarewave, so it will play a note that's
| | 05:16 | both above and below what I'm
actually playing on the keyboard.
| | 05:20 | (music playing)
| | 05:23 | So depending on the amount of modulation,
I'm going to get a different range of pitches.
| | 05:27 | (music playing)
| | 05:33 | The other waveform we have
here is a sample-and-hold.
| | 05:35 | So this is going to randomly step
between different values, so you can get all
| | 05:39 | the 70s kind of sci-fi
computer sounds with this.
| | 05:43 | (music playing)
Let's increase the speed of this.
| | 05:52 | I feel like that's what people thought
computers sounded like in the 70s.
| | 05:56 | Anyway, the other waveform we have is
this random but interpolated waveform, so
| | 06:01 | it will choose random pitches,
but it will glide between them.
| | 06:04 | (music playing)
| | 06:09 | So that's how these different waveforms
work, and the same ones apply for LFO1.
| | 06:14 | You select those here.
| | 06:15 | So, one of the interesting targets
that you can use an LFO for is actually
| | 06:20 | the oscillator waves.
| | 06:22 | So let's take a look at that.
| | 06:23 | I'll go ahead and set this modulation
here to neutral so it's not active.
| | 06:28 | And then for target, we'll select Osc1Wave.
| | 06:33 | And depending on what I have my
Oscillator 1 waveform set to, this will do
| | 06:37 | different things, and this is
where it gets kind of interesting.
| | 06:39 | So we'll have LFO1 modulate the waves.
| | 06:43 | Right now we have it set to a
triangle wave, so that's cool.
| | 06:46 | And then I can adjust the amount here.
| | 06:50 | So with the sawtooth waveform, it's
actually not going to do anything.
| | 06:53 | But if we have it set to a square waveform,
it's going to modulate the pulse width of it.
| | 06:57 | (music playing)
| | 07:01 | So that sounds quite a bit different.
| | 07:02 | I can decrease the intensity.
| | 07:04 | (music playing)
| | 07:05 | And part of this sound is it's actually
happening so fast, so let me down the rate here.
| | 07:09 | (music playing)
| | 07:14 | So it's modulating the symmetry of this square
waveform between the positive and negative side.
| | 07:19 | (music playing)
| | 07:23 | And so I can do the same thing
with the pulse waveform here.
| | 07:26 | It's just going to sound a little different
because its starting place is different.
| | 07:28 | (music playing)
| | 07:32 | So it's a little bit more extreme in its sound.
| | 07:35 | The other thing that can be
modulated is the FM intensity.
| | 07:38 | So in order for that to work, I
actually have to have Oscillator 2 on,
| | 07:42 | even though I have the Mix triangle
here all balanced to Oscillator 1, but I
| | 07:46 | need Oscillator 2 to modulate
the frequency of Oscillator 1.
| | 07:50 | So now that I've got this on,
we can modulate that FM amount.
| | 07:53 | (music playing)
I can adjust the intensity of that.
| | 08:01 | So that can be really cool.
| | 08:02 | And then last but not least, and
probably actually my favorite, is you can
| | 08:06 | modulate these DigiWaves that we have here.
| | 08:08 | So I'll just set this to one of these
ones in the middle. And what it can do
| | 08:12 | is this LFO1, it's going to sweep through
all these 100 DigiWaves that we have here.
| | 08:18 | So it can just cycle through the
different ones, and it actually morphs between
| | 08:22 | them--it does a very smooth transition.
| | 08:24 | So this can get kind out of control,
so usually what I do is set a very
| | 08:28 | small modulation amount.
| | 08:29 | (music playing)
See even now, you can hear that's pretty spastic.
| | 08:34 | It sounds cool though.
(music playing)
| | 08:39 | There we go. There is a smaller modulation amount.
| | 08:42 | (music playing)
| | 08:45 | So it's cycling though all those
different waveforms, and I can adjust the
| | 08:48 | speed of it as well.
(music playing)
| | 08:51 | So it actually sounds really good slow,
just like this constantly evolving tonality.
| | 08:57 | So I really like that and that's fun to explore.
| | 09:00 | And one other thing, just when dealing
with the oscillator waves here, is on the
| | 09:04 | third oscillator, you can
modulate the frequency of the noise.
| | 09:09 | So if we set this to the noise oscillator
then what I'll have to do is actually
| | 09:12 | set my target to Osc3Wave, and then
I'll increase the intensity of this LFO, and
| | 09:19 | you'll hear it's a filter on the noise.
| | 09:23 | And actually, I have to set
my mix now to Oscillator 3.
| | 09:25 | (music playing)
So you can hear the noise is filtered.
| | 09:35 | And I can adjust the
speed of the speed of it here.
| | 09:36 | And it's actually really cool
because it's not using the two filters of
| | 09:43 | the filter section.
| | 09:44 | It has its own sort of built-in noise
filter, and the only way to access it is
| | 09:49 | through the modulation router using
either an LFO or you can use an envelope or
| | 09:53 | something else to
control the color of the noise.
| | 09:55 | So using the LFO is to bring periodic
movement to the sound, really add some life.
| | 10:00 | So we can do even more of that by
exploring the envelopes and assigning those to
| | 10:04 | modulate things as well.
| | 10:05 | So let's explore that next.
| | Collapse this transcript |
| Using the 3 envelopes to give shape to your sounds| 00:00 | So let's take a look at the
envelopes we've got here in ES2.
| | 00:03 | So down in this modulation section,
you can see there are three envelopes.
| | 00:08 | So the third envelope is actually pre-
wired to modulate the amplifier level,
| | 00:13 | so it's going to control the
shape of the volume of the sound.
| | 00:16 | Envelope 2 and Envelope 1 are freely
assignable, and we can use our modulation
| | 00:20 | router to assign them to
modulate various things.
| | 00:24 | So to help us visualize the AMP
envelope, I've got this oscilloscope open.
| | 00:29 | This is the s(M)exoscope;
| | 00:31 | it's one of the electronics that I
have been using in some these videos.
| | 00:34 | So it's just a good way to
visualize what's happening.
| | 00:36 | It's a third party plug-in, so it's
not part of Logic, but it's freeware, and
| | 00:40 | feel free to check it out if you like it.
| | 00:41 | So taking a look at Envelope 3, we've
got some parameters that we're used to
| | 00:46 | seeing, like Attack, Decay, Sustain, and Release.
| | 00:49 | What's different is that we've
got the Sustain Time parameter and a
| | 00:53 | Velocity control here.
| | 00:56 | So let's take a look just at the basic
functions, the ADSR, and then we'll take
| | 01:00 | a look at the new features.
| | 01:02 | So attack is, remember, going to be the
amount of time for our sound to fade in
| | 01:06 | from silence to its maximum level.
| | 01:08 | So if I've got kind of a medium
attack here, the sound is going to fade in.
| | 01:11 | (music playing)
If I give an instantaneous attack--
| | 01:14 | (music playing)
--the sound plays right away.
| | 01:18 | Decaying is the amount of time, once
we've reached the maximum level, for it to
| | 01:21 | decay down to our sustain level, or to
decay down to silence if our sustain is at 0.
| | 01:27 | However, since right now our sustain
level is at full, decay is not going to do
| | 01:31 | anything because there's no room for
the signal to decay down to anything.
| | 01:35 | So what I'll do is I'll bring our
sustain down to 0. And so what's going to
| | 01:39 | happen is the sound will
now decay down to silence.
| | 01:41 | (music playing)
| | 01:43 | And you can see and hear that,
and I can make that shorter.
| | 01:45 | (music playing)
| | 01:47 | It's a really short decay.
| | 01:48 | (music playing)
| | 01:50 | Or a long decay, and then I can set
our sustain level, and this is the volume
| | 01:55 | that it's going to remain at
as long as I'm holding the note.
| | 01:57 | (music playing)
| | 01:59 | It's going to stay at this
volume as long as I hold this.
| | 02:03 | And then we have release, and that's
once you let go of the note, how long it
| | 02:06 | takes for it to fade out.
| | 02:08 | So I'm playing a note, holding it,
and then I let go, and it takes a little
| | 02:12 | while for it to fade down.
| | 02:14 | So we've seen all that before in most of the
other synthesizers and their AMP envelopes;
| | 02:19 | however, what's a little bit
different is this S-Time parameter.
| | 02:23 | When it's in its neutral center
position here, it doesn't affect anything.
| | 02:26 | The sustain function works as normal.
| | 02:29 | When I increase this, so I move this up,
the sustain portion will rise back up
| | 02:35 | to the initial level over
the amount of time set here.
| | 02:38 | So if I set this to 480 milliseconds
then after the decay portion, the signal
| | 02:43 | is going to fade back up to its
initial level over 480 milliseconds.
| | 02:48 | Let's listen to that.
(music playing)
| | 02:54 | So if I make the decay shorter then
that transition will happen quicker.
| | 02:57 | (music playing)
All right! So I can have a really short decay time.
| | 03:01 | (music playing)
| | 03:03 | And then the sound will just fade right back up.
| | 03:05 | So it's kind of interesting. You get
some interesting volume shapes with that.
| | 03:08 | I can also use this in the opposite
direction and have this fade down to silence.
| | 03:12 | So in some ways it's going to
act like a second level of decay.
| | 03:15 | So I've got my normal decay that's here,
some amount of time, and then I can
| | 03:21 | quickly have this decay down to silence or
just cut off instantly with this Fall parameter.
| | 03:26 | So it's going to go through the
decay stage and then it's just going to
| | 03:29 | fade out instantly.
| | 03:31 | (music playing)
| | 03:33 | So the sound just stops like that.
| | 03:35 | So it's pretty neat. We can get some
cool sounds and envelope shapes with this
| | 03:39 | Rise and Fall parameter.
| | 03:41 | One way we can make this AMP envelope
respond to velocity is with this Velocity
| | 03:45 | slider, because right now, it doesn't
matter what volume or what intensity I
| | 03:50 | play at, it's all the same level.
| | 03:52 | So when I increase this velocity control,
| | 03:54 | what that means is when I
play softly, it sounds softly,
| | 03:59 | and I play with force, and it plays louder.
| | 04:03 | So that's very cool.
| | 04:04 | So let's take a look at Envelope 2.
| | 04:07 | Envelope 2 notice has all the
same features as Envelope 3.
| | 04:11 | The only difference is this
isn't pre-wired to anything.
| | 04:14 | Typically, the second envelope that's
full featured like this would be assigned
| | 04:18 | to the filter cutoff in a lot of sense.
| | 04:20 | So let's do that here. Let's assign
Filter 2 Cutoff to be modulated by Envelope 2.
| | 04:27 | So our target is going to be Filter 2, so
let's set that here, and we'll choose Cutoff 2.
| | 04:35 | And then our source is Envelope
2, and that's already selected.
| | 04:39 | If it wasn't, I could find it in this list here.
| | 04:42 | And I only actually want to hear
Filter 2, so I'm going to adjust our Filter
| | 04:46 | Blend all the way to +1 so
we're only hearing Filter 2.
| | 04:51 | And then I'll up the modulation amount here,
so we can actually hear this in action.
| | 04:55 | (music playing)
| | 04:57 | So right now we're
actually not hearing anything.
| | 04:59 | And the reason is because we have our
cutoff on Filter 2 all the way open.
| | 05:04 | So it has nowhere to go from there;
it can't open up further than that.
| | 05:07 | So what I want to do to make this filter
envelope effective is to set our Cutoff
| | 05:12 | to the minimum level that I want,
because then what's going to happen is over
| | 05:15 | the attack portion, this filter will
open up and then it will decay back down
| | 05:20 | to whatever level that we
have set here initially.
| | 05:23 | (music playing)
There we go!
| | 05:26 | That sounds more like a
filter envelope, doesn't it?
| | 05:29 | So I can increase the intensity of that,
and maybe we'll give some resonance to
| | 05:33 | this filter to give it
a little more character.
| | 05:35 | (music playing)
Okay.
| | 05:39 | So same functions: attack,
decay, sustain, and release.
| | 05:41 | (music playing)
| | 05:43 | So I can have a short decay on this.
| | 05:45 | Let's see what we can do with that
rise time, because that's something that's
| | 05:48 | a little different.
| | 05:49 | So after the decay portion here
then we can have the filter open back up
| | 05:53 | over this rise time.
| | 05:54 | (music playing)
| | 05:57 | So, that's kind of cool, and
especially if this is a little shorter.
| | 05:59 | (music playing)
| | 06:02 | And I'll make our decay shorter too.
(music playing)
| | 06:06 | So you can get some interesting
articulations using this as a filter envelope
| | 06:10 | and playing around with this rise
time and fall, so pretty neat stuff.
| | 06:15 | Taking a look at Envelope 1, this is
kind of a simplified envelope, but it can
| | 06:19 | actually do a lot of things.
| | 06:21 | So since we've already got our Filter
modulation routing set up, let's replace
| | 06:25 | Envelope 2 with Envelope 1 here.
| | 06:27 | So now we have Envelope 1
modulating the filter cutoff.
| | 06:33 | So what we've got is attack and decay, or
if I press this D, it changes to release.
| | 06:39 | So let's deal with it as decay.
| | 06:41 | (music playing)
| | 06:43 | That's just a simplified two-stage
envelope, and I can adjust the attack.
| | 06:48 | And like we saw with the other envelopes, I
can adjust velocity range for the attack stage.
| | 06:53 | So if I play softly, it's a longer attack.
| | 06:56 | If I play it with more
force, it's a shorter attack.
| | 06:59 | So it's a pretty cool way
to make it more expressive.
| | 07:02 | The other neat thing about this envelope
is by default it's in polyphonic mode,
| | 07:06 | and that's typical of most filter
envelopes, and that means just I can play
| | 07:11 | a bunch of different notes and each one
is going to have its own filter envelope.
| | 07:15 | If I set this to Mono, it kind of
functions in a legato sort of way, where
| | 07:19 | only really the first note I'm
playing is going to trigger the filter
| | 07:22 | envelope and then the following ones
don't retrigger it, unless there's a
| | 07:25 | space and time between them.
(music playing)
| | 07:29 | Right! So you can hear that envelope only happen once.
(music playing)
| | 07:35 | So that's Mono mode for an envelope
and then this one also has a Retrig mode,
| | 07:39 | which is pretty cool too.
| | 07:40 | So this means that any note I'm playing,
it's going to retrigger the envelope.
| | 07:44 | So if I play a C here, and I hold it
down it goes through the envelope, but
| | 07:49 | I'm still holding it.
| | 07:50 | And I play a different note, it's
going to retrigger the envelope for the new
| | 07:53 | note and the original one that I'm holding down.
| | 07:55 | (music playing)
| | 08:01 | So it's kind of an interesting thing.
| | 08:03 | So now that we've taken a look at
these three envelopes and we understand how
| | 08:06 | they work and know how to apply them,
let's take a look at the specialized
| | 08:10 | vector envelope and see
what we can do with that.
| | Collapse this transcript |
| Create evolving sounds with basic vector modulation| 00:00 | One of my favorite aspects
of ES2 is the Vector envelope.
| | 00:04 | If we take a look at the modulation
router here, over to the right where it says
| | 00:08 | Router, you can see beneath it, it says Vector.
| | 00:10 | So if I click on that that
brings up the Vector envelope.
| | 00:14 | The Vector envelope flows from
left to right, so you can see right here
| | 00:18 | there are three
different nodes on this envelope.
| | 00:21 | So each one of these nodes can
represent a different position of this mix
| | 00:25 | triangle--so that represents the
balance between the oscillators--or I'll
| | 00:30 | position on this X, Y pad, or it can be both.
| | 00:33 | So let's check out how you can use this
Vector envelope to control the balance
| | 00:37 | of the oscillators using this mix triangle.
| | 00:39 | So the first thing I want to do is
actually turn on the Vector envelope.
| | 00:42 | Right now, it set to Off, but if I
look under Vector mode, I can adjust it to
| | 00:47 | control the mix triangle.
So I can set it to Mix.
| | 00:50 | The other two are for the X, Y pad, and
this is for both the Mix and the X, Y pad.
| | 00:54 | We'll set it to Mix.
| | 00:56 | So what I'm going to do is I'll select
the first node of the envelope and I have
| | 01:01 | this Solo point button on. What that means
is I'm only going to be hearing the mix
| | 01:06 | balance for this particular node of the envelope.
| | 01:09 | So in order for this actually to be
effective, what I would I like to do is
| | 01:13 | create a sound that has all three
oscillators engaged. So I'll turn on
| | 01:16 | Oscillator 2, and 3 and let's
kind of get a sound happening.
| | 01:20 | So if I go to Oscillator 1, I've got my
sawtooth waveform. That's all good.
| | 01:26 | Oscillator 2 will tune it down an
octave. And then between Oscillator 1 and 2,
| | 01:30 | let's get a little detuning, so I'll
do +4 cents on this one and -4 cents on
| | 01:38 | Oscillator 2, and then let's set oscillator 3.
| | 01:40 | So I'll move the balance to Oscillator 3
and I'll set this to one of the DigiWaves.
| | 01:45 | So I'll move this here. Let's do puls4
and I'll offset the tuning by fifth, so
| | 01:54 | +7 semitones, and I will do a little fine-tuning.
| | 01:58 | So here is our sound and we can
adjust the balance right here.
| | 02:01 | (music playing)
| | 02:06 | So now I'm going back to our Vector
envelope. What I want is for the first node
| | 02:10 | to be set all the way to Oscillator 1,
so we got 100%. And now when I click on
| | 02:16 | second node, I can set that mix
all the way to Oscillator 2, 100%. And
| | 02:23 | then for the third node let's set
that all the way to Oscillator 3.
| | 02:28 | You can set it anywhere in
between, but I just want this to be an
| | 02:31 | obvious transition.
| | 02:32 | So now when I turn off the Solo point
and I play a key on the keyboard, it's
| | 02:37 | going to progress through the
Vector envelope. So I'll play a note.
| | 02:40 | (music playing)
| | 02:42 | So you can hear the sound transition
from the first point to the second, and
| | 02:46 | then it just stayed at the second point,
and so it just sustained there, and the
| | 02:49 | reason for that is because it
has this sustain flag right here.
| | 02:52 | So I can move that elsewhere and
that is going to adjust where the
| | 02:55 | sustained point is.
| | 02:56 | So if I move it to the end of the
envelope, over to this third node, that means
| | 03:00 | it will sustain this third balance
here, so let's play that and listen.
| | 03:04 | (music playing)
| | 03:07 | So you can hear it transitions from the
first to second and then sustaining
| | 03:10 | at this third point.
| | 03:11 | Now if I want to add more nodes into
this envelope, what I can do is Ctrl+Click
| | 03:17 | in the Vector envelope and go to Insert
Point to the Right of Selected Point. So
| | 03:21 | you can see that I added another node,
and the shortcut for that is if I hold
| | 03:26 | down Shift and I just click,
it'll create another node.
| | 03:30 | So now I've got five different nodes,
and I can set the balance for nodes 4 and
| | 03:35 | 5, once again turn on the Solo point,
and that way we're only listening to the
| | 03:42 | stage of the envelope. So I'll play key
on the keyboard and adjust the balance.
| | 03:47 | We'll get it somewhere in the middle,
between all three, and let's set node 5.
| | 03:51 | (music playing)
| | 03:55 | There we go. And now if I want to
adjust where that sustained point is again,
| | 04:00 | I will just click the point that
I want it to be, so here we go. And than
| | 04:04 | it's going to transition through this
entire envelope when I play a note, but
| | 04:07 | first I have to turn off
Solo point, and here we go.
| | 04:11 | (music playing)
| | 04:14 | So notice the time between these
different stages can all be different.
| | 04:18 | So if I want them actually to all be
the same, I can Ctrl+Click and choose Set
| | 04:22 | Segments to Average Time. You can
see now they're all evenly spaced.
| | 04:27 | (music playing)
| | 04:29 | And I can also just drag on each one to
adjust the time between. So if I wanted
| | 04:32 | to custom amounts of time between
each one, I can do that right here. And
| | 04:38 | sometimes when you have longer amounts
of time, you get a smoother transition,
| | 04:41 | so let's check that out.
(music playing)
| | 04:48 | So maybe that's all a bit too long,
so if I want to scale this all to be
| | 04:51 | shorter, I can use the
Time Scaling feature here.
| | 04:55 | So let's make this about half the
length, so I'll bring this down to 50-ish percent
| | 05:00 | and now when I play--
| | 05:00 | (music playing)
| | 05:04 | --you can hear it transitions through
twice as fast. And I can make that even
| | 05:06 | shorter, so like 25%.
(music playing)
| | 05:12 | And notice that it didn't actually
change the numbers here, in terms of the
| | 05:15 | timing, so if I wanted to reflect
those changes, I just can hit this fixed
| | 05:18 | timing, and so now we see that
amount of milliseconds that we're hearing.
| | 05:22 | (music playing)
| | 05:25 | So that's the basic use of the
Vector envelope, to control the balance
| | 05:29 | between the oscillators.
| | 05:30 | In the next video let's take a look
at some of the advanced features of the
| | 05:33 | looping of the Vector envelope,
and using it with the X, Y pad.
| | Collapse this transcript |
| Looping with the vector envelope| 00:00 | Let's take a look at the looping
features in the Vector envelope of ES2.
| | 00:05 | So I'm going to load in a sound here.
So up at the top, I am going to go to Load
| | 00:09 | Setting. Then on the Desktop, in the
Exercise Files folder, under ES2, we have got
| | 00:18 | this Preset folder, and here I'm
going to select this 07_10_vector preset.
| | 00:22 | So this sound, I've got all three
oscillators active, and if I just play with
| | 00:29 | the mixed triangle so you can hear--
| | 00:30 | (music playing)
| | 00:31 | --each oscillator is tuned a bit
differently, and that way we can really hear the
| | 00:35 | contrast between them.
| | 00:36 | So the Vector envelope, I am going to
go ahead and click to that, and the first
| | 00:42 | thing I want to do is actually turn on
the Vector mode, so I'm going to set it
| | 00:46 | to Mix+XY, because I want to be able to
control this mix triangle, as well as XY
| | 00:53 | pad with the Vector envelope.
| | 00:55 | So first thing I am going to do is add
some more points to the envelope. So I
| | 00:58 | can Shift+Click and add in points or
if I Ctrl+Click, what I can do is select
| | 01:05 | this Initialized 8/8 Loop. So what
that's going to do is create eight different
| | 01:10 | nodes and then automatically puts it
in the loop mode of Forward, whereas
| | 01:15 | before it was just set to Off.
| | 01:18 | So what I'm going to do is setup a
sound for each of these eight nodes. So
| | 01:21 | I'm going to Solo point. Then I'm
going to adjust the settings for the mix
| | 01:26 | triangle on the XY pad.
| | 01:28 | First I'm actually going to want
to set my targets for the XY pad.
| | 01:32 | So for X, I'm going to set that to
Oscillator1Wave, what that's going to
| | 01:37 | control is the amount of is the amount of FM
modulation between Oscillator 2 and Oscillator 1.
| | 01:45 | For the Y target, I'm going to set the
filter Cutoff 1. So filter 1 set to a
| | 01:52 | bandpass, it's going to adjust the
filter cutoff for that. So then I'll give
| | 01:57 | both these some intensity as well.
So I'll set this to around 0.5 or so, and
| | 02:04 | same with the Cutoff; I'll set it to
a little over 0.5. And so what this is
| | 02:11 | going to sound like is if I'm playing
a note and I move this horizontally, so
| | 02:15 | across the x axis, you will hear the
FM amount changes between Oscillators 1
| | 02:21 | and 2, and if I move vertically, you can hear
the bandpass filter of the cutoff being adjusted.
| | 02:26 | (music playing)
| | 02:28 | And then if I move this is in diagonally,
we're getting an interaction between
| | 02:33 | both of those, so it's pretty cool!
| | 02:35 | Let's set 0.1. First we'll adjust the Mix triangle,
(music playing)
| | 02:41 | and then the X Y.
(music playing)
| | 02:46 | Okay, and then I'll do the second node,
so we'll adjust the Mix triangle first.
| | 02:52 | And I'm going to try to find
some of these sounds different, so I can
| | 02:54 | really hear the contrast between each point.
(music playing)
| | 02:57 | So I'll go all the way to Oscillator 3
and we'll adjust the XY, get something
| | 03:02 | kind of bright happening here.
| | 03:04 | (music playing)
| | 03:06 | And then for the third point, set the
balance of the mix triangle to Oscillator 2.
| | 03:10 | (music playing)
| | 03:13 | Something kind of resonate-
sounding, and then do the fourth point.
| | 03:18 | (music playing)
| | 03:24 | And then the fifth point here.
| | 03:25 | (music playing)
| | 03:32 | And then we'll just do
one more point, a sixth point.
| | 03:33 | (music playing)
| | 03:40 | So if I want my loop to end here, what
I'm going to is move the sustain flag for
| | 03:46 | the sixth point, so now what's going
to happen is our loop is going to be
| | 03:49 | between this first L flag and the S flag.
| | 03:54 | I'll turn off Solo point, and then we can
hear our loop play through the first six nodes.
| | 03:58 | (music playing)
| | 04:03 | So right now, I can hear it
stepping through each one, and we have a
| | 04:06 | couple different parameters that we can
adjust to adjust how the loop is going to play back.
| | 04:10 | The first thing we've got is this
envelope mode and I'm going to come back to
| | 04:14 | that. There are two different modes, but these
have to do with the release stage of the envelope.
| | 04:19 | The curve is how it's going to
get from one node to the next.
| | 04:24 | Right now it's on hold and step,
and you can hear that it just kind of
| | 04:27 | jumps between settings.
(music playing)
| | 04:31 | So I can adjust this here and I've got
all these different modes. There is
| | 04:34 | concave. There's a linear one here, so
it's going to be a linear transition.
| | 04:39 | (music playing)
| | 04:42 | It's much smoother, right, and
then there are some convex ones.
| | 04:45 | (music playing)
| | 04:48 | And then like I said before, a concave.
| | 04:51 | So it's definitely worth exploring
all of those. There is a whole bunch.
| | 04:54 | Right now, I'm going to set this
just to linear, and I have got a couple
| | 04:57 | different loop modes as well.
| | 04:59 | So right now, we're in Forward loop mode.
I can also have this loop backwards
| | 05:04 | so that the loop is going to start at the 6th
point and go back to the first and so on.
| | 05:09 | (music playing)
| | 05:13 | Or I can have it loop forward and
then backwards; that's the alternate.
| | 05:15 | (music playing)
| | 05:20 | So all those different loop modes.
And then you can also adjust the number of
| | 05:24 | times it is going to play through the
loops. So right now, it's infinite, so
| | 05:27 | as long as hold the knob, it's going to loop
through that section of the Vector envelope.
| | 05:31 | If I only want it to loop through it two
times, I can set this Loop Count to 2.
| | 05:36 | So it will play through it two times,
and then it will sustain where I have my sustain
| | 05:41 | flag, at the sixth node.
| | 05:42 | (music playing)
| | 05:48 | Right, so now it's sustaining.
| | 05:49 | I also have a Loop Smooth here, and
what that's going to do is adjust the
| | 05:54 | transition between the end of the loop--
so this 6 point--and the beginning. I'm
| | 05:59 | going to set our Loop Count back to
infinite, and then I'm going to turn off
| | 06:04 | Loop Smooth and you can hear that
the transition between the end and the
| | 06:07 | beginning of the loop is
a little bit more abrupt.
| | 06:10 | (music playing)
| | 06:13 | Now you can really hear that loop is
more obvious. If I turn up loop smoothing,
| | 06:18 | it just makes that a bit
of a smoother transition.
| | 06:20 | (music playing)
| | 06:26 | Okay, next to that, we can adjust the
Loop Rate, so this is how fast it's going
| | 06:30 | to read through the loop.
| | 06:31 | Right now it's set to 1 measure, but
I can adjust that here and make that
| | 06:36 | faster, so I can have this all
happen over the course of a quarter note.
| | 06:39 | (music playing)
Or even faster.
| | 06:43 | 16th. Or if you want a long evolving transition,
you can set this all the way to 32 measures.
| | 06:50 | If I move this to the right here, it's not
going to be synchronized to the beat anymore;
| | 06:55 | it's in cycles per second.
| | 06:57 | So I could set that to two cycles per second.
| | 06:59 | (music playing)
| | 07:02 | And that's how fast this is going to loop
through. So you can set this back to 1 bar here.
| | 07:07 | Then let's take a look at that Envelope mode.
| | 07:10 | In order to really hear what's happening
with this, I have to adjust the release
| | 07:13 | time of the amp envelope, so I'm
going to give this a bit of release.
| | 07:16 | So now when I play and I let go,
you can hear the sound releases.
| | 07:23 | In normal mode, what's happening is when
I'm sustaining, it's going through the
| | 07:27 | Vector envelope through the loop.
| | 07:29 | As soon as I let go, basically what
happens is it's going to release from
| | 07:34 | the sixth node onward, and then it's just
going to fade out. So I'll demonstrate that.
| | 07:41 | So it's playing through the loop,
and then I let go. You can hear I just
| | 07:45 | releases from the 6the point onward.
| | 07:48 | If I adjust this to Finish mode, when
I let go of the note, so I'm playing it
| | 07:54 | now and sustaining, when I release it,
it continues to cycle through the loop
| | 07:59 | portion as it fades out, so that's
the difference between those two.
| | 08:04 | We explored how to create and edit a
loop with a Vector envelope, and that really
| | 08:08 | opens up a lot of possibilities in terms
of adding movement and complexity to the sound.
| | 08:12 | In the next video let's explore the
global and voicing settings in the ES2.
| | Collapse this transcript |
| Voice parameters and global settings| 00:00 | So let's take a look at the
global and voice settings in ES2.
| | 00:04 | So up top we have a couple of different
voicing modes: there's Polyphonic, Mono, and Legato.
| | 00:10 | So Polyphonic, that's just means that
you can play more than one note at a time.
| | 00:13 | And you choose the amount of voices, or
the maximum number of polyphony, here,
| | 00:18 | and it can go up to 32.
| | 00:19 | Second, we have Mono mode, and this is
where we can only play one note at a time.
| | 00:24 | So it doesn't matter what you have
your voices set to, in Mono mode, it's
| | 00:27 | only going to be monophonic.
| | 00:29 | One of the benefits or side effects of
Mono is that you can play these peddling
| | 00:34 | kind of synth riffs. So if
I play a lower octave A
| | 00:38 | and then I play a higher octave,
and I let go of the higher octave, it
| | 00:42 | retriggers the lower one. So I
can do these kind of peddling--
| | 00:45 | (music playing)
| | 00:47 | --synth riffs and things like that.
| | 00:49 | Then in Legato mode, what we have is
the envelopes won't be retriggered when
| | 00:54 | they have notes that are played
right next to each other in time.
| | 00:58 | So the easiest way to hear this is
if I increase the attack on our AMP
| | 01:01 | envelope, so you notice that the first
note that I play is going to fade in, and
| | 01:06 | then the following ones, it's not
going to retrigger the envelope, so the
| | 01:10 | attack would be immediate.
| | 01:11 | So let's check that out.
(music playing)
| | 01:13 | So that fades in and these legato
notes that follow, they don't, because the
| | 01:18 | envelope isn't retriggering.
| | 01:20 | So, one of the really cool features in
ES2 that we have seen in some of these
| | 01:24 | other synths is Unison mode.
| | 01:25 | So what Unison is going to do,
especially when we are in Mono mode, is it is
| | 01:29 | going to stack 10 copies, or whatever
voice number we have set here, on top of the
| | 01:34 | note we are playing.
| | 01:35 | So the first thing it is going to do is
make the sound much louder. So if I play,
| | 01:38 | it's going to be pretty loud. I will make
sure to set our attack back down to 0 here, okay.
| | 01:44 | And then the thing that you can do
with this, in addition to just making it
| | 01:48 | louder, is I can detune the Unison
voices with this analog parameter that's
| | 01:53 | over by the oscillators.
| | 01:55 | What it's going to do is those 10
copies of that note I am playing will be
| | 01:59 | detuned against the original.
| | 02:01 | So let's hear that.
(music playing)
| | 02:03 | So it ends up being a pretty thick loud
sound, and I can increase the amount of
| | 02:07 | analog and it's going to increase the detuning.
| | 02:09 | (music playing)
| | 02:11 | So that sound is just coming from one
oscillator and then all these unison
| | 02:15 | voices, but it sounds kind of
like what you would hear in a lot of
| | 02:17 | electronic music, because a lot of
electronic sounds are based on just
| | 02:21 | detuned saw waveforms.
| | 02:23 | The Unison mode also works in poly mode,
| | 02:26 | but it works a little differently.
| | 02:27 | So instead of it having five voices for
every note I am playing, it's just going
| | 02:31 | to double up each voice.
| | 02:33 | So there are just two voices
per note, but I can play chords.
| | 02:36 | And then I can set the maximum number
voices here. So I can set it up to 16
| | 02:40 | voices, and then I can
play chords on the keyboard.
| | 02:43 | (music playing)
| | 02:46 | And you can hear that with the
analog parameter I get the detuning of
| | 02:49 | the voices as well.
| | 02:50 | So in addition to the different modes
and this Unison mode that we've got here,
| | 02:54 | there's also this Oscillator Start.
| | 02:57 | If you think about the oscillators,
they are always cycling so that the phase
| | 03:01 | in the oscillator is just continuous,
even when you're not playing the keyboard.
| | 03:05 | It's just not being sent to the amplifier.
| | 03:07 | So what happens is sometimes when you
have more than one oscillator on, so if
| | 03:10 | we have got all three of these on and
especially if it's got unison voices,
| | 03:16 | what happens is that
(music playing)
| | 03:19 | sometimes it will be more or less
punchy. So let's just increase the analog
| | 03:22 | amount, and I will turn on Unison.
| | 03:24 | (music playing)
| | 03:27 | Because we are hitting this three
oscillators at different cycles or different
| | 03:31 | parts of the phase of their oscillations.
So with this Oscillator Start, I can
| | 03:35 | have it so that every time I hit a key
on the keyboard, it restarts the phase of
| | 03:39 | the oscillators, and so I can have it
be soft, where it's going to restart the
| | 03:43 | oscillators at a zero crossing. And you
can hear that's still much more punchy
| | 03:47 | than when this was set to free.
| | 03:48 | (music playing)
| | 03:50 | And then I've got a hard where
it's going to restart the phase of the
| | 03:54 | oscillators but offset from the zero crossing.
| | 03:56 | So it actually purposefully it makes
a click or a more of a punchy attack.
| | 04:00 | (music playing)
So that's hard.
| | 04:02 | So if you're making a percussive sound
or some kind of percussive bass sound or
| | 04:06 | something like that, setting this
Oscillator Start to either soft or hard is a
| | 04:11 | really good way to keep the sound focused.
| | 04:13 | So then the other feature that's
pretty cool here is this Filter Reset.
| | 04:17 | So what this means is when we self-
oscillate the filter, it's going to trigger
| | 04:21 | the filter to ring out.
| | 04:22 | So let me sort of describe what that means.
| | 04:24 | So first I am going to turn off all
three oscillators, and I am going to set the
| | 04:27 | Filter Blend all the way to
just filter 2. And you know what?
| | 04:31 | I am going to turn off our Unison,
because we don't want that here.
| | 04:33 | So if I crank up the resonance here,
and even though I have no oscillators, I
| | 04:39 | can play a note through the filter.
| | 04:42 | So if I Filter Reset off, then it's
not necessarily always going to trigger,
| | 04:45 | because there is no signal coming
through to trigger the filter's resonance.
| | 04:49 | So Filter Reset will just trigger the
resonating, so when I play a key, and then I
| | 04:54 | just adjust the cutoff,
(music playing)
| | 04:56 | and it's kind of like a sine wave
oscillator, so my Cutoff is adjusting the pitch.
| | 05:00 | So this is a self-oscillation. So the
resonance is so high on this filter that
| | 05:05 | it's just ringing out.
(music playing)
| | 05:09 | So it's a pretty neat parameter, and it also
sounds good when I add in this filter FM.
| | 05:13 | (music playing)
| | 05:15 | Right, you can get a wide range of sounds.
But it's not going to track pitch on the keyboard.
| | 05:19 | So one thing you could do is assign
keyboard tracking in your modulation router
| | 05:23 | to this filter 2 cutoff, and
that way you could play the pitches.
| | 05:28 | Some nice people will create kick
drums this way. That's a traditional use for
| | 05:32 | self-oscillation. You put an
envelope on this filter cutoff.
| | 05:36 | So that's all worth exploring
and definitely worth checking out.
| | 05:39 | One of the other really neat features
in ES2 is the Randomization parameters.
| | 05:44 | So you can see here there is this R&D button.
| | 05:46 | We have got this slider.
| | 05:47 | This is the Randomization amount.
| | 05:49 | So I can set it anywhere from 1% to 100.
| | 05:52 | And then I can choose,
what do I want to randomize?
| | 05:55 | So right now, it's set to All.
| | 05:56 | So that literally will randomize everything.
| | 05:59 | So I have 100% randomization.
If I hit the button, notice that
| | 06:03 | everything changed.
| | 06:04 | So it's like my whole modulation, everything.
| | 06:07 | Now what it won't do is turn on and
off the oscillators, because I still have
| | 06:11 | them off from before, so
I will turn them back on.
| | 06:13 | But this is a good way, if you want you
to just generate an entirely new sound,
| | 06:19 | I can just hit random and see
that everything keeps changing.
| | 06:23 | But that might be a little bit much,
so sometimes what you might have is a
| | 06:25 | setting that you like, so I've got my
StartPatch here, and I might want to
| | 06:30 | randomize just certain aspects of it.
| | 06:33 | So I could just randomize the filters
or the waveforms, and I could randomize it
| | 06:39 | by a certain percentage.
| | 06:40 | So it's a way to make variations on patches
instead of just generating entire randomness.
| | 06:45 | But if you want, too, you could just set
it's All and hope for the best, set a
| | 06:50 | high amount, and sometimes it comes up
with crazy sounds that you would never
| | 06:54 | think to do, because you can take
a look at this modulation router
| | 06:57 | and it's just all kinds
of crazy stuff happening.
| | 06:59 | So that's a fun way to either get new sounds
or to evolve the patches that you already have.
| | 07:05 | So now that we got a sense of these
voicing parameters and some of the global
| | 07:08 | features in ES2, let's take a look at
how we can assign MIDI controls and use
| | 07:12 | the Macro controls to further shape the sound.
| | Collapse this transcript |
| Making changes to your macro and MIDI controls| 00:00 | So let's take a look at the
Macro controls we have in ES2.
| | 00:03 | That's down at the bottom here.
| | 00:04 | You can see there's a number of controls.
| | 00:06 | And what these are is basically offsets.
So when they are all in their center
| | 00:10 | position, they are not affecting
whatever sound we have created up here.
| | 00:14 | But if I want to add more detuning to
the oscillators, I can move this to right,
| | 00:18 | and if want less detuning,
I can move it to the left.
| | 00:20 | So let's pull up one of the factory presets
and then we can see sort of how it works.
| | 00:25 | So in the menu here, under Synth Leads,
the first preset is Big Trance Now, and
| | 00:29 | this is just part of the Logic Factory Library.
| | 00:31 | So let's just listen to this
sound. So we have got our big, trancy,
| | 00:35 | detuned sawwave sound.
| | 00:38 | If I want to add more detuning to
this, I will use the Detuning Macro.
| | 00:41 | (music playing)
All right, so now I have got a lot of detuning.
| | 00:45 | So maybe that's too much. So now if I
want to set this back to it's original, I
| | 00:50 | can just Option+Click and now we have
the settings that we had in the preset.
| | 00:54 | If we want less detuning in this preset, I can
scale it back by moving the dial to the left.
| | 01:01 | So in the center, it's going to be untouched.
| | 01:04 | I can do the same with the waveforms too.
(music playing)
| | 01:10 | Same with both filter cutoffs, so take a
look at the filters 1 and 2. They are cut off.
| | 01:16 | So now this Macro control
controls the cutoff on both of them.
| | 01:19 | Same with Resonance. The Modulation
amount, so if you look at our modulation
| | 01:24 | router, you can see the intensity is
moving. Also with our envelopes, so I
| | 01:27 | can adjust the attack of all three of
them, the Decay, Sustain, Release, and
| | 01:33 | also the overall Volume.
| | 01:36 | And then of course when I want to
reset everything back, I can just
| | 01:38 | Option+Click on each of these and it
will move them back to the settings that
| | 01:43 | were in this presets.
| | 01:45 | So let's take a look the MIDI controls as well.
| | 01:47 | So we have got this MIDI tab right here,
and so I have got controls A through
| | 01:51 | F, which I can assign, and these can be
modulation sourced--that's the purpose of these.
| | 01:55 | So I can use them in the Modulation
router or in the XY pad, I can assign them.
| | 02:00 | So if I want this to work with my MIDI
controller, I either have to know what CC
| | 02:05 | numbers the knobs and sliders on my
controller are, but who knows that, really?
| | 02:10 | So what I can do is learn it.
| | 02:11 | So if I click on this menu here, there
is Learn, and so I click on that and then
| | 02:16 | I just move a knob on my keyboard, so I
have got this knob here, and I am moving
| | 02:21 | it, and then you can see, it picked
up that that's continuous controller 95.
| | 02:26 | So now that's what Ctrl+A is assigned to.
| | 02:29 | So if I want to use this in this preset,
for example, so let's say I want my
| | 02:33 | Controller A to modulate the filter
cutoff, so what I will do is in our router, I
| | 02:38 | will choose Controller A. And I have got
this assign to modulate Cutoff 2 and I
| | 02:45 | will give it some room, so I am going
to bring down this cutoff here. And now I
| | 02:48 | will play this sound, and I can
adjust the knob on my MIDI controller.
| | 02:50 | (music playing)
| | 02:55 | I am turning the knob right now,
and it's adjusting the cutoff.
| | 02:58 | And notice you don't see the cutoff
knob moving. That's because anything that's
| | 03:02 | routed through the modulation router,
you usually hear the result, but you
| | 03:05 | don't necessarily see it animated. That's
just the sort of the way it's wired and works.
| | 03:08 | So you can assign all of these
different controls and use them in your
| | 03:13 | modulation router and it's a way to
have tactile control over different
| | 03:16 | parameters of the synth,
| | 03:17 | so it's definitely really useful.
| | 03:19 | Now that we have taken a look at Macro
controls and assigning MIDI controls and
| | 03:23 | we have kind of got the big picture of
ES2 how it works, let's hear ES2 in a
| | 03:27 | musical example.
| | Collapse this transcript |
| Composing with the ES2| 00:00 | So I've got a musical example here that
has a couple of instances of ES2, so you
| | 00:04 | can get a sense of how it
actually works in context.
| | 00:07 | So I have got the drum tracks up top--
those are just audio files--and everything
| | 00:11 | else is generated by ES2.
| | 00:12 | So let's listen to it and then I
will talk you through the sounds.
| | 00:15 | (music playing)
| | 00:59 | Cool! So let me show you the first sound here.
| | 01:01 | We've got this one that's called Subby ES2.
| | 01:04 | So I will open up the instrument for
that, and kind of move it out of the way so
| | 01:08 | you can see the MIDI. So here we go!
| | 01:11 | So this is this low, deep pulsing sound.
| | 01:16 | So it sounds really cool, but it's
actually a very, very, very simple patch.
| | 01:20 | Let me show you what's going on with it.
| | 01:22 | So if I just play a note on the
keyboard, you can hear it has this pulse.
| | 01:26 | My oscillators are just set to two
different sine waves, and then I have got the
| | 01:30 | blend between them split basically 50-50.
| | 01:33 | So what's creating the movement in the
sound is actually the detuning between
| | 01:37 | Oscillators 1 and 2.
| | 01:38 | Notice that Oscillator 1 is -6
cents and then Oscillator 2 is +7.
| | 01:44 | What happens is, normally when you
have detuning, you get the beating between
| | 01:48 | the notes, like if their oscillators are
tuned to the same pitch, but sometimes
| | 01:52 | they are at different speeds.
| | 01:53 | So the great thing is this constant-beat
detuning that you have in ES2 makes the
| | 01:57 | detuning consistent.
| | 01:59 | So, if I were to get rid of this
detuning, Option+Click here and Option+Click
| | 02:03 | here, and I play this, it's just a
sine wave. No movement. Nothing.
| | 02:08 | I do have it in Unison mode, so there are
four stacked voices on top of each other.
| | 02:12 | So it's the loud thick sine wave, but
nothing going on. And so then when I adjust
| | 02:18 | this here to -6 and +7, then I end up
getting that movement in the sound.
| | 02:26 | So yeah, that's that one. And next, we
have this kind of growly sound that I called VectorScape.
| | 02:32 | (music playing)
| | 02:37 | So a lot of this sound is
actually in the effects that I have,
| | 02:40 | so let's bypass those for a moment.
| | 02:42 | So I have got this Auto Filter, and
that's a big part of the sound. And we'll
| | 02:46 | bypass the EQ. The Direction Mixer,
that's just focusing the stereo image to
| | 02:50 | closer to the center,
| | 02:51 | so we don't need to worry about bypassing that.
| | 02:53 | I will bypass this bus that I am
sending to an EQ and some reverbs.
| | 02:56 | So now let's listen to the sound.
(music playing)
| | 03:01 | So, a little bit more spastic,
but it's still pretty interesting.
| | 03:06 | So let's see what's going on with that.
| | 03:08 | So not much with the oscillators, right?
It's just set to a sine wave.
| | 03:11 | If we look at the vector envelope,
look at all these different points here.
| | 03:14 | So a lot of different points, and for
each one, you can see that the X axis on
| | 03:20 | our planar control has
different settings for each one.
| | 03:24 | But notice that the X
Target isn't set to anything.
| | 03:27 | So that seems weird, right?
| | 03:28 | So if I go to the Router, you'll notice that
I have a number of things assigned to Pad-X.
| | 03:32 | So I have got the wave shape of
Oscillator 1, so it's going to go through these
| | 03:36 | DigiWaves, so we'll change that.
| | 03:38 | Pad-X will also modulate the cutoff of
Filter 2. And then it's also going to
| | 03:43 | adjust the filter blend, so the
balance between Filter 1 and 2.
| | 03:47 | So that's kind of the cool thing about
using the modulation router to assign the
| | 03:50 | planar controls is that
you can assign more than one.
| | 03:53 | So in the vector, you've just got one slot,
but here, I could assign ten things to Pad-X.
| | 03:57 | So most of this sound is just this
vector envelope, and notice that it only goes
| | 04:04 | through the loop once.
| | 04:06 | The loop length is half of a measure,
and then it just sustains at the sustain
| | 04:12 | point, which is this one here, and
that's mainly what's driving the sound.
| | 04:16 | So then let's take a look
at the channel effects here.
| | 04:18 | So we've got this Auto filter,
and this really affects the sound.
| | 04:21 | (music playing)
So you can hear it's this filter is sweeping.
| | 04:26 | So this is built into Logic.
| | 04:27 | This is basically just a filter module
and an LFO, and it also has an envelope as
| | 04:32 | well, but I am just using the LFO part.
| | 04:34 | So I have it set to a low-pass filter,
and the LFO rate is set to 1 measure, and
| | 04:39 | the Waveform for that LFO is a ramp-down.
| | 04:42 | So over the course of the measure,
this low-pass filter is sweeping down
| | 04:47 | and it's cutting out the high frequencies,
all the way down to basically just silence. So
| | 04:51 | you can hear now it's all the way filtered
down. It continues the cycle again and again,
| | 04:57 | but I just kind of liked the initial,
like, weird growl that it has, and part of
| | 05:02 | that too is because I am
overdriving this filter.
| | 05:04 | I have got the distortion here and so
that makes quite a bit of difference as well.
| | 05:08 | So let's hear it without that again,
And then here it is with the auto filter.
| | 05:14 | And then to give it a sense of space,
I have it sending to a bus here, so Bus
| | 05:19 | 3 has an EQ. That's to cut out the low
frequencies because I am going to have it go into reverb.
| | 05:25 | So typically, with reverb you don't
want a bunch of low frequencies going
| | 05:28 | through it, because it can make it really muddy.
| | 05:30 | So the first reverb is the space
designer and it's set to an AMP cabinet, so
| | 05:35 | it's a really short impulse response of
a speaker cabinet, and that's to make it
| | 05:38 | sound like it's more happening in a
room or coming through like a speaker. And
| | 05:43 | then that's feeding into a long reverb,
almost 2 seconds. This is plane hanger.
| | 05:49 | I kind of have that happening at a low
level. So if you listen to this, it's
| | 05:54 | not swimming in reverb, but it helps push it
back a little bit and fit in with everything else.
| | 05:58 | So next, what we have is this
one that's called Vector Pluck.
| | 06:03 | Let's take a look at this.
| | 06:07 | This is kind of the trancey pluck
sound. This is also quite simple.
| | 06:11 | It's basically two sawtooth waveforms,
and a lot of what's changing here is the
| | 06:16 | vector envelope, and so I have the
vector envelope set to adjust the pitch of
| | 06:24 | the X of this XY pad here.
| | 06:26 | So I will just stop the sound for a moment.
And so then I can actually play the sound here.
| | 06:34 | And also part of this, I have reverb
on this channel, so let me turn off the
| | 06:37 | reverb, so I can hold down
Option and just bypass it.
| | 06:39 | (music playing)
| | 06:43 | So it's the sawtooth waveforms and it's
this vector detuning Oscillator 1, and
| | 06:48 | then I have Envelope 2
acting as a filter envelope.
| | 06:51 | So it's modulating the cutoff of
Filter 2, and that's scaled by velocity.
| | 06:56 | So what that means is that this velocity is
controlling the intensity of the modulation.
| | 07:00 | So if I play softly, I get a smaller
amount of filter cutoff; if I play with
| | 07:05 | more force, I get more filter modulation.
| | 07:08 | And other than that, LFO1 is modulating
the pitch of oscillators 1, 2, and 3. and
| | 07:14 | that's scaled by the Mod wheel--but
that's not really doing much, because I
| | 07:16 | don't have my Mod wheel open.
| | 07:19 | That's pretty much it for the sound.
| | 07:21 | So sometimes the simple sounds actually
really work well, because it just fits in well.
| | 07:25 | But part of what gives the
energy to the sound is you hear
| | 07:28 | it kind of changes over time. There's
some automation here on the filter cutoff.
| | 07:34 | So if I open up the interface and you
can take a look at Filter 2 here, you
| | 07:39 | can see it's moving.
| | 07:40 | So what I am doing here is filtering
it down when there's more stuff going on
| | 07:45 | that's competing with it, and then to
increase the energy, I am opening up that
| | 07:49 | low-pass filter, and it gives it
this more euphoric and more energy.
| | 07:54 | Sometimes simple things like that
and filter automation can really bring
| | 07:57 | something to life, because if I just
had this as a static track, this Vector
| | 08:00 | Pluck, it would get kind of boring.
| | 08:02 | So it's the filter movement and then
that's all going into the reverb as well,
| | 08:07 | and that just sort of brings it all to life.
| | 08:09 | So the last track that I have got here is this
Floating Pad, so let's check out what this is.
| | 08:14 | (music playing)
This is nice, kind of a lush sound.
| | 08:21 | If we look at the vector envelope, we can see
that it's assigned to both Mix and the XY pad.
| | 08:27 | The X is adjusting the cutoff of
Filter 2, and Y is affecting the pan.
| | 08:33 | So you can hear this sound has a
lot of movement; it pans around a bit.
| | 08:36 | I also have a really long
reverb on the front of it.
| | 08:40 | So on the channel here,
it's this 12-second reverb.
| | 08:42 | So if we take that off, it's
going to be a little bit less lush.
| | 08:47 | So it's definitely more dry and
kind of in your face, but still the
| | 08:51 | same characteristic.
| | 08:52 | I mean you can hear it has a lot
of panning movement in it as well.
| | 08:55 | So if we take a look at each of these
vector points, take a look at the Mix
| | 08:59 | triangle and the XY pad, so for
each one, both of them are different.
| | 09:04 | So it has some pretty drastic changes
happening there. And then if we look at our
| | 09:09 | router, not really much else happening.
| | 09:11 | LFO1 is slightly modulating the
pitch of all three oscillators.
| | 09:14 | You can see that just a touch of
modulation that's happening there.
| | 09:18 | So it really is this space design
reverb here just pushes this into the
| | 09:24 | background, because basically the more
reverb and wetness that you have in a
| | 09:27 | sound, the more it's going to
get pushed further back in the mix.
| | 09:31 | And usually in a good mix, or in an
interesting song, you're going to have things
| | 09:35 | that are really upfront and
stuff that's further back.
| | 09:37 | So let's check this all out again, and
hopefully that gives you sense of the
| | 09:40 | range of what ES2 can do.
| | 09:42 | (music playing)
| | Collapse this transcript |
|
|
8. EXS24 SamplerGetting Started with EXS24| 00:00 | So here we have one of my
favorite instruments in Logic.
| | 00:03 | This is the EXS24 sampler.
| | 00:05 | So a software sampler is a little bit
different than a software synthesizer.
| | 00:08 | A synthesizer generates its
tones through oscillators.
| | 00:11 | That's creating the basis of the sound.
| | 00:13 | The sampler, on other hand,
is based on audio recordings.
| | 00:16 | Usually those audio
recordings are referred to as samples.
| | 00:20 | I'm going to have many samples that are
tuned and grouped and mapped across the
| | 00:24 | keyboard into a collection
known as a sampler instrument.
| | 00:26 | So the EXS24 can load and play back and edit
and you can create sampler instruments.
| | 00:33 | The amazing thing about a sampler is
because it is based on actual audio
| | 00:36 | recordings, it's great at recreating
realistic instruments like pianos, violins,
| | 00:41 | and saxophone. Literally anything
you can imagine that you can record
| | 00:45 | you can make a sampler instrument out of.
| | 00:48 | So let's take a look at the interface.
| | 00:49 | So right here what we have is the
Parameter window. That's actually this
| | 00:52 | whole entire window here.
| | 00:54 | The other main window that's not
totally apparent at first is this Edit
| | 00:59 | window. So this is known as the
Instrument Editor, and here's where you do all
| | 01:03 | the sample mapping.
| | 01:04 | So what you have is a whole bunch of zones.
| | 01:07 | That's these down here.
| | 01:09 | You can think of zones as containers,
and in each container you're going to
| | 01:12 | load an audio file.
| | 01:13 | So there's a bunch of zones and those
zones can be grouped together into groups,
| | 01:18 | and then you can effect change on those groups.
| | 01:21 | Also, you have velocity parameters
here, so you can layer multiple zones in
| | 01:27 | different velocity ranges, and so you
can have depending how hard you're playing
| | 01:31 | a note on the keyboard,
trigger different samples.
| | 01:34 | So lots of neat stuff, and we'll
cover it all in really great detail.
| | 01:37 | So going back to our Parameter window
for a moment, this is kind of similar to
| | 01:42 | most of the synthesizers we've looked at.
| | 01:44 | So you can see here is the filter.
| | 01:46 | We've got the amplifier.
| | 01:47 | Here's a modulation router, and
then down here there's three LFOs and two envelopes.
| | 01:53 | So the only thing is
missing is an oscillator section.
| | 01:56 | That's basically this area here.
| | 01:58 | This is where we load in
the sample instruments.
| | 02:00 | And if I click here, I can load in a
sampler instrument, and remember that's
| | 02:04 | going to have all the audio files and
samples that are mapped out across the
| | 02:09 | keyboard, so that's what's going to be
generating the sound, and then we shape
| | 02:12 | it with the filter here, and it's a
multimode filter, band pass, low pass and high pass.
| | 02:17 | And then we have a couple
of global parameters up here.
| | 02:19 | We have the voicing settings that we
see in synthesizers: Legato, Mono, and
| | 02:24 | Poly, and of course Unison mode. And we
have some pitch parameters that have to
| | 02:28 | do with Transpose and some other
global parameters over here that have to do
| | 02:32 | with velocity offsets and cross-
fading between velocity layers.
| | 02:35 | So we'll take a look at all that.
So let's listen to an example. This is a
| | 02:39 | musical example that has a couple of
instances of EXS24 that are providing bass
| | 02:44 | and some synthesis-sounding stuff
and percussion so on and so forth.
| | 02:48 | So let's check it out, and
then let's dig into EXS24.
| | 02:52 | (music playing)
| | Collapse this transcript |
| Create your own sample instruments the easy way| 00:00 | EXS24 is a really interesting
instrument and it's very deep, but it also allows
| | 00:05 | you to get creative quite easily.
| | 00:07 | So before we dive in to all the settings
and how everything works, I want to show
| | 00:10 | you a neat trick that you
can do with an audio file
| | 00:12 | so you can immediately start
playing, even if you're not sure how
| | 00:15 | everything works quite yet.
| | 00:17 | I am going to go ahead
and close this EXS24 window.
| | 00:20 | So I've got two audio files here
that I want to convert into sampler
| | 00:25 | instruments, and so in Logic 9
there's a way to do this really easily.
| | 00:28 | So let's listen to this first.
| | 00:30 | I've got these drums here.
| | 00:31 | (music playing)
| | 00:39 | So I'd love to be able to play
those on the keyboard, to be able to
| | 00:43 | manipulate this loop.
| | 00:44 | So one of the new features in
Logic 9 is if I Ctrl+Click so I get
| | 00:49 | this Contextual menu,
| | 00:50 | you can see that under the Convert,
I've got this option Convert to New Sampler Track.
| | 00:56 | So the shortcut for that is Ctrl+E. So
that brings up this menu here, Convert
| | 01:02 | Regions to New Sampler Track.
| | 01:04 | I can either create the zones from
audio regions or transient markers.
| | 01:08 | So that's going to be each
different transient of the audio file.
| | 01:11 | So that's what I want, because I want
each of these drum sounds to be sliced and
| | 01:15 | put onto a different key.
| | 01:17 | So then I tell it okay, what do
I want to name this instrument?
| | 01:20 | This audio file is called TrifonDrums.
| | 01:22 | So I'll name this instrument
TrifonDrums.exs. And then I'd choose the range of
| | 01:27 | how do I want this mapped on the keyboard?
| | 01:30 | So what's the lowest note I want?
| | 01:31 | So C-2 is pretty low, so I'd usually
like to start my sample kits from C-1.
| | 01:37 | So the range will be C-1 to G8.
| | 01:40 | So then I hit OK, and it takes
a moment, and it processes it.
| | 01:43 | Now you can see there's a new MIDI track here.
| | 01:46 | It's called TrifonDrums, and it muted
my audio file, which is fine, and I have
| | 01:52 | EXS24 instantiated automatically.
| | 01:55 | If I open it up, now I've got a
setting called TrifonDrums, and if I play it--
| | 01:59 | (music playing)
So I'm playing the keys in the keyboard now.
| | 02:04 | We can hear it's that drum
loop just sliced up on the keys.
| | 02:09 | So now I could re-perform it in a
different order, which is awesome. And then
| | 02:14 | what's really cool too is they actually
provide the MIDI file too, so it's going
| | 02:17 | to play back exactly like the original.
| | 02:19 | So if I play this now, it sounds exactly
like the audio file, but if you look at
| | 02:26 | the MIDI file, you can see
it's just a number of slices here.
| | 02:31 | They just go up chromatically.
| | 02:34 | It assigns the sample to a different
key, and then it's got mapped out here.
| | 02:38 | So this allows us to speed up the tempo
of this song, if I want to speed it up
| | 02:42 | to 160 or something faster than that.
| | 02:44 | So that's one way I can do it with
the drums and then here, I have this
| | 02:48 | instrument that I can perform with.
| | 02:50 | And now I'm going to try it with a
different audio file, because I can do
| | 02:52 | it another way. So here's this TrifonGrowl.
(music playing)
| | 02:58 | So that's my little EVOC 20
sound that's isolated on its own.
| | 03:02 | So this isn't quite as rhythmic as
this TrifonDrums, so I'm going to cut this
| | 03:08 | up in a different way.
| | 03:09 | What I want to do is just cut this up
into quarter notes, and then I want to map
| | 03:12 | those out on the keyboard.
| | 03:13 | Now I want to do it real simply.
| | 03:15 | So what I can do is select my Scissor
tool, so I'll do that up here, Scissor
| | 03:20 | tool, and then if I zoom in a little
bit and I hold down Option, you can see
| | 03:25 | there is a little plus by the Scissor
tool. So then I can just cut the first
| | 03:28 | quarter note here and it will make
cuts at every single quarter note.
| | 03:32 | So now I have a bunch of different
regions for this TrifonGrowl sound.
| | 03:35 | So let's load these into
a new sampler instrument.
| | 03:40 | So I selected all of them.
| | 03:42 | Now if I Ctrl+Click and go to Convert >
New Sampler Track, so then it brings me
| | 03:50 | back to that same menu here.
| | 03:52 | So then it's Create Zones From, and in
this case I want to do it from regions,
| | 03:57 | because it's not like a drum
loop like the previous one;
| | 03:59 | this is some weird growl sound.
| | 04:01 | And I cut this up into a bunch of
different regions that are all a quarter note long.
| | 04:05 | So I want to create my zones from regions.
| | 04:08 | I'll call this TrifonGrowl. That's great!
| | 04:10 | The range, C-1 to G8, that's perfect.
| | 04:15 | And then I hit OK, and then what it
does is it creates me another EXS24 and MIDI track.
| | 04:20 | Here it is, so I can play it back.
| | 04:22 | (music playing)
| | 04:24 | It sounds just like the original.
Or I can just perform it on the keyboard.
| | 04:28 | So I can play these different
parts of that weird growly sound.
| | 04:36 | So it's cool because you can get
really creative by reprogramming.
| | 04:39 | So any audio file, just chop it up,
create a new sampler instrument in
| | 04:43 | EXS24, and you don't really have to
adjust anything or do many mapping other
| | 04:47 | than just what I showed you here.
| | 04:48 | And you can start experimenting of
chopping up your loops and making
| | 04:52 | different sounds with them.
| | 04:54 | So that's a lot of fun. It's a really creative way
to get started with the EXS24.
| | 04:57 | So next, let's dive in and take a look
at how we can actually manually create
| | 05:02 | zones and load in samples.
| | Collapse this transcript |
| Exploring single zone sample instruments| 00:00 | When you first open up EXS24, it opens
up with no sampler instrument loaded.
| | 00:05 | However, if you play the
keyboard you actually do hear sound.
| | 00:07 | (music playing)
| | 00:09 | It just has a sine wave.
| | 00:11 | If I want to actually load in a
sampler instrument, what I can do is click on
| | 00:14 | this Sampler Instrument menu right here
and that brings up my whole library of
| | 00:20 | the EXS24 instruments.
| | 00:22 | So here are some of the factory
ones that just come with Logic.
| | 00:25 | So I am going to select EXS Strings 2.
| | 00:29 | So it loads in all settings in this
parameter window, and I can play on
| | 00:32 | the keyboard.
(music playing)
| | 00:34 | There we go. Sounds like strings.
(music playing)
| | 00:37 | So if I want to navigate through other
EXS instruments, what I can do is just
| | 00:41 | press this plus and minus button to
the next or go to the previous one.
| | 00:45 | So what if we want to make our
instrument, just a simple one-zone instrument?
| | 00:50 | What I can do is actually just set
this back to No Instrument so there is
| | 00:54 | no sampler instrument loaded, and
then I want to reset the settings in our
| | 00:58 | Parameter windows.
| | 00:59 | So I am going to go the options menu
and go to Recall Default EXS24 Settings.
| | 01:05 | So now it's back to its original state.
| | 01:08 | So I will open up the Sampler
Instrument window, and what I want to do is create
| | 01:12 | a zone and within that zone I can
load a sample, and then we can play back.
| | 01:17 | So I am going to go to the Zone menu
and create New Zone, and here it is, and
| | 01:21 | you can see down at the bottom that
there is a zone that ranges across the entire keyboard.
| | 01:26 | If we look here, here is
our key range: C-2 to G-8.
| | 01:30 | So now what I need to do is actually
load an audio file into that zone, so
| | 01:34 | we can play it.
| | 01:35 | So if I go under this Audio File
column, I've got this Load Audio Sample.
| | 01:40 | So when I bring that, it
brings me to the finder.
| | 01:43 | Then I can go through my hard drive and
just find any audio file and load it in.
| | 01:47 | Or what I can do is actually just
double-click right here and do the same
| | 01:52 | thing, load an audio file.
| | 01:54 | One way that might actually be easier
though is if you have audio files in your
| | 01:58 | range, you can just drag and drop.
| | 01:59 | So let's delete this zone.
| | 02:01 | I've just got it selected here.
| | 02:03 | I am going to press Delete. So now it's gone.
| | 02:05 | So what I will do is I am just going
to move this, and you can see in our
| | 02:10 | arrangement that I've got this TrifonGrowl file.
| | 02:13 | So I am just going to take
that and drop it in here.
| | 02:17 | So what that does is it creates a zone
across the whole range of the keyboard,
| | 02:21 | but it has this
TrifonGrowl audio file loaded in it.
| | 02:24 | So now when I play on the keyboard,
you can hear I've got that audio file.
| | 02:30 | It tracks pitch and everything.
| | 02:33 | But notice when I play
up higher on the keyboard
| | 02:35 | that it plays it back faster.
| | 02:37 | So it's tracking pitch, but it's
changing the speed of the audio, and that's
| | 02:41 | just one of the side
effects of re-pitching audio;
| | 02:43 | it's just going to slow it down or
speed it up, depending on whether you're
| | 02:45 | playing higher or lower.
| | 02:47 | So in order to figure out where it's
going to actually play back at its original
| | 02:51 | pitch, what I have to do is
keep track of what the root key is.
| | 02:55 | That's what this assignment is here.
| | 02:56 | So here we have got all of our pitch parameters.
| | 02:58 | So root key is where it plays
back at its original speed and pitch.
| | 03:03 | So in this big zone that spans
the entire keyboard, it's C3.
| | 03:07 | That's where it's going to play.
| | 03:11 | Now if I want to adjust the range of
this zone so I don't want it to span the
| | 03:15 | whole keyboard, what I
can do is adjust that here.
| | 03:17 | Under Key Range, I can drag up and down.
| | 03:20 | So I can set the lowest note to
something different, like let's say C2, and the
| | 03:25 | high--let's just have it be the C4.
| | 03:28 | So we have got sort of an octave in
each direction from the original pitch.
| | 03:32 | Another way I can edit this that's
probably more convenient is you just drag
| | 03:35 | down here. You can just literally move
each end of the zone to wherever you want.
| | 03:43 | I can also move this whole
zone here to a different range.
| | 03:46 | I can just click in the center and drag
it. But notice that when I do this, my
| | 03:50 | root key--so under the
pitch column--it's not changing.
| | 03:55 | So what's happening is that I've moved
my zone into a different range, but the
| | 03:59 | root key is still at C3, even though
the C3 is now the very end of this zone.
| | 04:04 | It's the very top end of it.
| | 04:05 | So usually you don't want that.
| | 04:07 | Usually you want to move the root
key while you're moving the zone.
| | 04:10 | So I can set this back to the range
that we had before, so that we've got C3 in
| | 04:15 | the middle. And now if I hold down
Option and I move the range for zone, you can
| | 04:20 | see that the root key moves with it.
| | 04:23 | So now that we have explored how to
make a simple one-zone instrument, let's
| | 04:26 | take a look at how we can
make a multi-zone instrument.
| | Collapse this transcript |
| Creating multiple zone instruments| 00:00 | So let's explore making a
multizone EXS24 instrument.
| | 00:04 | I have this drum track here, this TrifonDrums.
(music playing)
| | 00:09 | So earlier I showed you the shortcut
to creating a new sampler instrument
| | 00:13 | where it just automatically slices
this up and assigns with the keys and you
| | 00:16 | can just play it.
| | 00:18 | So let me show you the
actual manual way of doing that.
| | 00:20 | So what we are going to do is select
this track, and then I am going to turn
| | 00:23 | on Flextime in Logic.
| | 00:24 | So I can hit this Flex button or hit
Command+F. Then I have to turn on one
| | 00:29 | of these Flex modes.
| | 00:30 | So I am just going to select Slicing.
| | 00:32 | So now I can just see the transients.
| | 00:34 | What this allows me to do is when
I Ctrl+Click, I have this Slice at
| | 00:38 | Transient Markers options.
| | 00:40 | So I am going to select that.
| | 00:40 | So now let's cut it into a
bunch of different regions.
| | 00:44 | I actually don't need the Flextime right now,
| | 00:46 | so I am just going to turn it off,
but we still have all these regions.
| | 00:49 | So when I open up EXS24, I am going to
go to the Sample Instrument Editor, and
| | 00:55 | what I can do is load in multiple zones.
| | 00:58 | So I can go to the Zone menu and go to
Load Multiple Samples, and I can go find
| | 01:03 | all of those slices and load them in,
but that's probably much less convenient
| | 01:08 | than just doing drag-and-drop.
| | 01:09 | So what I am going to do
is I will grab these here,
| | 01:13 | make sure I have them all selected,
and I am going to take them and drag them in.
| | 01:21 | So when I do that, it brings up this choice here.
| | 01:24 | It says, "Adding 51 samples.
| | 01:26 | Please choose how to build the map."
| | 01:28 | So it can auto-map by reading the
root key info from the audio file.
| | 01:33 | So if there is pitch metadata, it
can read that and assign the root key.
| | 01:37 | There is Drums mode, so that has zone
without range, and so the root key is
| | 01:41 | also from the audio file, and it usually
stacks these vertically, just on top of each other.
| | 01:45 | The one I want to use is Contiguous zones.
| | 01:49 | So with that it's going to map it
chromatically, because I have my Zone Width
| | 01:52 | set to 1, and then I have
the Start Note set to C1.
| | 01:55 | So if I hit OK, you can
see it maps them all out now.
| | 02:00 | So if I play on the keyboard, I can
play through all of these different slices,
| | 02:06 | and the cool thing about that is
that then I can reprogram this beat in a
| | 02:10 | different way by using the sounds of it.
| | 02:13 | So one thing that you have keep in
mind when you load multiple samples is the
| | 02:17 | Playback options. So under this
Playback column here, you can see that 1Shot is
| | 02:22 | checked for all of these.
| | 02:24 | So for drums that's okay.
| | 02:25 | What 1Shot means is that it's going to
ignore the amplifier envelope in terms
| | 02:30 | of the release stage.
| | 02:31 | It's going to play all the way
through the end of the sample.
| | 02:33 | So for certain other kinds
of sounds that aren't drums,
| | 02:36 | that might not be what you want.
| | 02:38 | So to uncheck that, what you can do is
select all zones--so down here I am just
| | 02:43 | highlighting all of them--
and then I just uncheck 1Shot.
| | 02:46 | So now it's unchecked for all of them.
| | 02:49 | Another thing I can do in this
Playback mode is reverse particular zones.
| | 02:53 | So I could reverse them all by
just clicking on all of them here.
| | 02:58 | I can hear that those are reversed.
Or if I just want to reverse a few of
| | 03:01 | them, I could just choose whichever
ones I want o reverse and select that, and
| | 03:07 | there it is. It's backwards.
| | 03:09 | So once you've created your multizone
kit, it's actually important to save it.
| | 03:13 | So I will pull up the Parameter Editor.
| | 03:14 | I am just going to click this EXS24 button.
| | 03:18 | You can see it says Instrument 1767.
So that doesn't really mean anything.
| | 03:23 | That's because we haven't saved this yet.
| | 03:24 | So what I want to do is up here in the
Instrument menu I want to make sure to go
| | 03:29 | to Save As, and where I want to save
this is actually in the Library folder.
| | 03:34 | So Library > Application Support >
Logic > Sampler Instruments. And then
| | 03:41 | I can create my own folder in here if I want.
| | 03:43 | So I have this folder My Drums,
so I could save it in here.
| | 03:48 | The reason I want to use this
directory is because then I open up any Logic
| | 03:52 | session or create a new one, then this
new instrument I have created will be in
| | 03:56 | that list of the EXS instruments that I can load.
| | 03:59 | So that's definitely useful, because if
I only save it with this session, then
| | 04:03 | it's only going to be associated with
this session, and it's not going to show up
| | 04:06 | when I open a different session.
| | 04:07 | So let's just name this TrifonDrums,
and then I will just hit Save.
| | 04:14 | So another thing to keep in mind when
you're saving is it doesn't actually
| | 04:18 | relocate your audio files, like, it's not
moving or copying this TrifonDrums to a
| | 04:24 | different directory;
| | 04:25 | it just leaves it where it originally is.
| | 04:27 | So I have to be careful not to
accidentally delete that file, because then my
| | 04:31 | sampler instrument won't work anymore.
| | 04:33 | So a safe way to sort of make a
backup so that you don't accidentally lose
| | 04:37 | audio files is under the
Instrument menu to do Export Sampler Instrument
| | 04:41 | and Sample Files.
| | 04:42 | And what that will do is it will
make a copy not only of your sampler
| | 04:47 | instrument, but of all
the associated audio files.
| | 04:49 | So I will just call this TrifonDrumsBackup.
Then what it's going to do is
| | 04:54 | it will take a moment, but it will
save the instrument, and then it saves all
| | 04:58 | the samples with it.
| | 04:59 | Now that we have made a multizone
instrument and we cut up the drum loop and
| | 05:03 | mapped it across the keyboard,
let's take a look at making a dynamic
| | 05:07 | velocity-layered instrument.
| | Collapse this transcript |
| Adding dynamics with velocity layers| 00:00 | So let's explore making the instrument
with multiple velocity layers, because
| | 00:03 | that way, depending on how hard we
are playing the keyboard, we'll trigger
| | 00:07 | different samples, and that's
going to make it more realistic.
| | 00:10 | So I've got a couple of synth audio
files that I want to drag in here.
| | 00:14 | They are different velocities
and they sound a little different.
| | 00:17 | So I am going to grab them. I have
them in Desktop/Exercise Files/
| | 00:22 | EXS24. And then in here in the
Audio Files folder there is this folder
| | 00:28 | called Synth_Velocity.
| | 00:30 | So I can actually just drag this
whole folder just onto the range.
| | 00:36 | Then it asks me what I want to do.
| | 00:37 | I want to place these all on one track.
| | 00:38 | So I hit OK. Then here they are.
| | 00:41 | So these are actually backwards.
| | 00:43 | So I am going to move them.
| | 00:44 | So I want the softest one to play first.
| | 00:46 | Then we've got the soft medium, medium,
medium hard, and the hard velocity.
| | 00:55 | So let's take a listen to these.
| | 00:57 | (music playing)
| | 01:03 | So here is the medium one.
| | 01:04 | (music playing)
We've got medium hard.
| | 01:08 | (music playing)
| | 01:10 | And then here's the hardest one.
| | 01:12 | (music playing)
| | 01:15 | So with each one they increase in volume,
and the amount of reverb increases too.
| | 01:20 | So that's going to be cool is when you
map this to an instrument, then if I pay
| | 01:24 | softly, it's softer and there is less reverb.
| | 01:26 | If I play with more force,
it's going to be louder.
| | 01:28 | You can hear there is more filter
envelope modulation, and there is also more reverb.
| | 01:33 | So that's the goal that's making
an instrument sound like that.
| | 01:36 | So I am going to open up EXS24 and
open up the Sampler Instrument Editor, and
| | 01:43 | what I can do is just drag and drop.
| | 01:44 | I have these selected, and then I am
going to drag them in and then it asks me
| | 01:49 | how to map them.
| | 01:50 | So the last time we did the Contiguous Zones.
| | 01:53 | This time let's do the Auto Map.
| | 01:55 | So it's going to read the root key from
the audio file, and that's going to help
| | 01:58 | us because then we don't have to set it.
| | 01:59 | So I'll click OK, and you can see now
it created five different zones, and
| | 02:05 | they're all mapped across the range of
the entire keyboard. And the root key is
| | 02:10 | set to C2, which is correct.
| | 02:12 | So now what happens if I
just play on my keyboard?
| | 02:14 | (music playing)
So it's triggering all of these samples at once.
| | 02:20 | That's not what we want.
| | 02:21 | So this is one way if you are actually
just trying to make a layered sound that
| | 02:24 | we could do it, but I want the
velocity to trigger different samples.
| | 02:27 | So in order to do that I have to make
sure that I'm viewing all of the zone
| | 02:31 | parameters. So I am going to go the
View menu and then select View All.
| | 02:37 | Now if I go over to the right bin,
you could see we've got this velocity range here.
| | 02:42 | So in order to adjust this,
I have to check each of these.
| | 02:47 | So since I have them all
selected, it checks all of them.
| | 02:50 | Now I can set the low and high range
for each zone, in terms of velocity.
| | 02:56 | So I don't want these to really overlap;
| | 02:58 | I want one range to end
and then it go into the next one.
| | 03:00 | So I am just going to set
these here, sort of evenly spaced.
| | 03:04 | So I will set this lowest one,
the soft one from 0 to about 26.
| | 03:11 | Usually you have to kind of play
around with these ranges to find one
| | 03:14 | that feels right.
| | 03:15 | So this next one from 27 to 64. And
then for our medium velocity sample, I will
| | 03:24 | set this one 65 to about 80.
| | 03:30 | And for the medium-hard,
we will 81 to about 105.
| | 03:34 | So I am just trying to kind of
space them a little bit evenly.
| | 03:39 | Then I will do this last one from 106 to 127.
| | 03:45 | Now when I play on the keyboard--
| | 03:47 | (music playing)
| | 03:50 | --you can hear it's responding to my velocity.
| | 03:52 | So when I play softly--
(music playing)
| | 03:54 | So you can hear that it's
soft and there is no reverb.
| | 03:56 | If I play it with more force--
(music playing)
| | 03:59 | you can hear there is a bit of
reverb, and if I play as hard as I can--
| | 04:01 | (music playing)
| | 04:02 | --you can hear it's much louder,
and it's triggering the samples.
| | 04:04 | You can see also, when I play on my
keyboard it highlights the various zones that
| | 04:09 | it's triggering, and that's very
useful because then you can see what's
| | 04:12 | happening, and it allows you adjust
your velocity layers and to see which ones
| | 04:16 | aren't maybe working so
well that you need to tweak.
| | 04:19 | Another way that we can also view more
information about it is click this Show
| | 04:23 | Velocity, and this actually shows them
stacked on top of each other, and we can
| | 04:28 | adjust the ranges here, and it just
gives you another sense of your spacing
| | 04:31 | between each different velocity range.
| | 04:34 | One potential problem I am having right
now is that if I play one of the harder
| | 04:38 | velocities that has a lot of reverb--
(music playing)
| | 04:41 | --and if I let go of it quickly,
the reverb just cuts off.
| | 04:44 | So this is maybe a time where I
would actually want to use, in the Playback column,
| | 04:49 | this 1Shot mode. So not for all of them,
but just for the ones that have a lot
| | 04:53 | of reverb, so for the harder velocities.
| | 04:55 | So for the hard one, here is the
medium hard, and for the medium one as well.
| | 05:01 | So for the ones that are of softer
velocity, I will just have those where they cut off.
| | 05:05 | It's going to follow the amplifier envelope.
| | 05:07 | So now when I play--
(music playing)
| | 05:10 | So if I play soft--
(music playing)
| | 05:12 | --it just cuts off as long as I play.
| | 05:14 | But when I play harder
(music playing)
| | 05:16 | It's always going to ring out.
| | 05:17 | So that way it's actually pretty
dynamic, because I can get different accents
| | 05:24 | and things like that, and
it responds pretty well.
| | 05:27 | So it's not quite a perfect solution
because you can hear the difference
| | 05:31 | between the softer velocities
and the ones with more reverb.
| | 05:34 | It's not quite a natural transition.
| | 05:36 | So one possibility to get a more
natural transition between these velocity
| | 05:40 | layers would be to
assign these zones to groups.
| | 05:43 | So let's explore groups in the next video.
| | Collapse this transcript |
| Organizing zones with groups| 00:00 | Let's take a look at using the groups in EXS24.
| | 00:03 | So you can assign multiple zones to a
group, and that way that gives you editing
| | 00:07 | control over many zones at once.
| | 00:09 | What I want do is pull in the sound
that we were experimenting with before.
| | 00:12 | So it's a sampler instrument. I'm
going to load it here, and it's in
| | 00:15 | this ESX24_Setup menu.
| | 00:18 | So these are the instruments that
are associated with the exercise
| | 00:21 | file ESX24_Setup.
| | 00:22 | So I'm going to select this one, Synth_Velocity.
| | 00:27 | So this is the sound from before.
I'll play it.
| | 00:29 | (music playing)
| | 00:32 | There are different velocity layers,
and the higher velocities have more reverb
| | 00:36 | and are louder, but the problem is
when I play the note at a high velocity,
| | 00:41 | and I let go of it, that reverb tail cuts off.
| | 00:44 | So before we had the solution of using
one-shot mode on the higher velocity
| | 00:50 | so that they ring out.
| | 00:51 | And that works okay, but there's a
little bit of an unnatural transition.
| | 00:56 | So another way that we could remedy this
problem is by creating different groups
| | 01:01 | for the different velocity ranges.
| | 01:03 | So what I'd would like to
do is create three groups:
| | 01:05 | one for soft, one for medium
velocities, and one for hard velocities.
| | 01:09 | So they way you can create groups is go
to the Group menu and select New Group,
| | 01:14 | or the shortcut is Ctrl+G. So when I do
that you can see that it says Group over
| | 01:19 | here, and it's kind of cut off,
so let me adjust the view here.
| | 01:21 | So I am going to name this group.
| | 01:23 | I am going to call it soft.
| | 01:25 | And then if I want to assign zones to
the group, what I have to do is go back to
| | 01:29 | my All Zones here. And there's a
couple of different ways I can do this.
| | 01:33 | I can actually go to the Group section
and assign it. So that's actually under
| | 01:39 | the View options > Group, and
then I can assign it to the soft group.
| | 01:45 | That's a little bit too roundabout.
| | 01:47 | So the easier way to do it is just to
take this and drag it to the soft folder.
| | 01:51 | So I am assigning this zone to the soft group.
| | 01:55 | So then when I click on soft group,
I can confirm that it's there.
| | 01:58 | So now let's make the medium group.
| | 02:00 | So this time I am going to select a
few of the zones, so I am going to
| | 02:04 | select this one. If I hold down Shift, I can select
more, so these two I want to be in the
| | 02:08 | medium group.
| | 02:09 | So instead of actually creating a group
in the Group menu, I'm just going to drag
| | 02:12 | these over here, and it's going to
automatically create a new group with those
| | 02:17 | zones already assigned to it.
| | 02:18 | So that's definitely much more convenient.
| | 02:20 | So let's name this one.
| | 02:21 | So I'll double-click, call this
med, and I'll go back to All Zones. And
| | 02:26 | then I want to make a
group for the hard velocities,
| | 02:28 | so I will select these two and then
drag those and I will name this one hard.
| | 02:33 | So what I can do with these three
groups is actually offset the amplifier
| | 02:38 | envelope, the release time.
| | 02:39 | So the way I can solve the problem is
have for the soft group, the release time
| | 02:43 | as it is now in the amplifier, which
is instantaneous, so I can actually just
| | 02:47 | take a look at that.
| | 02:48 | So here is our amp envelope and you can
see the release is set all the way to 0,
| | 02:52 | so that will just cut off.
| | 02:54 | And then I'll be able to offset
the med and hard velocity groups.
| | 02:59 | I can give those a longer release time.
| | 03:01 | So the first thing I want to do to
actually make changes to the groups is make
| | 03:05 | sure I have got this Groups button
pushed up here. So I'll push that and now
| | 03:09 | we can see our groups.
| | 03:10 | Then you can see that I've got this
Envelope 2 (Amp) Offsets, so that's the
| | 03:15 | amplifier envelope offsets.
| | 03:18 | So for the soft group I don't want any offset.
| | 03:20 | I'll just leave it at 0.
| | 03:21 | For med, let's offset it by 600
milliseconds, so it will increase the release
| | 03:26 | by 600 milliseconds.
| | 03:29 | And for the hard group, let's make it longer.
| | 03:31 | Let's do like 1300 milliseconds.
| | 03:33 | So now what happens when I play, so
if I play soft, it releases right away.
| | 03:38 | If I play at a med velocity,
you can hear it rings out a bit.
| | 03:42 | If I play of the hardest velocity,
you can hear it rings out fully.
| | 03:45 | So now when I just play, I am
going to play very staccato--
| | 03:48 | (music playing)
| | 03:52 | --you can hear it transitions pretty naturally.
| | 03:54 | I can get those accents with the reverb
ringing out, but it doesn't sound like
| | 03:58 | it's just jumping between different
release times and things like that.
| | 04:01 | So this is a very natural way of doing
that, and that's one of the really cool
| | 04:05 | features of using the groups.
| | 04:07 | And there is actually a number
of other group features as well.
| | 04:10 | So to view them all, you want to
make sure that in this View menu here
| | 04:13 | you've got View All selected.
| | 04:16 | So let's talk about the
different choices you have here.
| | 04:18 | So for the groups you can set the Key
Range here, so if you wanted them to be
| | 04:22 | different for different groups.
| | 04:23 | You can also offset some things
in the mixer, like the volume of a
| | 04:26 | particular group, the panning,
and its output as well. So you have 16
| | 04:31 | different outputs here.
| | 04:32 | You can also adjust the polyphony.
| | 04:34 | So for example, you might not always
want to have the maximum polyphony for your group.
| | 04:39 | So think of a case where you have a
hi-hat where it can be either open or closed.
| | 04:44 | You wouldn't want your open hi-hat
ringing out against your close hi-hat.
| | 04:47 | So to solve that problem, you can
assign those both to a group and set the
| | 04:50 | Polyphony to 1, and that way it's
either going to be the close hi-hat or
| | 04:55 | the open one.
| | 04:57 | Furthermore, what you can do is
choose how you want to trigger this group.
| | 05:00 | So do you want it to be triggered when
you press the key down, or do you want it
| | 05:04 | to be triggered based on release?
| | 05:05 | So certain instruments, like you think
about a piano or even an electric piano,
| | 05:10 | when you play, and then you let go of the notes,
| | 05:13 | you hear the damper hit the strings.
| | 05:14 | So in order to recreate an instrument
like that, you'd want a release group
| | 05:18 | of samples of the sound, of the damper
hitting the times, for example, on the
| | 05:22 | electric piano.
| | 05:23 | Then we've got our filter offsets.
| | 05:25 | this just allows us per group to
adjust the cutoff and resonance of the
| | 05:30 | filter, and so you only have one filter
here, but these groups just can offset the cutoff.
| | 05:37 | Then we can also offset Envelope 1 as
well, and Envelope 1 is freely assignable.
| | 05:43 | We can set our velocity
ranges for each group as well.
| | 05:46 | And then the last feature that's pretty
interesting too is the Select Group By.
| | 05:51 | So what this means is that if I want
some kind of trigger or MIDI control to
| | 05:56 | select a group, I can do that.
| | 05:58 | So the circumstances that you'd use
this would be, let's say you have two
| | 06:02 | different string articulations.
| | 06:04 | You might have strings that are
sustaining and then you have staccato strings.
| | 06:08 | And you actually want to assign those
to the same pitches, but you want to have
| | 06:13 | a key that will switch between those groups.
| | 06:15 | So you could assign a MIDI key that's
like really low on the keyboard, like C-2,
| | 06:21 | and then when you play that key, it
doesn't make a sound, but it will select
| | 06:25 | either the staccato
strings or the sustaining ones.
| | 06:28 | And so that's where it gets more
advanced, but you can really get deep in terms
| | 06:31 | of programming your instruments.
| | 06:33 | So you can select a group by a particular
note, or another group, or control, a pitch
| | 06:38 | bend, or a MIDI channel, so
a lot you can do with that.
| | 06:41 | And you can even get deeper and add more,
so add an additional Select Group By.
| | 06:46 | So for very sophisticated sampler
instruments, they might have a lot of this
| | 06:50 | kind of programming happening.
| | 06:52 | So now that we have taken a look at
assigning multiple zones into groups and
| | 06:55 | some of the possibilities of editing
the groups, let's take a look at some of
| | 06:59 | the looping and sample-editing
features that are part of the EXS24.
| | Collapse this transcript |
| Advanced zone editing and looping | 00:00 | So let's explore some of the sample-
editing and looping features in EXS24.
| | 00:05 | So I am going to create a
simple one-zone instrument.
| | 00:09 | I am just going to drag in that synth
hit that we were working with before.
| | 00:12 | So I am going to go to the Finder, and
I will go to the Desktop, and Exercise
| | 00:17 | Files folder, and EXS24. And then
we have the Audio Files folder here.
| | 00:25 | So, in Synth_Velocity, I am going to
choose one of these, and we will make
| | 00:31 | our kit based on that.
So let's listen to the C2_bass_med-hard.
| | 00:34 | So I can just hit the
spacebar to audition it in the Finder.
| | 00:38 | (music playing)
That sounds cool, so let's use that.
| | 00:41 | So I am going to drag and
drop it into the arrangement.
| | 00:48 | So back in Logic, I am going to
open up EXS24 and open up the sample
| | 00:53 | instrument editor. And then to make
this map across the keyboard, I am just
| | 00:57 | going to drag and drop the audio
file right here, and it will map it
| | 01:03 | across the range of the keyboard.
| | 01:04 | So now when I play the keyboard,
you can hear we've got the sample.
| | 01:09 | So now I want to adjust the
start and end point of this sample.
| | 01:13 | So what I am going to do is set
our View settings to View All.
| | 01:16 | Then I will scroll over, and you can
see that I've got the Sample column here.
| | 01:22 | So there is Start, End point, and then Fade.
| | 01:26 | So Fade is going to be the amount of
fade-out time if I have a one-shot sample.
| | 01:30 | So let's just focus on start and end point.
| | 01:33 | So I can adjust the start and
end point just by dragging here.
| | 01:37 | So if I am playing, I can
audition it while I am doing this.
| | 01:43 | But this isn't really the most
efficient way to edit the start and end
| | 01:46 | points, because the time unit here
is in samples, which is a really, really
| | 01:50 | small amount of time.
| | 01:52 | So it's better if I can see what I'm doing.
| | 01:54 | So the way I can do that is if I scroll
back over to left, where it says Audio
| | 01:59 | File and so here is the audio file in our zone,
| | 02:02 | if I double-click on it, it
opens it up in the Sample Editor.
| | 02:05 | So that's behind this window.
| | 02:07 | Here's the Sample Editor, and then
now I can adjust the start and end point visually.
| | 02:11 | So I can drag this anchor here, and then
here's the end point, and so now when I
| | 02:17 | open back up the Editor and take a look,
| | 02:19 | you can see it updated the start and
end point and now, when I play it, I can
| | 02:24 | hear that it's different. So there we go!
| | 02:28 | So what if I want this to loop
| | 02:30 | because I want to be able to hold
this note and want it to sustain forever?
| | 02:32 | It doesn't have to necessarily be a
perfect loop, but I just want this to
| | 02:35 | ring out for longer.
| | 02:37 | So what I can do is turn on the Loop
mode, and then I can adjust my start and
| | 02:43 | end points of the loop right here.
| | 02:46 | Again, this is probably easier to edit visually.
| | 02:48 | So we can do that by going back over
to where we have the zone and the audio
| | 02:53 | file name, and I am just
going to double-click on it.
| | 02:56 | Now, when I go back to Sample Editor,
you can see that it has this green bar down here.
| | 03:03 | So this is my loop's start and end point.
| | 03:05 | So I am going to go ahead and set that.
| | 03:06 | Let's just set our loop point to
something that's rather small, and let's see
| | 03:10 | what it sounds like.
| | 03:11 | (music playing)
So you can hear it's repeating.
| | 03:15 | You can really hear the loop.
| | 03:16 | So I will play it somewhere else.
(music playing)
| | 03:19 | So if I play it up higher, because
it's playing back through the audio file
| | 03:23 | faster, the loop points are then smaller.
| | 03:25 | So it's kind of a cool sound but for
certain contexts, it's not going to sound good.
| | 03:30 | So it depends on the type of music
and other stylistic considerations.
| | 03:34 | So let's try experimenting
with different-sized loop points.
| | 03:36 | So what if I have a really small loop point?
| | 03:38 | So if I do that, I can get kind of a buzzy sound from the loop.
(music playing)
| | 03:43 | It kind of sounds like it's freezing time.
| | 03:45 | (music playing)
So that's kind of interesting!
| | 03:48 | But it's not very smooth. All these
loop points right now, you can really
| | 03:51 | hear it looping.
| | 03:52 | So one way to help ease the transition
between the loop start and the loop end
| | 03:56 | is to do a cross-fade between them,
and the EXS24 Editor can do that.
| | 04:01 | So I will bring it up and if we go back
over to our Loop parameters, you can see
| | 04:05 | I have got this XFade parameter here.
| | 04:08 | So that's where I can adjust the
amount of time that's going to cross-fade
| | 04:11 | between the start and end point of the loop.
(music playing)
| | 04:15 | So you can already hear it's a lot
smoother, and if I increase the time even
| | 04:19 | more, it's going to even it out,
because what a cross-fade is doing is it's
| | 04:22 | taking part of the end of the loop
point and it's folding it over to the
| | 04:27 | beginning and taking part of the
beginning and tacking it onto to the end, and
| | 04:30 | so that overlap creates a smoother transition.
(music playing)
| | 04:35 | If there is a difference in amplitude,
so a difference in volume between your
| | 04:39 | start and end point, it is good to
also try an equal-power cross-fade.
| | 04:43 | So I can select that here.
| | 04:44 | It's just a different cross-fade shape.
| | 04:48 | Sometimes that makes a difference;
sometimes that makes it work better.
| | 04:52 | Also, another thing that can happen
when you're looping a small segment of
| | 04:55 | audio, it can sometimes sound out of tune.
| | 04:57 | So you have this fine-tuning
adjustment here that could go in 50 cents
| | 05:00 | either direction.
| | 05:01 | So I can listen to it while I am tuning.
| | 05:04 | So I can fine-tune it. And that's if I
was playing against something else, and
| | 05:09 | it just was sounding out of tune.
| | 05:10 | This is how I can make up for it.
| | 05:12 | Now that we've explored how to set our
start and end point of sample--we can
| | 05:16 | also set up loop points--
| | 05:17 | let's try sculpting the
sound with the filters in EXS24.
| | Collapse this transcript |
| Using the filter section to shape your sampled sounds| 00:00 | So let's take a look at
the filter section in EXS24.
| | 00:04 | So we've got a multi-mode filter here
and it can be either a low-pass, band-pass,
| | 00:09 | or a high-pass filter.
| | 00:10 | This is where we're going to be
sculpting the sound and subtracting frequencies
| | 00:13 | from the sampler instrument.
| | 00:15 | So first let's load in a patch.
| | 00:17 | So I'm going to load up a
sampler instrument here.
| | 00:19 | So we've got this EXS24 Setup menu,
and this is all the instruments that are
| | 00:24 | associated with this EXS24_Setup exercise file.
| | 00:28 | So I'm going to choose WaveTable,
and this is just a waveform that has a
| | 00:32 | number of harmonics in it.
| | 00:33 | (music playing)
So it's kind of bright.
| | 00:35 | So it'll be good to filter.
| | 00:37 | So to help us visualize what's
happening, I'm going to pull up the Channel EQ,
| | 00:40 | and we can use its frequency analyzer.
| | 00:43 | So on the channel, I can just
double-click right here where it says EQ.
| | 00:48 | That opens up the channel EQ.
| | 00:49 | There are a couple of
adjustments I like to make to this.
| | 00:52 | I'm just going to adjust the
scaling of it by dragging it up.
| | 00:55 | I'm going to turn on the Analyzer, and
I'm going to set the Resolution to High.
| | 01:00 | Okay, and then let's just move this
so we have enough screen real estate.
| | 01:04 | All right! So there we are!
| | 01:06 | So now when I play a note, you can
see all the different harmonics in it in this analyzer.
| | 01:11 | So first thing I want to do
is actually turn on the filter.
| | 01:15 | So I do that right here. And I'm
going to show you the low-pass filter.
| | 01:20 | So the low-pass filter is going
to cut out the high frequencies.
| | 01:23 | So if I play a note and I bring
down this cutoff, you can hear the high
| | 01:30 | frequencies are disappearing.
| | 01:31 | Then I've got this Resonance parameter.
| | 01:35 | What this is going to do is it's
going to create a little boost around the
| | 01:38 | cutoff point, and so it's going to
sound sort of vowel-like and squelchy.
| | 01:43 | (music playing)
| | 01:48 | So another way that you can visualize
this is actually on the Channel EQ itself
| | 01:52 | there's a low-pass filter.
| | 01:54 | So if I press this button here,
that engages the low-pass filter.
| | 01:57 | I can see that the slope is the same:
| | 02:00 | It's 12 dB per octave. That's what I have on EXS24.
| | 02:02 | So if I drag this down and
adjust the cutoff, I'm cutting out the high frequencies.
| | 02:10 | To show you what Resonance would look
like, if I adjust this right here, you can
| | 02:14 | see that here's a little
boost on our cutoff point.
| | 02:17 | (music playing)
| | 02:20 | So as I increase the resonance,
that's really going to ring out a lot more.
| | 02:23 | (music playing)
| | 02:27 | So that's how that works.
| | 02:31 | So back to EXS24. The other parameter
that's important with the low-pass filter
| | 02:36 | is this Fat control.
| | 02:38 | So when you have increased amounts
of resonance, you end up losing some low energy.
| | 02:43 | So with the fat control, it's going to
compensate for that loss of low energy.
| | 02:48 | (music playing)
| | 02:51 | So here it is with the Fat control
engaged and now if I turn it off, here
| | 02:57 | it's much softer.
| | 02:58 | We've lost a lot of the low end.
| | 03:00 | So that really makes a difference.
| | 03:02 | It only applies to the low-pass filter;
| | 03:04 | it doesn't do anything
for high pass or band pass.
| | 03:06 | So let's take a look at the other
slopes that we have for the low-pass filter.
| | 03:11 | We had it set at 12 dB per octave,
but we can also set it to 18 or 24.
| | 03:17 | So the steeper the slope, the faster
it's going to cut out the high frequencies.
| | 03:20 | So taking a look at the EQ once again,
so here's 12 dB per octave, and then if I
| | 03:28 | adjust the slope to 24,
you can see that's steeper.
| | 03:31 | (music playing)
| | 03:35 | So there's a little bit of a
difference just in the way it sounds too, because
| | 03:39 | it's just, depending where your cutoff point is,
| | 03:41 | I can have a higher cutoff, like 72%.
With a 24-dB-per-octave low-pass filter it's
| | 03:48 | going to cut out more high frequencies
than the 6-dB-per-octave low-pass filter
| | 03:54 | because it's got a steeper slope.
| | 03:55 | (music playing)
| | 03:58 | So the other filter in
EXS24 is a high-pass filter.
| | 04:01 | So that's right here, and it's
basically the opposite of a low-pass filter.
| | 04:05 | It's going to cut out the low frequencies.
| | 04:07 | Also, the Cutoff control sort of works
in the opposite way. So it's unfiltered
| | 04:12 | when I have this at 0%, so all the way closed.
(music playing)
| | 04:15 | And then it cuts out the low
frequencies when I open this up.
| | 04:19 | (music playing)
| | 04:22 | So that's how the high-pass filter works.
| | 04:25 | Then we also have a band-pass filter.
| | 04:28 | So band pass, you can think of it
like a combination of a high-pass and a
| | 04:32 | low-pass filter that work together.
| | 04:33 | So it's letting this little
frequency band of sound come through and it's
| | 04:37 | filtering out everything else.
| | 04:39 | So I'll show you what that sounds like.
| | 04:41 | (music playing)
| | 04:45 | All right! So it's letting this
little window of sound through.
| | 04:49 | The way that you could imagine
that on the EQ is if I engage the
| | 04:53 | high-pass filter, and we'll set it
to the same slope so this is a 12 dB
| | 04:57 | per octave band-pass.
| | 04:58 | So I'll set this to 12 dB, and
I'll do the same for low-pass filter.
| | 05:08 | So I can create this little
window like this right here.
| | 05:11 | So this would be our band
where the sound is passing through.
| | 05:14 | As you can imagine, the cutoff control
in EXS24 is moving both the high pass and
| | 05:19 | the low pass together.
| | 05:21 | So this window, this band, is moving,
and that's just letting the sound through.
| | 05:25 | So that's generally how a band-pass filter works.
| | 05:28 | So one of the things that really
affects how these filters sound is the
| | 05:31 | Drive control here.
| | 05:33 | This is going to overdrive the input.
| | 05:35 | So we can just leave this on band pass,
so I'll just play right now, and I'll
| | 05:38 | adjust the cutoff, and now
check it out when I increase the Drive.
| | 05:42 | (music playing)
| | 05:44 | So it's a much more crunchy sound.
It's more saturated.
| | 05:48 | It's going to make the
resonance stand out more too.
| | 05:50 | (music playing)
| | 05:54 | So that's definitely a way to add more
grit to the sound and more crunch is with
| | 05:58 | the Drive parameter.
| | 06:00 | In addition to that, there's
also a Key Follow function.
| | 06:03 | So what that's going to do is it's
going to modulate the filter cutoff based on
| | 06:06 | where you're playing on the keyboard.
| | 06:08 | So the reason why they have this in a
lot of synthesizers and samplers is
| | 06:12 | sometimes what happens is that the
lower notes can sound relatively brighter
| | 06:16 | than the higher notes when you have
a particular low-pass filter setting.
| | 06:21 | So when you have your keyboard, so
where you're playing on the keyboard,
| | 06:24 | modulate the filter cutoff,
| | 06:26 | that can help balance out that
difference so that it sounds even across the
| | 06:29 | whole range of the entire keyboard.
| | 06:31 | So what I'll do is I'll up the
key tracking, and I'll set this to
| | 06:35 | low-pass filter.
| | 06:37 | Then when I play in the lower region,
and then if I play up higher, it's
| | 06:41 | generally sort of equal kind of filter response.
| | 06:44 | So often it can be quite subtle.
| | 06:47 | It's usually worth experimenting
with the amount of Key Follow to get the
| | 06:50 | right balance so that you get an even
filter response across the range of the
| | 06:53 | entire keyboard.
| | 06:54 | Now that we've explored shaping the
sound with the multimode filter, let's take
| | 06:59 | a look at what we can do with
the pitch parameters in EXS24.
| | Collapse this transcript |
| Using transpose and glide to add expression to EXS24| 00:00 | Let's take a look at the
Pitch parameters in EXS24.
| | 00:04 | So in this area here, you can see
we've got Tune control and a Fine-tuning.
| | 00:08 | So let's actually load in a sound
and then we can explore these
| | 00:10 | pitch parameters.
| | 00:12 | So under the Sampler Instruments menu,
I'm going to use one of the factory
| | 00:16 | EXS instruments.
| | 00:18 | So under Drums & Percussion >
Acoustic Drums, and we'll choose this
| | 00:22 | Warehouse Kit.
| | 00:23 | So this is the drum kit.
| | 00:25 | (music playing)
A lot of different drum sounds.
| | 00:29 | We've got this crash cymbal right here,
so we can explore how this works with
| | 00:32 | the Pitch parameters.
| | 00:34 | So first we have this Tune control.
| | 00:36 | This is going to adjust the
tuning of the instrument in semitones.
| | 00:39 | So I can go tune it up,
all the way up two octaves,
| | 00:44 | and I can tune it down two octaves.
| | 00:46 | And to set it back to the center,
I just press this O at the top.
| | 00:50 | And we have a Fine-tuning control.
This can adjust plus or minus 50 cents.
| | 00:55 | That's just a small adjustment.
| | 00:58 | Next what we have is this Random control here.
| | 01:02 | What this will do is depending on how I
have it set, each time I play the note,
| | 01:06 | it will offset the tuning by plus or minus 10
cents, or if I have this set all the way
| | 01:11 | to the right, plus or minus 50 cents.
| | 01:13 | So now when I play--
| | 01:14 | (music playing)
| | 01:17 | --you can hear that it's
adjusting the pitch of this.
| | 01:20 | Each time I play it's a little bit different.
| | 01:24 | The next control that's kind of
interesting is this remote right here.
| | 01:28 | So what this will allow us to do is
use a certain range of the keyboard to, in
| | 01:34 | real time, transpose what we're playing.
| | 01:36 | So I'm going to set the Remote
to the key range of around C1.
| | 01:44 | So what's going to happen is if I
play near C1, both an octave below to an
| | 01:50 | octave higher, and including C1,
you won't hear anything.
| | 01:53 | But what it will do is if I'm playing a
different note on the keyboard, so if I
| | 01:58 | play this F2 here, which is a cymbal,
and I play something above C1, it's
| | 02:04 | going to transpose that cymbal
note that I'm playing higher.
| | 02:09 | So with my left hand, I'm playing in
the range around C1, and that's what's
| | 02:15 | modulating the pitch of this cymbal,
because with my right hand I'm playing
| | 02:18 | the same cymbal note.
| | 02:19 | So I can do the same thing.
I can play an octave lower.
| | 02:21 | (music playing)
| | 02:24 | It pitches it down.
| | 02:25 | So it's kind of a unique feature.
| | 02:26 | It's definitely worth exploring.
| | 02:28 | So I'll turn the Remote off.
| | 02:31 | And then we have the Transpose feature up here.
| | 02:34 | And so this is different than the
Tuning feature, because what this actually
| | 02:37 | does is it moves the zones around.
| | 02:39 | So if I'm playing F2, which is that
cymbal, and I adjust the Transpose, you can
| | 02:46 | hear it's remapping the drums,
because it's moving the zones.
| | 02:49 | I'm still playing an F2, but
it's shifting the zones around.
| | 02:53 | So that's what the Transpose feature does.
| | 02:56 | So what I'm going to do now is switch
this to the default settings so that we
| | 02:59 | can explore the Glide and
this Pitcher envelope here.
| | 03:03 | So I'm going to set this to No
Instrument. Now I want to reset this to
| | 03:07 | the default settings.
| | 03:08 | So I'll go to Options >
Recall Default EXS24 Settings.
| | 03:12 | So now we just have a sine
wave where we can explore pitch.
| | 03:17 | So the first thing I'm going
to do is adjust the Glide Time.
| | 03:20 | So when I set this to 390 milliseconds--
| | 03:25 | (music playing)
--you can hear that it's going to glide between the notes.
| | 03:31 | And so this is in Portamento mode.
| | 03:33 | So if you look at this Pitcher
envelope, you can see it says port.
| | 03:35 | That just means that whatever notes
I'm playing, it's going to glide between
| | 03:38 | them, and I set the amount
of time it takes right here.
| | 03:41 | So the other thing I can do with this
Pitcher envelope is actually have it pitch
| | 03:46 | up, and then it will, over the course
of the envelope, the pitch will decrease
| | 03:50 | to the note that I'm playing. So--
(music playing)
| | 03:53 | --I have this set up an octave,
and I'll adjust our Glide Time a bit.
| | 03:57 | (music playing)
You can hear it's pitching down an octave now.
| | 04:02 | And I can have this work the other way too.
| | 04:04 | So if I drag this slider down to -12,
you'll hear the sound pitch up, and it will
| | 04:10 | pitch up over the course of the Glide Time.
| | 04:12 | (music playing)
| | 04:14 | And sort of the last unique feature
about this Pitcher is that I can have
| | 04:20 | Velocity control a range for it.
| | 04:22 | So let me pull down the Glide Time
just a little bit and I can split this control.
| | 04:27 | And so now I have a range.
| | 04:30 | So if I play softly, I'll get a little
bit less pitch modulation, and if I play
| | 04:34 | hard, then I'll get more pitch modulation.
| | 04:36 | So here I'll play soft, and then if
I play harder, you can hear there's
| | 04:41 | more pitch modulation.
(music playing)
| | 04:45 | So that's the Pitcher
envelope and the Glide parameters.
| | 04:49 | And then the last thing we've
got is the Pitch Bend range.
| | 04:53 | So I can choose how much I want the
Pitch Bender to pitch up, so I can go up
| | 04:57 | to an octave.
| | 04:58 | And then right now, the Pitch Bend range
in the negative direction is linked, so
| | 05:02 | it would go down an octave.
| | 05:04 | But I can have that be independent.
| | 05:05 | You can click here and choose
anything from 1 semitone all the way to 3
| | 05:10 | octaves, which is 36 semitones.
| | 05:13 | So now that we've explored the Pitch
parameters, let's take a look at how we can
| | 05:16 | add some periodic movement to the sound
with the modulation router and the LFOs.
| | Collapse this transcript |
| Adding life and expression with the modulation | 00:00 | So let's take a look at the
modulation features of the EXS24.
| | 00:04 | So in the center here we have a
Modulation Router and that has 10 channels where
| | 00:07 | we can assign sources and destinations.
| | 00:10 | So a source is going to be the thing
that's doing the modulating, so usually
| | 00:13 | an LFO or envelope, and the
destination is going to be the thing that's being
| | 00:18 | modulated.
| | 00:19 | So that might be filter cutoff
or pitch, something like that.
| | 00:22 | So we've got three LFOs, and then you
can see that we've got two envelopes as
| | 00:27 | well, and those can all be assigned in
this Modulation Router to modulate any
| | 00:32 | of these destinations.
| | 00:33 | So let's take a look at what we've got.
| | 00:35 | So if I click on Destination, you can
see that there's all of these choices:
| | 00:39 | Sample Select, Pitch, we've got
Filter Drive, Filter Cutoff, and a whole
| | 00:45 | bunch of others.
| | 00:46 | Then we've got our sources.
| | 00:48 | That's down at the bottom here. So
it can be any of the three LFOs or two
| | 00:52 | Envelopes, Velocity, Pitch Bend.
| | 00:56 | And then we have this Via control,
and this is going to scale the amount
| | 01:00 | of modulation.
| | 01:01 | So if I don't have one of these, so if I
set to the null, these three dashes, then
| | 01:07 | we just have the slider, and the
slider controls the amount of modulation.
| | 01:10 | So if I play a note on the keyboard,
I just get the sine wave, and when I
| | 01:14 | increase the Intensity, I get a
wider range of pitch modulation.
| | 01:20 | So now the way that this via
parameter works--so I'll set this to Ctrl #1,
| | 01:26 | the mod wheel--is you can see now it has this
green portion and the orange portion.
| | 01:31 | So I can set a range that the mod
wheel is going to control the amount of
| | 01:36 | pitch modulation.
| | 01:37 | So I'll set the green portion down to
basically around 0, and then we'll have
| | 01:43 | the orange all the way up close to the
top. So it's going to be an octave range.
| | 01:48 | And so now when I play, I have no
pitch modulation, but I open up my mod
| | 01:52 | wheel, and as I keep opening it, I get
more and more pitch modulation, and it's
| | 01:58 | being scaled.
| | 02:03 | So that's how you can use this
Modulation Router, and it's fun to try with all
| | 02:07 | kinds of different sources and
destinations. And really it's endlessly deep
| | 02:11 | what you can do with it,
| | 02:12 | because you could assign many
different channels here to Pitch.
| | 02:16 | So I could have the Pitch be the
Destination on one of these other channels
| | 02:19 | and I can use an envelope to modulate
it, so you can get layers and layers of modulation.
| | 02:25 | So let's take a look at the LFOs and
actually what's happening with them.
| | 02:28 | So what I am going to do is I am going
to disable this via the Scaling parameter,
| | 02:33 | and so we'll just have a
simple pitch modulation.
| | 02:37 | I'll have it pretty wide,
just so we can easily hear it.
| | 02:40 | So with LFO 1, right now I've got the
rate set to 4.8 Hz and I can increase that
| | 02:46 | rate by moving this to the
right, all the way up to 35 Hz.
| | 02:50 | And when I take this into the center,
it's not even going to be active.
| | 02:56 | And then when I go to the left, it's
going to be in divisions of the beat.
| | 03:00 | So I could have this pitch
modulation happen at eighth notes, so you can hear that.
| | 03:09 | And the other really neat feature
about this particular LFO is that it has an
| | 03:13 | envelope that's attached to it.
| | 03:15 | So it can either decay or delay.
| | 03:18 | So what that means is that we can have
the onset of the modulation sort of be
| | 03:22 | delayed, so you'll have to wait for it.
| | 03:25 | So if I move this envelope to the right,
so you can see I've got this set now to
| | 03:29 | 2 seconds, so 2000 ms.
| | 03:31 | So the modulation is going
to fade in over that time.
| | 03:34 | So I'll play a note and you'll hear it fade in.
| | 03:36 | (music playing)
Right, so the modulation fades in.
| | 03:40 | And so when I move this the
opposite direction to decay, you'll hear it fade out.
| | 03:45 | So it will start with a lot of
modulation, and then the modulation will decrease.
| | 03:49 | So let's set this to a shorter amount of time.
| | 03:51 | (music playing)
So that's pretty neat how that works.
| | 03:56 | It's a good way to be able to
add some shape to your LFO sound.
| | 04:02 | Also with this LFO we can choose a
variety of different waveforms, and that's
| | 04:05 | going to affect the
characteristics of the modulation as well.
| | 04:09 | So right now with this eighth note I've
got this set to a Triangle Wave on this
| | 04:13 | particular LFO, and I could
change that to a Ramp Down.
| | 04:19 | And if I make this slower, you
can hear this a little bit more.
| | 04:23 | And I'll increase the amount of pitch
modulation too. So you can hear it's
| | 04:28 | pitching down again and again and again.
| | 04:30 | I can use the Ramp Up so that it will pitch up.
(music playing)
| | 04:36 | Or if I have a Square Wave, it's going
to jump between two different pitches.
| | 04:39 | (music playing)
| | 04:43 | And if I decrease the Intensity,
it's a smaller range of pitches.
| | 04:47 | And then we've got a Square Wave with
the opposite polarity, so it's going to go down first.
| | 04:52 | And then we have a Sample and Hold
waveform here, so it's going to randomly step
| | 04:58 | between different values.
(music playing)
| | 05:00 | So if I speed this up, you can
hear it's randomly just jumping the
| | 05:06 | different notes.
| | 05:07 | And the last waveform is a Random
Interpolated Waveform, so it's going to
| | 05:11 | smoothly go to random pitches.
(music playing)
| | 05:16 | This almost sounds like a
theremin with the sine wave.
| | 05:19 | (music playing)
| | 05:21 | So one of the unique features of LFO 1
is that it's polyphonic. Each note is
| | 05:26 | going to have its own LFO phase.
| | 05:28 | So if I am playing a note now, I am
actually going to slow down the speed of this.
| | 05:35 | So if I play a note now,
you'll hear the pitch modulation.
| | 05:38 | And if I play another note, it's going
to have pitch modulation as well, but it
| | 05:42 | will be independent in its phase.
| | 05:44 | So you can hear how they're
pitching up and down at different times.
| | 05:49 | I can add in another note,
and those are all independent.
| | 05:54 | So that's the nature of a polyphonic LFO.
| | 05:57 | The other cool thing about LFO
1 is it's also key synchronized.
| | 06:01 | So every time I play a key on the
keyboard, it starts from the beginning of its wave cycle.
| | 06:07 | So here I have this pitch modulation.
Every time I play this, it's starting
| | 06:12 | at the same point.
| | 06:13 | Now, to show you the difference, let's
take a look at LFO 2, because this works
| | 06:17 | a little differently.
| | 06:18 | I can still choose the waveform
and I can adjust the rate and have
| | 06:22 | it synchronize to the beat, but this
is a monophonic LFO, and it's not
| | 06:26 | key synchronized.
| | 06:27 | So let's take a look at that Key
Synchronize parameter so you can see
| | 06:30 | the difference.
| | 06:31 | So I'll set it to a similar kind of rate,
and we'll just swap out LFO 1 for LFO 2
| | 06:38 | as our source for the pitch modulation.
| | 06:41 | So when I play a note, I've still got
pitch modulation, but now when I play it
| | 06:46 | repeatedly, you can hear that every
time I play it, it's in a different part of
| | 06:50 | the phase of the modulation,
so it's not key synced.
| | 06:55 | It's also monophonic too. So if I play
more than one note at time, so if I add
| | 07:00 | in another note, their
phases aren't independent.
| | 07:04 | You can hear it's synchronized.
| | 07:04 | So sometimes that's useful for
things, and sometimes you'll want to use
| | 07:10 | a polyphonic LFO.
| | 07:11 | So LFO 3 works in exactly the same way as LFO 2;
| | 07:16 | it's monophonic and it's not key synced.
| | 07:18 | The only difference is you
can't choose the waveform;
| | 07:21 | it's always just a triangle waveform.
| | 07:23 | Now that we've explored an overview of
the modulation router and we've seen the
| | 07:27 | differences between the three LFOs,
| | 07:29 | let's see how we can use the
envelopes as a modulation source.
| | Collapse this transcript |
| Further shaping with the envelopes| 00:00 | Let's take a look at the envelopes in EXS24.
| | 00:04 | So we've got two envelopes here and
they're both four-stage ADSR envelopes. And
| | 00:09 | Envelope 1 and 2 work in exactly the same way.
| | 00:12 | The difference is that
Envelope 2 is wired to the amplifier,
| | 00:15 | so it's going to control the
shape of the volume of the sound.
| | 00:17 | So I am going to load in a sampler
instrument so that we can experiment with the envelopes.
| | 00:23 | So I'll click up here and I am
going to choose this EXS24 Setup.
| | 00:27 | So these are the sampler
instruments that are associated with the EXS24
| | 00:31 | Setup exercises file.
| | 00:33 | So I am going to choose WaveTable.
| | 00:35 | That's this sound. And let's
take a look at our Amp envelope.
| | 00:40 | So we've got Attack,
Decay, Sustain, and Release.
| | 00:44 | So Attack is the amount of time it
takes for the sound to go from silence to
| | 00:48 | its maximum level.
| | 00:49 | So with a short attack,
that's going to be instantaneous.
| | 00:53 | If I increase the attack time the sound is going to fade in.
(music playing)
| | 00:58 | The other feature about this Attack
slider is that it can be split into two, like
| | 01:03 | this, and I can have Velocity
affect the amount of time of the attack.
| | 01:08 | So if I play soft, I can have a longer attack.
(music playing)
| | 01:16 | And if I play with more force, it's
going to be an instantaneous attack.
| | 01:19 | (music playing)
The next stage of this envelope is Decay.
| | 01:24 | So that's once it reaches maximum level,
the amount of time it takes for the
| | 01:28 | signal to decay or fade back down
to either silence or the sustain level.
| | 01:33 | So right now the sustain level is full,
| | 01:35 | so I am going to bring that down.
| | 01:37 | And let's up the decay and you'll hear
the sound will instantaneously be at its
| | 01:42 | maximum level, and then it will fade
down over the time of 1,152 milliseconds.
| | 01:49 | So let's listen to that. And
I make that decay shorter.
| | 01:56 | Then the next stage is Sustain.
| | 01:58 | So this is a level adjustment.
| | 02:01 | So it's not an amount of time.
| | 02:02 | So this is the volume that it's going
to sustain it as long as I'm holding the note.
| | 02:06 | So let me bring up the Sustain level.
| | 02:09 | So when I play it will sustain at
this volume as long as I hold the note.
| | 02:14 | So if my Sustain level is near its
peak level, there isn't really much the
| | 02:19 | Decay stage can do.
| | 02:21 | So the last stage of this envelope is release.
| | 02:24 | This is once you've let go off the
note how long it takes for it to fade down to silence.
| | 02:29 | So I'll up the amount of release here.
So I am playing the note, and once I
| | 02:34 | let go, you can hear it
takes a while for it to fade out.
| | 02:36 | So that's the release.
| | 02:38 | Envelope 1 works exactly the same as Envelope 2.
| | 02:42 | The only difference is
it's not assigned to anything.
| | 02:44 | So I can assign it in the Modulation Router.
| | 02:46 | I'm going to reset our Amp envelope to
a shape where we've got a high level of
| | 02:52 | sustain and a short release.
| | 02:54 | What I am going to do now is assign
Envelope 1 to our Modulation Router.
| | 02:59 | So what I want to do is
have Envelope 1 modulate pitch.
| | 03:02 | So I'll set our Destination to Pitch,
and our Source is going to be Envelope 1.
| | 03:08 | Then I can adjust Intensity here.
| | 03:11 | This is going to be the range of modulation.
| | 03:13 | So I'll set it up to an octave, so 1200 cents.
| | 03:15 | So now Envelope 1 is going
to work as a pitch envelope.
| | 03:20 | So if I increase the attack, we'll
hear that the pitch will rise. And then
| | 03:28 | it quickly jumps back down to the
note I am playing, because the decay is really short.
| | 03:32 | So if I increase the decay, it's
going to rise and then the pitch is going
| | 03:37 | to fall.
(music playing)
| | 03:41 | So, the Sustain would just adjust the
offset of the pitch from the note that I am playing.
| | 03:45 | (music playing)
It's going to sustain at this pitch here.
| | 03:52 | Then for the Release portion to be
active on Envelope 1 when it's assigned to
| | 03:56 | pitch, I also have to have Release on
my amplifier; otherwise we won't actually
| | 04:01 | hear the Release portion of Envelope 1.
| | 04:03 | So I'll bring up the Amp release, and so
this will be the amount of time the pitch
| | 04:08 | will descend back down to
the note that I am playing.
| | 04:10 | (music playing)
So here is the Sustain, and then I let go and it releases.
| | 04:17 | You can hear it fade down.
| | 04:19 | So that's envelope as applied to pitch
and we can assign it to other parameters,
| | 04:23 | as well, like filter cutoff and
any of the destinations in the list.
| | 04:27 | So there's one other feature about
both these envelopes that I'd like to mention.
| | 04:32 | There's a Curve slider here, and this
adjusts how the attack on both envelopes
| | 04:37 | is going to be shaped.
| | 04:39 | So when it's in the center it's just linear.
| | 04:41 | So let's check this out as applied to
the Amp envelope, because that's going to
| | 04:44 | be the most clear example.
| | 04:46 | So I am going to turn off our modulation.
| | 04:48 | I'll just set it to neutral in the
center here. And if I increase the attack,
| | 04:54 | right now it's going to be a linear fade-up.
| | 04:56 | So we'll just smoothly transition
from silence to the maximum level.
| | 05:00 | (music playing)
| | 05:03 | Now if I adjust this curve to exponential,
it's going to fade up slower, so it's
| | 05:09 | going to be quieter longer, and
then the volume will increase faster.
| | 05:13 | So let's check that out.
(music playing)
| | 05:18 | Then we have the opposite
of that, which is logarithmic,
| | 05:22 | so where it will start to fade up
pretty fast, and then it will slow down its
| | 05:26 | fade until it's reached the maximum level.
| | 05:29 | (music playing)
So that applies to both envelopes.
| | 05:35 | The other one we've got
here is this Time slider.
| | 05:39 | What this is going to do is depending
where we're playing on the keyboard,
| | 05:42 | it's going to modulate how fast it's
going to progress through the envelope.
| | 05:48 | So if I have the Time slider set all
the way to its maximum here, what that means
| | 05:53 | is when I play a low note on the
keyboard, it's going to go through the
| | 05:56 | envelope slower;
| | 05:57 | and if I play up higher in the keyboard,
it's going to go through it faster.
| | 06:01 | So I am going to set a short attack
and no Sustain, short Release, and we'll
| | 06:07 | give it a medium Decay.
| | 06:08 | So if I play a low note, you can
hear it takes a while for it to decay.
| | 06:15 | And now if I play up higher, it's going
to go through this envelope faster, and
| | 06:18 | it will decay quicker.
| | 06:19 | (music playing)
So that's how the Time parameter affects both envelopes.
| | 06:25 | Now that we've explored how
Envelopes 1 and 2 work and how they can be
| | 06:29 | assigned in the router,
| | 06:30 | let's take a look at the next video
at how the global and voice settings
| | 06:33 | affect the sound.
| | Collapse this transcript |
| Adjusting Global voice settings| 00:00 | Let's take a look at the
Global and Voice settings in EXS24.
| | 00:04 | So up top you can see there is three
Voice modes: Legato, Mono, and Poly.
| | 00:09 | Right now we are in Poly mode. That
means we can play polyphonically.
| | 00:12 | So we have our voice setting to 16
voices, but we can up that all the way to 64
| | 00:16 | voices to play 64 voices at once.
| | 00:19 | Mono mode means we can
just play one voice at a time.
| | 00:22 | One of the interesting aspects of
mono mode is that we can retrigger notes.
| | 00:25 | So if I play a note and then I play a
note that's higher and I let go off that
| | 00:30 | higher note, it retriggers the lower note.
| | 00:33 | Legato mode in some ways is similar
to mono, in that it's monophonic, but it
| | 00:38 | doesn't retrigger the envelope when you
are playing notes that are adjacent to
| | 00:41 | each other, in terms of their timing.
| | 00:43 | So if I increase the attack time on
our Amp envelope, the first note that I
| | 00:48 | play, it's going to fade in, but
the following notes, it's not going to
| | 00:52 | retrigger the envelopes, so you'll hear them right away.
| | 00:54 | (music playing)
So now let's take a look at Unison mode.
| | 01:01 | So the Unison mode is going to
stack voices on top of each other.
| | 01:05 | So when I'm in Mono mode what it's
going to do is it's going to look at our
| | 01:08 | voice setting of how many voices we
have and it's going to stack them on top of each note.
| | 01:13 | So I'll have 16 copies of each note that I play.
| | 01:15 | The first thing we'll notice
is it's going to be pretty loud.
| | 01:19 | (music playing)
So it really cranks up the volume.
| | 01:24 | But one thing that I can do that's
kind of neat is if I introduce some
| | 01:28 | randomness, in terms of the tuning, with
this Random tuning parameter, then we
| | 01:31 | can get a pretty thick sound with all
the stacked voices detuning against each
| | 01:36 | other.
(music playing)
| | 01:41 | Unison mode is also applicable in
the polyphonic setting, but it works a
| | 01:45 | little differently.
| | 01:46 | Instead of adding the number of voices
that you have in this voice setting here,
| | 01:50 | it's just going to double up on each voice.
| | 01:53 | So if I'm playing a three-note chord,
I'll get a total of six voices, because
| | 01:56 | it's doubling each note. So let's hear that.
| | 01:58 | (music playing)
So it doubles up on each voice.
| | 02:05 | Over on the left, we have
some more global parameters.
| | 02:07 | We have a Velocity Offset, so I can
offset the incoming velocity, either positive
| | 02:12 | or negative amount, and I can set
it back with this button right here.
| | 02:15 | I can also determine what
going to be the Hold parameter.
| | 02:18 | So typically, that's assigned to a pedal.
| | 02:20 | It's known as Sustain pedal, and that's
usually Ctrl #64, but I can
| | 02:24 | send that to any other MIDI control.
| | 02:26 | I can also introduce an amount of
cross-fade between Velocity layers, and I can
| | 02:30 | do that right here.
| | 02:31 | I can choose the cross-fade type.
| | 02:32 | If we go over to the far right,
we have the Amplifier section.
| | 02:36 | So here we can adjust our Output level.
| | 02:39 | We can also have Velocity control
some amount of our Amplifier level.
| | 02:43 | So that's the split right here.
| | 02:45 | So here's the minimum
level, and here's the maximum.
| | 02:47 | One of the other interesting
features of the amplifier section is this key scaling.
| | 02:51 | So I give this a positive amount, and
what that means is notes that are in
| | 02:55 | higher octaves on the keyboard are
going to be louder than notes that are in lower octaves.
| | 02:59 | If I give it a negative value,
it's going to be the reverse of that;
| | 03:02 | so that means that the lower octaves are
going to be louder than higher octaves.
| | 03:05 | Now that we've explored the Global
and Voice settings as well as the other
| | 03:09 | parameters of EXS24, let's hear a
musical example of EXS24 in action.
| | Collapse this transcript |
| Composing with the EXS24| 00:00 | So here I have a musical example
that has several instances of EXS24.
| | 00:05 | So there are six of them right here,
and then you can see that I have got an
| | 00:08 | audio track up top, and that's just
providing some additional percussion.
| | 00:12 | So let's listen to it, and then I
will talk you through the sounds.
| | 00:15 | (music playing)
| | 00:52 | So the first instrument we have here
is just this DrumsElectro, and if we take a
| | 00:57 | look, that's just a kick and two snares.
| | 01:00 | (music playing)
| | 01:03 | So a very simple map, and nothing really
else going on, but it's a cool pattern, so I
| | 01:07 | will just play that for you.
(music playing)
| | 01:13 | So that kind of blends in with
the other drums that we have got.
| | 01:16 | The next instrument that's right
below it is this European Folk kit.
| | 01:20 | (music playing)
| | 01:22 | So this is part of the factory library that
comes with Logic, but what I did is I
| | 01:27 | modified this one and I actually
tuned this down nine semitones.
| | 01:32 | So if I tune it back, it kind of sounds
like a cowbell, and listen, it kind of
| | 01:36 | stands out in a bad way.
| | 01:38 | (music playing)
It's like out of tune with rest of the song.
| | 01:42 | Right, so if tune this back down, then it's
in the key of the song and it blends right in.
| | 01:52 | And then I have another instance of
that European Folk kit, and this one just
| | 01:58 | providing a kick and this really reverb snare.
(music playing)
| | 02:03 | The point of this was to blend with
these Electro drums, so check this out.
| | 02:06 | (music playing)
| | 02:14 | So I get this big reverb
blast from this European Folk Kit.
| | 02:19 | So again, this is just part
of the EXS24 factory library.
| | 02:24 | That's called European Folk, and then I
labeled it Modified, just because I had
| | 02:27 | changed a couple of things. If you take a look, you
can see it's a very sophisticated patch: lots of zones,
| | 02:34 | lots of groups. But I didn't
really set any of this stuff up.
| | 02:37 | I just used it. So the next track that we have
is this ElectroBass down here.
| | 02:44 | This one is kind of interesting.
| | 02:46 | (music playing)
It's this kind of distorted bass sound.
| | 02:52 | (music playing)
| | 02:55 | This one is actually made
from a kick drum sample.
| | 02:57 | So if I open up this instrument here and I
open up the sample mapping, you can see
| | 03:03 | that I have one zone that's called
TrifonKick, and that's actually the same kick
| | 03:07 | drum that's in this DrumsElectro track.
| | 03:09 | And so I'll pull this up in the
Sample Editor just so you can see that.
| | 03:15 | Now if I listen to this--
| | 03:17 | (music playing)
--it's just a kick drum.
| | 03:19 | But notice here is my loop point.
| | 03:21 | So I have got this really short loop point.
| | 03:23 | That's what gives it the pitch sound.
| | 03:25 | So if I pull back up the instrument
here, you can hear that there is quite a
| | 03:29 | bit of movement.
| | 03:30 | So if I play a note--
(music playing)
| | 03:32 | --it has this wobbliness to it.
| | 03:35 | That has to do with the filter.
| | 03:36 | So I have got LFO 1
modulating the filter cutoff.
| | 03:39 | I also have quite a bit of drive, so
that the input of filter is overdrive.
| | 03:43 | If I turn off the filter,
here is what it sounds like.
| | 03:47 | (music playing)
| | 03:50 | So it's still kind of a thick sound, but
not the same amount of movement as now.
| | 03:53 | (music playing)
| | 03:56 | I also have six unison voices happening,
so that helps make it thick as well.
| | 04:02 | Then on that same channel I have got
an EQ where I'm cutting out the real
| | 04:06 | lows, because even though this is kind
of a bass sound, it's really more of a mid-range sound.
| | 04:10 | So I didn't need all this low-
frequency energy. But I emphasized the mid
| | 04:13 | range of this EQ boost.
| | 04:16 | And then beneath that we've got this WeirdSynth.
| | 04:19 | So this is a sampler instrument that
I made from a sound that I have in the EVOC 20.
| | 04:24 | So let's hear this.
| | 04:25 | (music playing)
| | 04:28 | And this blends in well
with that ElectroBass, right.
| | 04:31 | (music playing)
Hear out those, they kind of have a similar tonality.
| | 04:35 | So a lot of this sound has to do
with the effects on the channel.
| | 04:41 | So I have got a Ringshifter, which
is Logic's frequency shifter and Ring
| | 04:45 | Modulator, and then I have got a Space
Designer reverb, a three-second reverb,
| | 04:50 | and then I have a tremolo here,
so it's amplitude modulation.
| | 04:55 | But I have the Phase set apart
180 degrees, so each time it pans back and forth,
| | 05:00 | left and right.
| | 05:01 | So that gives the movement.
| | 05:03 | If I play this sound, you can listen to
the panning. It's all over the place.
| | 05:07 | So if I turn off these effects,
it's a lot more of a static sound.
| | 05:12 | (music playing)
| | 05:14 | It's still pretty thick though, and that has
a lot to do with this source material.
| | 05:18 | Also, I have this Unison
mode on in the Detuning.
| | 05:20 | So if I turn off Unison--
(music playing)
| | 05:24 | --that sounds like that.
(music playing)
| | 05:27 | So here it is with Unison once again.
| | 05:28 | If we look at the mapping, very simple.
Just one zone. It's from the EVOC 20.
| | 05:33 | So I open this up here.
| | 05:35 | So it shows up in the Sample
Editor, and here is the sound.
| | 05:38 | (music playing)
| | 05:42 | In fact, they are pretty long sound,
but I just used a portion of it.
| | 05:46 | You can see here is my loop point.
| | 05:47 | It loops from here to here.
| | 05:52 | The next instrument we have
here is one of my favorites.
| | 05:54 | This is the Pad_Trifonic.
| | 05:58 | So this is a sound that I have made.
| | 06:00 | It's a combination of an erhu, which
is like a Chinese violin, and a flute.
| | 06:06 | So if we take a look at how this is
mapped, you can see I have two groups.
| | 06:15 | I have a group for the erhu
and a group for the flute.
| | 06:20 | In each of those groups I have a couple
of zones assigned, and these groups have
| | 06:24 | different velocity settings.
| | 06:26 | So my erhu group starts at velocity 0
and goes to 64, and then the flute group
| | 06:33 | is from velocity 65-127.
| | 06:36 | So when I play soft, I hear more
erhu, and when I play louder, I hear
| | 06:39 | more flute.
| | 06:40 | If we go to the Parameter window here,
on the instrument, really not much is happening.
| | 06:47 | I just have a long release, because
with pad sounds typically you want a slow
| | 06:51 | attack and a long release.
| | 06:53 | The audio files themselves have a
slow attack, so I didn't need to set that
| | 06:57 | in the amp envelope. So let's listen to that.
| | 06:59 | I will just play this sound, so I
can play it on the keyboard here.
| | 07:03 | (music playing)
| | 07:06 | We hear that's very well blended.
| | 07:09 | And actually one more thing on the
interface. Part of that blend is because I
| | 07:12 | have a cross-fade between the velocity layers.
| | 07:15 | So between the erhu and flute, I
have this cross fade, and that helps the
| | 07:18 | transition be really smooth.
| | 07:22 | And last but not least, I
have this audio file up top.
| | 07:24 | So this is just small percussion stuff.
| | 07:28 | It's actually from an
Apple loop where I cut it up.
| | 07:33 | I have this high-pass filter, so
that it just sort of blends in with
| | 07:35 | the background.
| | 07:36 | It just adds like more
business to the percussion.
| | 07:39 | If I get rid of this high-pass filter on
the EQ then it takes up too much space,
| | 07:44 | because there is too much low end, right.
(music playing)
| | 07:47 | So you can hear that kick drum and all
that other stuff, and that's going to
| | 07:49 | clash with the rest of percussion.
| | 07:51 | So with a high-pass Filter,
it blends in really well.
| | 07:55 | (music playing)
| | 08:01 | And so I cut slices in here and
deleted them so that I have these gaps.
| | 08:06 | That's to make room for the rest of
these drums, because I wanted this all to
| | 08:09 | fit together really tightly.
| | 08:11 | So sometimes that's a good
thing to do to tighten things up.
| | 08:14 | (music playing)
| | 08:19 | So hopefully that gives you a sense of
the range of what you can do with EXS24,
| | 08:23 | in terms of the sounds and some creative ideas.
| | 08:26 | So let's hear it in context one more time.
| | 08:28 | (music playing)
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|
|
9. EVB3 Tonewheel OrganGetting started with EVD6| 00:00 | The EVB3 emulates the sound and
features of the Hammond B3 organ and Leslie
| | 00:05 | rotating speaker cabinet.
| | 00:07 | The Hammond B3 was manufactured
between 1955 and 1974 and popularized by jazz
| | 00:13 | and rock organ players, such as Fats
Waller, Jimmy Smith, and Keith Emerson.
| | 00:18 | The EVB3 simulates an organ with two
manuals, or keyboards, and a pedalboard, each
| | 00:24 | which can have its own
registration or sound setting.
| | 00:27 | Ideally the EVB3 is played with two
full-size keyboard MIDI controllers and
| | 00:32 | a MIDI pedalboard.
| | 00:33 | Of course, not everyone has two
keyboards and a pedalboard lying around, so
| | 00:37 | fortunately EVB3 allows you to play all
registers with a single master keyboard.
| | 00:43 | The EVB3 generates sound
using physical modeling synthesis.
| | 00:46 | It faithfully replicates the tone
wheel generators of a Hammond organ down to
| | 00:50 | the smallest detail, including the
quirks such as noise, crosstalk, and
| | 00:54 | scratchy key contacts.
| | 00:56 | Fortunately, you can adjust the
intensity of these quirks to match your taste,
| | 01:00 | so let's take a look at the layout of the EVB3.
| | 01:02 | So in the top center here
we have the Drawbar settings.
| | 01:06 | These are used to make
changes to the basic organ sound.
| | 01:09 | Beneath that we have the Preset and
Morph parameters, so we can store the
| | 01:13 | drawbar presets for the upper keyboard
and for the lower keyboard, and we have a
| | 01:18 | Morph parameter here in the center.
| | 01:20 | To the left, we have the built-
in scanner, vibrato, and chorus.
| | 01:24 | Those can be applied to the upper
and lower keyboards individually.
| | 01:28 | Over on the right side we
have the Percussion parameters.
| | 01:31 | So now if we move down to the center
here, we have some global parameters that
| | 01:35 | have to do with the expression
and volume of the instrument.
| | 01:39 | So now if we open up the hood here,
we have more specific parameters to our
| | 01:44 | EVB3 model. So we have the Pitch
controls, which are going to adjust the tuning
| | 01:48 | of the instrument.
| | 01:49 | Next to that we have the Condition
parameters, and these are going to affect the
| | 01:53 | age of the instrument and how much
crosstalk and noise that it has.
| | 01:57 | The next column here is the Organ
parameter, so this where we're going to adjust
| | 02:01 | the number of tone wheels
and the general tonal balance.
| | 02:04 | Next to that we have our Sustain and
Release parameters, and over on the right
| | 02:08 | side we have the Effects section.
| | 02:10 | So if we look up top, you can see we
have EQ and then we have a reverb and
| | 02:15 | beneath that we have a Wah effect and
Distortion and we have an emulation of a
| | 02:20 | rotating Leslie speaker cabinet,
so that's all these parameters here.
| | 02:25 | On the bottom left we have
our extended MIDI parameters.
| | 02:28 | So this is where we can determine how
we want our MIDI keyboard controller to
| | 02:32 | interface with the EVB3.
| | 02:33 | So let's hear what the
EVB3 sounds like in action.
| | 02:37 | I have a musical example here, where
I have a number of instances of EVB3 creating
| | 02:42 | all the sounds, except for the
drums which are created by Ultrabeat.
| | 02:45 | So check out what we can do with EVB3.
| | 02:47 | (music playing)
| | 03:50 | So now that we've heard what EVB3
sounds like and we've taken a tour of the interface,
| | 03:54 | in the next video let's explore how
to generate sound using the drawbars.
| | Collapse this transcript |
| Synthesizing with the Drawbars| 00:00 | Let's take a look at the
drawbar parameters of the EVB3.
| | 00:03 | The drawbars create our organ tone, so
we have nine upper drawbars for our upper
| | 00:08 | keyboard, and we also have nine lower
drawbars for our lower keyboard, and we have
| | 00:13 | two for the foot pedals.
| | 00:14 | So our drawbars flow from left to right.
The left one is the lowest frequency
| | 00:19 | and the right is the highest.
| | 00:20 | I'll go ahead and play a note, and I'll
pull down one of these drawbars, and we
| | 00:24 | (music playing)
hear sound is fading in.
| | 00:27 | It's kind of like a reverse volume
fader, in that when I pull it down, the
| | 00:31 | volume increases; when I
push it up, it decreases.
| | 00:34 | So let's bring in some of these other harmonics.
(music playing)
| | 00:43 | You can see the pitch increases from
left to right, although this second drawbar
| | 00:46 | here is actually a fifth higher than the third.
(music playing)
| | 00:52 | So when I pull those down one at a time,
it almost sounds more like a chord than
| | 00:56 | just the timbre of the sound.
| | 00:58 | But check this out.
| | 00:59 | If I play a couple notes, it doesn't
really sound like a chord, does it?
| | 01:03 | It's just when you hear the
harmonics being added and subtracted, then
| | 01:06 | you really notice them.
| | 01:08 | When you're just playing it in a phrase,
they don't stand out as much. It's just
| | 01:11 | perceived as the timbre of the sound.
| | 01:14 | So essentially what we're doing by
adjusting the levels of the drawbars and
| | 01:17 | therefore adjusting the levels of the
various harmonics is additive synthesis.
| | 01:21 | We are adding in harmonic
components to change the timbre of the sound.
| | 01:25 | Depending on our drawbar settings, we can
pretty much lay down the foundation for
| | 01:29 | any type of organ sound.
| | 01:30 | So now the lower drawbars work exactly
the same as the upper drawbars. It is the
| | 01:35 | same number--there are nine of them--and
they're tuned in exactly the same way.
| | 01:40 | In order to have access to the sound
of the lower drawbars, what we're going
| | 01:43 | have to do is have our MIDI
controller set to Channel 2, because remember,
| | 01:48 | ideally you have two different keyboards
and then a foot controller, and so all of
| | 01:52 | this would be on three different MIDI channels.
| | 01:54 | So we'd have the upper keyboard on
MIDI Channel 1, the lower keyboard on MIDI
| | 01:59 | Channel 2, and the pedals on MIDI Channel 3.
| | 02:03 | So of course, not everyone has that many
keyboards, so the quick solution for now
| | 02:07 | is to just change the MIDI
channel on our MIDI controller.
| | 02:10 | What I'm going to do is go ahead and
change my MIDI Channel to MIDI Channel 2.
| | 02:16 | If you're not sure how to change the
MIDI channel on your keyboard controller,
| | 02:19 | make sure to check out the
manual that came with it.
| | 02:21 | It will have that information in there.
| | 02:24 | So now with Channel 2 when I play the
keyboard, I'm not hearing anything until I
| | 02:27 | pull down the drawbars, and then I can
shape the timbre of the sound right here.
| | 02:35 | If I want to hear the foot pedals, I'm
going to set my keyboard controller to
| | 02:39 | MIDI Channel 3. And so now when I play,
I can pull down this drawbar here.
| | 02:45 | You can you hear I've got this low
frequency here, and this is mainly focused on
| | 02:49 | the octave harmonics.
| | 02:50 | If I pull this next one down, it's
merely bring out the fifth harmonics.
| | 02:56 | So we have explored how we can use the
drawbars to add and subtract harmonics and
| | 03:01 | change the timbre of the sound.
| | 03:02 | In the next video let's explore how to
store, trigger, and morph our drawbar
| | 03:07 | registrations to the preset keys.
| | Collapse this transcript |
| Utilizing the Preset Keys and Morph Wheel| 00:00 | Let's take a look at preset keys in the
EVB3. And these are going to recall and
| | 00:05 | store the different drawbar
settings, known as registrations.
| | 00:09 | So we have this row here for the upper
drawbars and for the upper keyboard, and
| | 00:14 | we have this other row for the lower keyboard.
| | 00:17 | We also have this Morph parameter in
the center that's going to allow us to
| | 00:19 | morph between different
upper drawbar registrations.
| | 00:23 | I have this first preset key
selected right here, and if I adjust these
| | 00:27 | drawbars--so I'll pull them down--
| | 00:30 | you can see that it's mimicked here on
this preset key, and so I can click on
| | 00:34 | this other ones and that will
trigger different drawbar settings.
| | 00:38 | So if we take a look at the original
B3, you can see that the lowest octave
| | 00:42 | here, the color of the keys, is inverted.
| | 00:44 | We have black keys and we
have white sharps and flats.
| | 00:48 | These are the preset keys on the B3,
and pressing them recalls different
| | 00:52 | drawbar registrations.
| | 00:54 | This functions in the same way on the EVB3.
| | 00:57 | So the organ notes go all the way
down to the note C1, but below that, to
| | 01:02 | the octave of C0 to B0 is going to
trigger the preset keys, and this lowest
| | 01:07 | note is the Cancel key. And when I
click that, it sets all the drawbars back
| | 01:12 | to its minimum.
| | 01:13 | So when I play in the octave of C0 to
B0, if I play C0, it's the Cancel key.
| | 01:19 | C# is my first registration, D is
my second, and I just continue to
| | 01:25 | play chromatically. You can
see I'm going to the presets.
| | 01:27 | So all the way up till I get to B0,
when I go above that I'm in the range of
| | 01:33 | the organ, because I'm at C1.
| | 01:35 | So the cool thing is I can play some
notes with my right hand, and then I can
| | 01:40 | trigger different registrations
with my left hand in that low octave.
| | 01:42 | (music playing)
| | 01:48 | So you can get some pretty
cool musical effects with that.
| | 01:51 | Another trick that I can do is if hold
down the Cancel key, so that C0, and
| | 01:55 | then I play a chord with my right
hand and then I continue to hold down the
| | 02:00 | Cancel key, but I trigger other
preset keys with my left hand, so in this
| | 02:03 | low octave.
(music playing)
| | 02:07 | Here I get this skated affect,
because every time I change registration, it
| | 02:11 | retriggers the chord.
| | 02:12 | So the next thing I can do is I can
morph between my different presets.
| | 02:18 | So what happens is my morph is going to
go from the note B0 in the direction of
| | 02:23 | the left, and I can set the range of
that down below. So I've got this user
| | 02:28 | preset morph here, and I've got this
range. So right now it's set to off, but if
| | 02:32 | I click on this menu here, I can set
the range that I want the morph to happen.
| | 02:37 | So for example, if I set the range all
the way down to C#, then I'm going
| | 02:43 | to morph between B0 and all of the
drawbar settings down to the C# note, so
| | 02:49 | let's check that out.
I'll go ahead and I'll play a note.
| | 02:51 | I'm going to move this morph wheel here.
(music playing)
| | 02:55 | You can see it morphs between the
settings. And this is kind of like less of a
| | 03:01 | morph and morph of step, and the reason
for that is if we look right below, I've
| | 03:05 | got a mode setting here.
| | 03:07 | So right now it set to Step, but I can
change that by clicking on it to Linear,
| | 03:11 | so now it's going to be a smoother transition.
| | 03:12 | (music playing)
| | 03:17 | So if I want to tab less range for my
morph, I could set it to B0 to A# 0,
| | 03:23 | so I'll set my range to A#. So now
it's just going to transition from these
| | 03:29 | two notes. So you can see it is
a much more subtle of a setting.
| | 03:35 | Now if I come up with some really cool
sound while I'm morphing, so let's I'm
| | 03:39 | somewhere in between the
two and this sounds good,
| | 03:41 | I can actually save this
to one of the preset keys.
| | 03:44 | So the way I do that is I go over to
the right here in the Save to menu and then I
| | 03:48 | choose what preset key I want to save it to.
| | 03:51 | So I'm going to save this to C# and
so that's saved it to C#, and I can
| | 03:55 | go and check and click, and there it is.
| | 03:57 | And the other parameter we have here is
we can have a MIDI controller control
| | 04:02 | this morph parameter.
| | 04:03 | So right now it's set to ModWheel, but if
I want to change it to something else, I
| | 04:07 | could learn it to MIDI controller.
| | 04:08 | Right now I'm going to have it be ModWheel.
| | 04:10 | So now if I play a note, and I move
my ModWheel, you can see it's going to
| | 04:15 | morph between settings.
| | 04:16 | Now that we've explored how to
store, trigger, and morph our drawbar
| | 04:22 | registrations settings,
| | 04:23 | in the next video let's take a look at
how we can add some movement, depth, and
| | 04:27 | punch to the sound with the
scanner, vibrato, and percussion effects.
| | Collapse this transcript |
| Adding Vibrato and Percussion Parameters| 00:00 | If you look to the right of the
drawbar settings, we have the Scanner Vibrato
| | 00:04 | and so we can have a
vibrato or a chorus effect here.
| | 00:08 | So first let me get a sound happening,
so I'll click on of these preset keys, and
| | 00:11 | I'll you play some notes.
| | 00:13 | Okay, there we go. And then in the
Vibrato section here, I'm going to want to
| | 00:17 | choose, which manual do I want this to affect?
| | 00:19 | So I do want it to affect the
upper keyboard or the lower keyboard or obviously both.
| | 00:24 | So I just wanted to affect the
upper, so I'm going to turn off Lower.
| | 00:27 | Then what I'm going to do is I'm
going to set it to our first vibrato settings, so that's V1.
| | 00:31 | So now when I play, we can hear a little
bit of pitch modulation of the Vibrato.
| | 00:39 | I can adjust the rate with this Rate slider.
| | 00:41 | So next we have Chorus 1, which is a
Chorus effect, so you can hear it's a
| | 00:48 | modulation effect and I adjust the
rate also with the Rate parameter.
| | 00:53 | With Chorus, I can adjust the chorus
amount right here, so I can have no chorus
| | 00:58 | or increase the level of it here.
| | 01:00 | Then we have Vibrato 2, so this is a
little bit more of an intense Vibrato
| | 01:04 | than Vibrato 1.
(music playing)
| | 01:08 | And we have Chorus 2, which is a bit
more intense of a chorus than Chorus 1.
| | 01:12 | (music playing)
| | 01:15 | Then we have the third
vibrato, which is the most intense.
| | 01:19 | So you can hear that's a much wider
pitch modulation happening, and then Chorus
| | 01:23 | 3 is more intense as well.
(music playing)
| | 01:26 | So it just has more movement to the sound.
(music playing)
| | 01:29 | And then I can set this to C0, and what
that means is that there's going to be no
| | 01:34 | chorus or vibrato affecting the sound.
| | 01:36 | So now keep in mind when you have the
Chorus or Vibrato active, it's going to be
| | 01:42 | boosting the high frequencies of your sound.
| | 01:44 | So even when I have this set to C0,
it's still going to be boosting the high frequencies.
| | 01:50 | Now if I turn off this whole Vibrato
and Chorus section, you can hear that it's
| | 01:55 | a little bit darker of a sound.
So I'll turn it back on. It's brighter.
| | 01:59 | So that's a good reason to actually
leave this on but just have it set to C0
| | 02:02 | so you don't have any modulation but
you get the benefit of the EQ boost.
| | 02:08 | So now if we take a look at the right
side, we have the Percussion parameters.
| | 02:13 | So what this will do is it will add a
little bit of punch to the beginning
| | 02:15 | of the sound.
| | 02:16 | So, I have to turn it on, and it's
going to generate the second, or if I click,
| | 02:21 | the third harmonic, during
the attack stage of the sound.
| | 02:24 | So let's just start with the second
harmonic, and I'm going to turn up the volume
| | 02:29 | of the percussion here.
(music playing)
| | 02:31 | So you can hear it has a lot of punch
now. And then I can switch the harmonic
| | 02:36 | here, so I'll change it to third harmonic.
| | 02:38 | (music playing)
| | 02:41 | And then what I can do is adjust
the decay time of this percussion.
| | 02:44 | So right now it's pretty short, 160
milliseconds, but I can make this longer.
| | 02:48 | (music playing)
| | 02:49 | Right, so can hear that's much
longer. And then I can control the velocity
| | 02:53 | response of this Percussion effect.
| | 02:56 | So if I increase this, that means it's
going to respond to, if I play it softly--
| | 03:00 | (music playing)
versus playing with more force.
| | 03:04 | Over in the end here we have the Up
level, and that has to do with the volume of
| | 03:10 | the organ sound versus the percussion sound.
(music playing)
| | 03:13 | So if I turn this all the way down
we're just hearing the percussion.
| | 03:16 | (music playing)
If I turn this up we can hear the both.
| | 03:18 | So one of the interesting things
that we can do with this Percussion
| | 03:21 | parameter is up the Decay time all
the way to the maximum amount, that's
| | 03:26 | called Paradise.
| | 03:27 | And so what happens here is that the
Percussion note won't decay at all. So if I
| | 03:32 | play a note and hold, here it just rings out.
(music playing)
| | 03:35 | So right now it's pretty loud.
| | 03:37 | So what I'm going to is I'm going to
turn down the level of our organ sound,
| | 03:40 | so that's the Up level, so I'll turn
that down, and also turn down the level of
| | 03:44 | our Percussion sound.
| | 03:45 | (music playing)
| | 03:50 | So it's kind of neat. It adds in like a
whole voice. So if I get the right blend
| | 03:53 | with our organ sound--
(music playing)
| | 03:56 | I can hear both of them. And what's
particularly interesting about this is if I
| | 04:02 | actually turn on a Vibrato or
Chorus--so I'll turn on Chorus--
| | 04:07 | the Chorus and Vibrato is only
going to affect the organ portion, not
| | 04:11 | the percussion.
| | 04:12 | (music playing)
| | 04:13 | So I'll turn down the Percussion for a
moment. So can you clearly hear the organ
| | 04:19 | portion has Vibrato on it, but if I
turn up the Percussion, you can hear that
| | 04:24 | there's no Vibrato on that.
| | 04:26 | So as you can see, we can add a lot of
punch to the sound with the Percussion
| | 04:29 | parameters, and we can use the Vibrato
and Chorus effects to add movement and
| | 04:33 | modulation to the sound.
| | 04:35 | In the next video let's explore how we
can use the Global Tone parameters and
| | 04:39 | the Model parameters to
customize our EVB3 settings.
| | Collapse this transcript |
| Customizing the Pitch and Condition Parameters| 00:00 | In the center of the EVB3 interface, we
have a couple of global parameters here.
| | 00:05 | So I'm going to go ahead and set up
a drawbar registration. I'm going to press
| | 00:08 | this Preset key.
(music playing)
| | 00:11 | Now I can play a sound. And on the left
here we have a fine-tuning adjustment, so I
| | 00:15 | can tune the whole
instrument up, plus or minus 50 cents.
| | 00:18 | (music playing)
| | 00:20 | And to reset any of this settings back
to the original, I just Option+Click.
| | 00:25 | Next, we have Click On and Click Off parameters.
| | 00:28 | These are there to re-create the
scratchy key contacts on the original B3.
| | 00:33 | So click on as to do with when I hit a
note, and it's the click that makes the
| | 00:36 | beginning of the sound. So I'm
going to turn up the Click On.
| | 00:39 | (music playing)
You can hear there is a quite bit a click.
| | 00:42 | If I turn it down, there is a lot less.
(music playing)
| | 00:46 | Click off has to do with the release
click, so that's when I let go of the note
| | 00:50 | and makes a second click.
| | 00:51 | So if I turn that up, you can hear
when I let go of the note it makes a
| | 00:55 | little scratch or click.
| | 00:56 | Notice if I've Click on and Click off
set to the same value, the Click off is
| | 01:01 | always quieter, and that's
true with the actual B3 as well.
| | 01:05 | So if I play, here my Click on is
definitely louder then the Click off.
| | 01:09 | Next, we have Pedal Click, so this is a
click caused by using the foot pedals.
| | 01:14 | Here we have the Expression
sensitivity control. So what this refers to is if you
| | 01:19 | have an expression pedal that's
hooked up to your MIDI keyboard,
| | 01:22 | this will adjust the
sensitivity of it right here.
| | 01:24 | At the very center we have the Volume
control, so here's where we can control
| | 01:27 | the output level of the EVB3.
| | 01:29 | So now if we want to dig in deeper and
customize the model a bit more, what we
| | 01:34 | have to do is open up the hood here,
and you can see we have more parameters.
| | 01:38 | So we have this column here,
and these are pitch parameters.
| | 01:42 | Then we have condition parameters that
have to do with the physical condition
| | 01:46 | and the age of the instrument.
| | 01:47 | Next to that we have the organ
parameters that have to do with the tonal color
| | 01:50 | and balance of the sound.
| | 01:52 | We have the sustain and release
parameters here, and then this whole right side
| | 01:57 | is our Effects section.
| | 01:58 | So let's focus on the left side here.
| | 02:01 | With the pitch parameters, we've got
upper stretch, and so what that refers to
| | 02:05 | is the amount of deviation
from equal-tempered tuning.
| | 02:08 | So if we are playing high notes on the
keyboard, what it's going to do when I
| | 02:12 | give this more upper stretch amount is
it's going to tune them further sharp.
| | 02:18 | Lower stretch works in the opposite
way, so it's also deviating from equal-
| | 02:21 | tempered tuning, but it's going to
take the low notes and it's going to make
| | 02:25 | them more flat.
| | 02:27 | The warmth parameter introduces a random
amount of deviation from equal-tempered
| | 02:31 | tuning, so the more warmth I
give it, the more deviation it has.
| | 02:35 | This allows for a bit more
character of the sound, so we get a bit of
| | 02:38 | detuning between the notes.
| | 02:42 | Sometimes you can have too much
warmth parameter and stretch-tuning and the
| | 02:46 | instrument it can actually sound out
of tune, so you just want to be aware of that.
| | 02:49 | Beneath that we have pitch bend, so we
have pitch bend up and pitch bend down.
| | 02:54 | The original B3 do not have any pitch
band, but in the EVB3 we can bend up, up
| | 02:59 | to an octave, so 12 semitones, and we
can pitch down also in semitones, so down an octave.
| | 03:07 | If I go past an octave here, you can
see the setting is called Break. So if I
| | 03:11 | move the pitch wheel down, it's going to
stop the tone wheels from spinning, and
| | 03:15 | we get an extreme pitch
change, so let's check that out.
| | 03:18 | (music playing)
Right, so it's pretty extreme.
| | 03:22 | Beneath that, we have the transposition
for the upper manual, the transposition
| | 03:28 | for the lower manual, and the
transposition for the pedals, so you can transpose
| | 03:32 | each of those, either up two
octaves or down two octaves.
| | 03:38 | So in this condition row here, we have
a number of parameters that have to do
| | 03:41 | with the age and the physical
condition of the instrument.
| | 03:45 | So first we have these Click parameters.
| | 03:48 | These work in conjunction with
our click parameters that are above.
| | 03:51 | So what we can do is set a Click Min
and Click Maximum, so this is the decay time
| | 03:56 | for the clicks that are caused
by the bad key contacts in the B3.
| | 04:01 | So Click Min I can set all the way
up to 20 milliseconds or down to 0
| | 04:05 | milliseconds. I'll set it in
the middle. And Click Max
| | 04:08 | I can set the same distances. So
what I'm going to do is set that to its
| | 04:12 | maximum, so 20 milliseconds.
| | 04:15 | Click Color is going to adjust the
frequency emphasis of the click sounds, so
| | 04:18 | let's hear what these sound like.
(music playing)
| | 04:21 | Now I've got a brighter click. So each
time I play a note, the click sound is
| | 04:25 | going to be between 10
milliseconds and 20 milliseconds in length.
| | 04:29 | Beneath that we have the Drawbar Leak parameter.
| | 04:33 | When you have an actual B3 and the
drawbars are all the way pushed in at the
| | 04:37 | minimum, it's not silent.
| | 04:39 | You can still hear a little bit
from the drawbars, so that's called drawbar leak.
| | 04:44 | So if I set a registration here where
all the drawbars are at the minimum and I
| | 04:49 | play a note, we have absolute silence.
| | 04:52 | Now if I increase the drawbar leak
right here, you can hear faintly in the
| | 04:58 | background, there is a little
bit of sound from the drawbars.
| | 05:01 | So I'll go back and change our
registration to something different, and we'll move
| | 05:05 | on. So I'll turn down the drawbar leak.
| | 05:07 | So next, we have Leakage.
| | 05:09 | So this is leakage from the tone wheels.
So notice when I increase this, you just
| | 05:15 | get a lot more noise in the signals, so
this is tone wheels and we can hear that
| | 05:19 | sound leaking to other
tone wheels, so I can turn that down.
| | 05:24 | Next we have crosstalk.
| | 05:25 | Crosstalk refers to an interaction
between low and high tone wheels, so we get a
| | 05:30 | little bit of crosstalk between the two.
| | 05:31 | So if I play a high note on the keyboard--
(music playing)
| | 05:35 | --you can hear a little bit of low rumble
underneath it. So that's the crosstalk
| | 05:38 | between the low and high tone wheels.
So if I turn this down, then we don't have
| | 05:46 | that rumble anymore.
| | 05:47 | So Random FM emulates grease and grime
on the tone wheels. So the more Random FM
| | 05:53 | I give it, the more grimy our tone wheels are.
| | 05:56 | We'll notice this on higher notes, so
if I play, we get a little bit of pitch
| | 06:01 | modulation and pitch warble.
| | 06:03 | That's the Random FM.
| | 06:03 | That's from grease and grime. So I'll
reduce that, and we can hear there is
| | 06:08 | less warble now.
| | 06:10 | And the last parameter we have in this
condition section is the Filter Age. So
| | 06:15 | what this emulates is the age of the
capacitors that act as band-pass filters on
| | 06:21 | the original B3 organ.
| | 06:23 | So what happen is over time the center
frequency of the band-pass filter that's
| | 06:27 | filtering the tonewheels,
| | 06:29 | it would change, so this Filter
Age emulates that characteristic.
| | 06:32 | So I can adjust this here.
(music playing)
| | 06:36 | You can hear the band-pass
filters are changing their tonal center.
| | 06:40 | (music playing)
| | 06:42 | So you can see by combining these
condition characteristics and customizing
| | 06:47 | our pitch parameters, we can really
bring out some of the character and quirks
| | 06:50 | of the original B3.
| | 06:52 | In the next video, let's customize
our organ model further by adjusting the
| | 06:56 | organ, sustain, and effects parameters.
| | Collapse this transcript |
| Adjusting the Organ and Sustain Parameters| 00:00 | Let's take a look at some more of the
model characteristics of the EVB3. So
| | 00:04 | I'm going to open up the hood. And
we've already taken a look at the Pitch and
| | 00:07 | Condition columns,
| | 00:09 | so now let's take a look at
the Organ and Sustain columns.
| | 00:12 | So the Organ parameters have to do with
the tonal balance of the organ and a lot
| | 00:16 | to do with the tone wheel emulation.
| | 00:18 | So what I'm going to do is set up a
drawbar registration so that we have a
| | 00:22 | basic sound to work with.
| | 00:24 | So I've got this one here.
| | 00:25 | (music playing)
| | 00:27 | And so the first parameter we have is
the number of tone wheels that the EVB 3
| | 00:32 | is going to emulate.
| | 00:33 | So the parameter is called Max Wheels,
and right now it's set to 91, so that's a
| | 00:37 | number of tone wheels.
(music playing)
| | 00:40 | So I can bring this all the way down
to 1, and so now it's just emulating
| | 00:43 | 1 tone wheel.
There's a lot less for harmonics.
| | 00:46 | It's a much smaller sound.
(music playing)
| | 00:49 | So I can increase that
number, and the maximum is 91.
| | 00:51 | So the reason why you might want to
decrease it is that it uses more CPU to
| | 00:57 | emulate more tone wheels, but
obviously you also lose out on sound quality.
| | 01:01 | So the next control we have
here is the Tonal Balance.
| | 01:04 | So what this adjusts is the mix
between higher and lower tone wheels.
| | 01:08 | So if I move this to the
positive value, I have a brighter sound.
| | 01:13 | If I move it to negative
value, it's a bit darker.
| | 01:15 | (music playing)
The next parameter is Shape.
| | 01:20 | The tone wheels in the EVB 3
generates sine wave forms, although they have a
| | 01:24 | little bit of noise and artifacts, but
generally speaking, it's very close to
| | 01:28 | a sign wave form.
| | 01:29 | So what Shape allows us to do is
adjust the waveform the tone wheels
| | 01:32 | are generating.
| | 01:33 | Some of the other electromechanical
organs of the time generated different wave
| | 01:37 | shapes, so this helps us
emulate those types of organs.
| | 01:40 | So I'm going to adjust a shape, so
that's this parameter right here.
| | 01:44 | (music playing)
| | 01:47 | This waveform is definitely brighter
and if I move it the other direction
| | 01:51 | here, it's a little bit darker of a sound.
| | 01:52 | So beneath that what we have is the
Bass Filter, and this is going to apply
| | 01:58 | to our foot pedals.
| | 01:59 | So in order to hear this, what we're
going to have to do is change our MIDI
| | 02:02 | Controller to MIDI Channel 3, and that
way we can hear the bass pedals, so I'm
| | 02:06 | going to do that.
| | 02:07 | So now I have it set to MIDI Channel 3,
and what I'm going to do is go ahead and
| | 02:11 | pull out these drawbars for the pedals.
| | 02:13 | So now if I play, you can
hear we've got our bass pedals.
| | 02:17 | I can adjust the filter here. So I can
open it up and then we get more higher
| | 02:23 | frequencies, or I can close it
down and it's a more focused lower end.
| | 02:28 | The reason why I have this Bass filter is
sometimes when you have the pedals
| | 02:33 | versus the upper drawbars and lower
drawbars and the pedals can sound relatively
| | 02:37 | bright and that's usually not what you
want, because you want it to be holding
| | 02:40 | down the lower end, so this allows you
just to set that bass filter to have the
| | 02:43 | bass be more focused.
| | 02:45 | So beneath that what we have is Ultra
Bass, so this actually refers to the
| | 02:50 | upper and lower manuals.
| | 02:52 | What it will do is it will extend the
range by an octave, so it will give us one
| | 02:55 | more octave lower down.
| | 02:56 | So I'm going to set our MIDI
Controller back to Channel 1, because I want to
| | 03:00 | use the Upper drawbars.
| | 03:02 | And in order to hear this parameter, what
I'm going to have to do is turn off our
| | 03:06 | Preset keys, because remember, our
preset keys are in the range of C0 up to B1.
| | 03:12 | So because I've extended the range of
our bass now, I don't want it to interfere
| | 03:17 | with our preset keys.
| | 03:18 | So I'm going to turn off MIDI to Preset
key, so down here. So I'll turn it off
| | 03:23 | and so now when I play the keyboard, so
I can play C1, which is typically the lowest
| | 03:29 | note of the Upper manual, and I can
continue to go lower, so I get that extra
| | 03:34 | octave, which is nice.
| | 03:36 | So I'll turn that off and turn
back on the MIDI 2 Preset key.
| | 03:40 | Next what we have is a
couple of volume controls.
| | 03:43 | So we have the Lower Volume and the
Pedal Volume. With the Lower Volume, we can
| | 03:49 | balance the lower manual with the upper
manual, and with the Pedal Volume we can
| | 03:53 | adjust the Pedal Volume.
| | 03:54 | Just down at the bottom we
have this Percussion option.
| | 03:58 | So this is going to affect our
Percussion parameters that are up here.
| |
|
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