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Voice parameters and global settings

From: Virtual Instruments in Logic Pro

Video: Voice parameters and global settings

So let's take a look at the global and voice settings in ES2. So up top we have a couple of different voicing modes: there's Polyphonic, Mono, and Legato. So Polyphonic, that's just means that you can play more than one note at a time. And you choose the amount of voices, or the maximum number of polyphony, here, and it can go up to 32. Second, we have Mono mode, and this is where we can only play one note at a time. So it doesn't matter what you have your voices set to, in Mono mode, it's only going to be monophonic. One of the benefits or side effects of Mono is that you can play these peddling kind of synth riffs. So if I play a lower octave A and then I play a higher octave, and I let go of the higher octave, it retriggers the lower one. So I can do these kind of peddling-- (music playing) --synth riffs and things like that.

Voice parameters and global settings

So let's take a look at the global and voice settings in ES2. So up top we have a couple of different voicing modes: there's Polyphonic, Mono, and Legato. So Polyphonic, that's just means that you can play more than one note at a time. And you choose the amount of voices, or the maximum number of polyphony, here, and it can go up to 32. Second, we have Mono mode, and this is where we can only play one note at a time. So it doesn't matter what you have your voices set to, in Mono mode, it's only going to be monophonic. One of the benefits or side effects of Mono is that you can play these peddling kind of synth riffs. So if I play a lower octave A and then I play a higher octave, and I let go of the higher octave, it retriggers the lower one. So I can do these kind of peddling-- (music playing) --synth riffs and things like that.

Then in Legato mode, what we have is the envelopes won't be retriggered when they have notes that are played right next to each other in time. So the easiest way to hear this is if I increase the attack on our AMP envelope, so you notice that the first note that I play is going to fade in, and then the following ones, it's not going to retrigger the envelope, so the attack would be immediate. So let's check that out. (music playing) So that fades in and these legato notes that follow, they don't, because the envelope isn't retriggering.

So, one of the really cool features in ES2 that we have seen in some of these other synths is Unison mode. So what Unison is going to do, especially when we are in Mono mode, is it is going to stack 10 copies, or whatever voice number we have set here, on top of the note we are playing. So the first thing it is going to do is make the sound much louder. So if I play, it's going to be pretty loud. I will make sure to set our attack back down to 0 here, okay. And then the thing that you can do with this, in addition to just making it louder, is I can detune the Unison voices with this analog parameter that's over by the oscillators.

What it's going to do is those 10 copies of that note I am playing will be detuned against the original. So let's hear that. (music playing) So it ends up being a pretty thick loud sound, and I can increase the amount of analog and it's going to increase the detuning. (music playing) So that sound is just coming from one oscillator and then all these unison voices, but it sounds kind of like what you would hear in a lot of electronic music, because a lot of electronic sounds are based on just detuned saw waveforms. The Unison mode also works in poly mode, but it works a little differently.

So instead of it having five voices for every note I am playing, it's just going to double up each voice. So there are just two voices per note, but I can play chords. And then I can set the maximum number voices here. So I can set it up to 16 voices, and then I can play chords on the keyboard. (music playing) And you can hear that with the analog parameter I get the detuning of the voices as well. So in addition to the different modes and this Unison mode that we've got here, there's also this Oscillator Start. If you think about the oscillators, they are always cycling so that the phase in the oscillator is just continuous, even when you're not playing the keyboard.

It's just not being sent to the amplifier. So what happens is sometimes when you have more than one oscillator on, so if we have got all three of these on and especially if it's got unison voices, what happens is that (music playing) sometimes it will be more or less punchy. So let's just increase the analog amount, and I will turn on Unison. (music playing) Because we are hitting this three oscillators at different cycles or different parts of the phase of their oscillations. So with this Oscillator Start, I can have it so that every time I hit a key on the keyboard, it restarts the phase of the oscillators, and so I can have it be soft, where it's going to restart the oscillators at a zero crossing. And you can hear that's still much more punchy than when this was set to free.

(music playing) And then I've got a hard where it's going to restart the phase of the oscillators but offset from the zero crossing. So it actually purposefully it makes a click or a more of a punchy attack. (music playing) So that's hard. So if you're making a percussive sound or some kind of percussive bass sound or something like that, setting this Oscillator Start to either soft or hard is a really good way to keep the sound focused. So then the other feature that's pretty cool here is this Filter Reset. So what this means is when we self- oscillate the filter, it's going to trigger the filter to ring out.

So let me sort of describe what that means. So first I am going to turn off all three oscillators, and I am going to set the Filter Blend all the way to just filter 2. And you know what? I am going to turn off our Unison, because we don't want that here. So if I crank up the resonance here, and even though I have no oscillators, I can play a note through the filter. So if I Filter Reset off, then it's not necessarily always going to trigger, because there is no signal coming through to trigger the filter's resonance. So Filter Reset will just trigger the resonating, so when I play a key, and then I just adjust the cutoff, (music playing) and it's kind of like a sine wave oscillator, so my Cutoff is adjusting the pitch.

So this is a self-oscillation. So the resonance is so high on this filter that it's just ringing out. (music playing) So it's a pretty neat parameter, and it also sounds good when I add in this filter FM. (music playing) Right, you can get a wide range of sounds. But it's not going to track pitch on the keyboard. So one thing you could do is assign keyboard tracking in your modulation router to this filter 2 cutoff, and that way you could play the pitches. Some nice people will create kick drums this way. That's a traditional use for self-oscillation. You put an envelope on this filter cutoff.

So that's all worth exploring and definitely worth checking out. One of the other really neat features in ES2 is the Randomization parameters. So you can see here there is this R&D button. We have got this slider. This is the Randomization amount. So I can set it anywhere from 1% to 100. And then I can choose, what do I want to randomize? So right now, it's set to All. So that literally will randomize everything. So I have 100% randomization. If I hit the button, notice that everything changed. So it's like my whole modulation, everything.

Now what it won't do is turn on and off the oscillators, because I still have them off from before, so I will turn them back on. But this is a good way, if you want you to just generate an entirely new sound, I can just hit random and see that everything keeps changing. But that might be a little bit much, so sometimes what you might have is a setting that you like, so I've got my StartPatch here, and I might want to randomize just certain aspects of it. So I could just randomize the filters or the waveforms, and I could randomize it by a certain percentage.

So it's a way to make variations on patches instead of just generating entire randomness. But if you want, too, you could just set it's All and hope for the best, set a high amount, and sometimes it comes up with crazy sounds that you would never think to do, because you can take a look at this modulation router and it's just all kinds of crazy stuff happening. So that's a fun way to either get new sounds or to evolve the patches that you already have. So now that we got a sense of these voicing parameters and some of the global features in ES2, let's take a look at how we can assign MIDI controls and use the Macro controls to further shape the sound.

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This video is part of

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Virtual Instruments in Logic Pro

144 video lessons · 9057 viewers

Brian Trifon
Author

 
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  1. 6m 59s
    1. Welcome
      2m 21s
    2. Setting up Logic Pro for using virtual instruments and configuring MIDI controllers
      4m 5s
    3. Using the exercise files
      33s
  2. 21m 50s
    1. Getting started with the ES M
      1m 13s
    2. Understanding the signal flow of the ES M
      2m 18s
    3. Using the oscillator
      3m 4s
    4. Tone shaping with the lowpass filter
      2m 59s
    5. Using the volume controls
      3m 5s
    6. Using the Filter envelope to adjust cutoff
      3m 22s
    7. Composing with the ES M
      5m 49s
  3. 26m 16s
    1. Getting started with the ES E
      1m 15s
    2. Understanding the signal flow of the ES E
      2m 5s
    3. Selecting a waveform
      2m 9s
    4. Using the Vibrato/PWM dial
      2m 15s
    5. Using the ES E lowpass filter
      2m 43s
    6. Shaping the amplitude with the Attack and Release envelope
      3m 10s
    7. Shaping the filter with the Attack and Release envelope
      3m 55s
    8. Using the Chorus and Ensemble settings
      2m 1s
    9. Composing with the ES E
      6m 43s
  4. 39m 0s
    1. Getting started with the ES P
      1m 54s
    2. Understanding the signal flow of the ES P
      2m 22s
    3. Balancing the oscillator levels
      4m 7s
    4. Enabling key follow on the filter
      6m 9s
    5. Shaping the volume with the ADSR
      6m 20s
    6. Modulating the cutoff with the ADSR
      3m 48s
    7. Using the Vibrato/Wah control
      3m 23s
    8. Tweaking the Overdrive and Chorus settings
      2m 34s
    9. Composing with the ES P
      8m 23s
  5. 1h 19m
    1. Getting started with the ES1
      2m 8s
    2. Exploring the signal flow of the ES1
      3m 31s
    3. Using the oscillator and sub-oscillator
      3m 58s
    4. Tweaking the filter
      6m 36s
    5. Using key follow on the cutoff
      5m 25s
    6. Exploring the amplifier section and ADSR
      7m 42s
    7. Modulating the cutoff with ADSR
      4m 9s
    8. Creating movement with the LFO
      14m 18s
    9. Using the Modulation envelope to add contour
      13m 31s
    10. Using the Glide and the Global Voices settings
      4m 30s
    11. Using the side chain input and LFO external feature
      4m 34s
    12. Composing with the ES1
      9m 20s
  6. 48m 8s
    1. Getting started with EFM1
      1m 51s
    2. FM synthesis basics and signal flow
      3m 21s
    3. Setting the carrier pitch
      2m 56s
    4. Changing timbre with the modulator
      6m 2s
    5. Using the volume and modulation envelope to shape the sound
      9m 55s
    6. Adding movement with the LFO
      2m 59s
    7. Using unison, detune and sub osc for thick sounds
      3m 22s
    8. Randomize, do you feel lucky today?
      3m 47s
    9. Assigning MIDI controls to FM
      3m 38s
    10. Composing with the EFM1
      10m 17s
  7. 46m 4s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 47s
    4. Managing the Global voice settings
      4m 39s
    5. Using the filterbank section to shape the vocoded sounds
      5m 34s
    6. Tweaking the formants and adding movement with the LFO's
      5m 26s
    7. Getting more intelligible results with U/V detection
      3m 52s
    8. Making your beats melodic: vocoding drums
      3m 38s
    9. Composing with the EVOC 20
      12m 45s
  8. 1h 28m
    1. Getting Started with ES2
      3m 33s
    2. Exploring the ES2 Oscillators and Mix Triangle
      9m 7s
    3. Tweaking the ES2 filters to shape expressive sounds
      7m 11s
    4. Series or Parallel?
      6m 34s
    5. Understanding the amplifier effects
      3m 45s
    6. Bringing life to ES2 with the modulation router
      4m 50s
    7. Creating rhythmic movement with the LFO's
      10m 8s
    8. Using the 3 envelopes to give shape to your sounds
      8m 13s
    9. Create evolving sounds with basic vector modulation
      5m 37s
    10. Looping with the vector envelope
      8m 17s
    11. Voice parameters and global settings
      7m 15s
    12. Making changes to your macro and MIDI controls
      3m 29s
    13. Composing with the ES2
      10m 26s
  9. 1h 15m
    1. Getting Started with EXS24
      3m 29s
    2. Create your own sample instruments the easy way
      5m 4s
    3. Exploring single zone sample instruments
      4m 29s
    4. Creating multiple zone instruments
      5m 9s
    5. Adding dynamics with velocity layers
      5m 46s
    6. Organizing zones with groups
      7m 4s
    7. Advanced zone editing and looping
      5m 21s
    8. Using the filter section to shape your sampled sounds
      7m 3s
    9. Using transpose and glide to add expression to EXS24
      5m 22s
    10. Adding life and expression with the modulation
      7m 33s
    11. Further shaping with the envelopes
      6m 35s
    12. Adjusting Global voice settings
      3m 14s
    13. Composing with the EXS24
      9m 5s
  10. 59m 45s
    1. Getting started with EVB3
      3m 59s
    2. Synthesizing with the Drawbars
      3m 10s
    3. Utilizing the Preset Keys and Morph Wheel
      4m 31s
    4. Adding Vibrato and Percussion Parameters
      4m 43s
    5. Customizing the Pitch and Condition Parameters
      7m 0s
    6. Adjusting the Organ and Sustain Parameters
      6m 6s
    7. Using the EVB3 effects
      5m 43s
    8. Modulating sound with the Leslie Rotor Cabinet
      7m 49s
    9. Setting the extended parameters
      5m 17s
    10. Composing with the EVB3
      11m 27s
  11. 19m 52s
    1. Getting Started with EVP88
      2m 46s
    2. Selecting a piano model
      1m 17s
    3. Adjusting the model parameters
      2m 38s
    4. Setting the tuning parameters
      1m 54s
    5. Adding effects to thicken the sound
      4m 40s
    6. Musical example
      6m 37s
  12. 29m 15s
    1. Getting Started with EVD6
      2m 29s
    2. Choosing the instrument model
      3m 41s
    3. Customizing the string parameters
      4m 25s
    4. Adjusting pickup configuration and position
      3m 49s
    5. Using the EVD6 Effects
      5m 24s
    6. Composing with the EVD6
      9m 27s
  13. 1h 57m
    1. Getting Started with Sculpture
      4m 53s
    2. Setting the string characteristics with the Material Pad
      8m 26s
    3. Exciting the string with objects
      8m 52s
    4. Adjusting the Pickups and Global Voice Settings
      8m 10s
    5. Shaping sound with the Amp Envelope
      4m 24s
    6. Saturating sound with the Wave Shaper
      3m 42s
    7. Sculpting with the filter
      7m 37s
    8. Adding depth to the stereo delay
      5m 18s
    9. Understanding the Body EQ
      6m 34s
    10. Modulating with the LFO's
      8m 9s
    11. Using the Vibrato, Velocity and Controllers
      6m 40s
    12. Introducing the Control Envelope
      6m 15s
    13. Recording the Envelope Shape with a MIDI Controller
      5m 57s
    14. Looping with the Control Envelopes
      5m 46s
    15. Transitioning between settings the Morph Pad
      6m 10s
    16. Employing the Morph Envelope
      9m 48s
    17. Composing with Sculpture
      10m 52s
  14. 2h 4m
    1. Getting started with Ultrabeat
      2m 54s
    2. Exploring the Assignment section
      6m 22s
    3. Importing settings into Ultrabeat
      4m 19s
    4. Synthesizing with Oscillator 2
      7m 42s
    5. Using Oscillator 1 and the noise generator
      4m 36s
    6. Shaping with the envelopes
      7m 21s
    7. Filtering and setting distortion
      8m 36s
    8. Adding movement with the LFOs
      8m 23s
    9. Refining the sound with EQ in the Output section
      6m 10s
    10. Building a kick drum
      8m 18s
    11. Synthesizing a snare drum
      8m 31s
    12. Creating a hi-hat
      4m 34s
    13. Introduction to the step sequencer
      5m 54s
    14. Sequencing in the step sequencer
      7m 18s
    15. Working with the playback options
      5m 1s
    16. Sequencing automation in Step Edit mode
      5m 3s
    17. Utilizing the side chain
      9m 2s
    18. Composing with Ultrabeat
      14m 13s
  15. 7m 24s
    1. Introducing and composing with the Klopfgeist
      7m 24s
  16. 1m 12s
    1. What's next?
      1m 12s

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