Logic Pro X - The EXS24 Sampler | Tomas George | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 23m)
    • 1. Introduction

    • 2. Creating a Multisample Instrument

    • 3. Why Learn the EXS24?

    • 4. Instrument Editor

    • 5. Main Interface Overview

    • 6. Pitch Section

    • 7. Filter

    • 8. Mod Matrix

    • 9. LFOs

    • 10. Amplifier

    • 11. Envelopes

    • 12. Global Settings

    • 13. Instrument Editor - Zones and Groups

    • 14. Zones

    • 15. Group Settings

    • 16. Multi-Outputs

    • 17. Realism

    • 18. Outro

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About This Class

In this extensive Logic Pro X course, I show you all the functions and the features of the EXS24 Sampler.

The EXS24 is the built-in Sampler in Logic Pro 9 and 10 and in this set of videos I explore in detail how you can use this versatile Sampler.

In this course, we look at :

 Creating a Multisample Instrument

 The Instrument Editor

 The Main Interface of the EXS24




 And More!

So if you want to learn how to sample in Logic Pro X with the EXS24 Sampler, then make sure you enroll in this class!



Meet Your Teacher

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Tomas George

Music + Audio Production Instructor


Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.


See full profile

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1. Introduction: high in the next few lectures. I'm going to be showing you the X s 24. So this is a sample it and logic pro TEM, and we're going to show you all its main functions and features so you can actually go in and start sampling or go through some presets and work out what it's doing. Tweak some sounds, adjust your own sounds and start making music with a sampler today. So I hope you find this next section useful. I'm prepared to take notes ready for the excess 24 section. 2. Creating a Multisample Instrument: Hello in this. Let Joe, we're going to be looking at creating a multi instrument from scratch in the excess 24. So what this really means is that we have many different samples playing the same note in this example. I'm going to show you it will be a piano on. There would be different velocities, really so different ways The piano is being played, so there's a recording off the piano being played soft. A recording off the same note again being played medium. Andi again being played Hearts were free, different types off notes being played a soft one, a medium hit one on the hard one. So what we want the excess 24 to do is to trigger the different notes, depending on the incoming MIDI note velocity. So say we play a chord very lightly. It will trigger a soft, and if you play hard, it will trigger the harder audio sample. So that's what I'm going to show you in this lecture. You can do this with over instruments as well, say, a high hat. You could record a high hat being hit softly, a high hat being hit hard. So when you create a multi instruments in the excess 24. It will trigger the different samples, depending on the incoming MIDI note velocity. So let's first of all, go onto software in judgment and let's create excess 24. Okay, now let's click on at it on this will bring up the X S instrument editor. So what we need to do now is actually add a new instrument. So let's go on instrument here and click new. So this is a new investments. Now let's click on zone and here we can do a few different things. We could add the samples individually, or we can load multiple samples. If we load multiple samples. This will actually save a bit of time. Sometimes excess doesn't always get this completely right. But with a bit of tweaking, it can save a lot of time. So I'm going to click on load multiple samples I'm going to start off with with soft ones to these air. Some samples that I actually recorded are recorded my own piano, me playing the notes at different levels. So playing soft, medium hard that start off of soft only recorded one active just for this demo But if you're going to actually use a piano, I do recommend recording a few actives. But of course, it does depend on the parts you are performing. So I'm just going to select all of these on and click Add here. Well, we could just click Adul, then I'm going to hit. Done. Let me get this little box here. Okay, so this one here, continuous stones. So this will create an ascending collection off key zones, starting at the chosen notes. And then we have drums. So this will create a single note range. And then above, we have auto map. So auto map is for samples with different note pictures. So the excess will try and recognise note pictures, data from the samples names Andi assign a route name. So going back to the samples that I actually had, I noticed their names by the name of the notes and then the active. And then the name of the samples is a shop free soft piano so the excess doesn't really like flat sees a flat is a B rather than a flat. So I do recommend using sharps rather than flats on also good labeling can be very useful. So remember to name your sample. Name the note, name the octave. And then hopefully the excess 24 should be able to map this. Then I'm going to hit. Okay, so I'm gonna select alter map and hit, OK, And you can see here plays the different notes inductive. So have zone one C four here for you. Select this notice is all of this here so we'll actually stretch this. And same the lotus one that will actually stretch this below. So maybe a few notes. But after this, it will transpose it, and it might sound quite a natural, so you could always find the high notes. Andi, change this so it doesn't go as high. So when actually playing information otherwise we might be playing some really obviously transposed kind of notes. We can change this for the lower as well for the low one track this year. So here we go. We have active, see free to see four. Now, if we play this back on musical typing, you'll be able to hear the different notes the case. So they're the soft ones. The pictures selected the root key. It's got all rights. So because of my labeling is actually done this completely fine. So you can rename this group too soft. And now I'm going to create new group, and this time I'm going to import the medium once. So these the ones that are played at medium velocity. So I'm going to go on the group name on New Grape on the same again. Click on here. You're noticed. There's no information in group free goods to click on this rename this met for medium and then go on his own load. Multiple samples the same as before. So this time I'm going to go on to medium select a lot it done and then going auto map on. Because the way I label this it should go in just like before. I will have to drag these back. So that's fines. It's on here. See? Free. Let's change the key range to that. We go on this one here, which is C four has changed the key range here as well. Okay, so that we have Oh, it's actually delete. This creates its own group. So let's change just to you met here. So now we have the soft group on the medium group. You can see them appear until future as well. And thats going group, do you agree? Become on. Go onto zones led multiple samples and now I'm going to add in the hard ones. Hard piano slept all same as before. This is quite straightforward because I labeled them correctly. If you label them correctly, can be quite easy for the label is all over the place. Sometimes it won't do the same as before. Auto map heavy K. It's renamed this double click card. Okay, Same as before. Going to drag these back off wise. It might sound a little bit too fake. Okay, this one here as well. So we can slept through the different samples we have here. You can see that changes freedom, clicking all zones. It will play all these samples. Be careful, though. If you do have a lot of samples, it can be quite strenuous on your CPU power. So I only have a lot of samples of your computer can handle it. Another thing you can do is have a sample going over a few notes. As long as it's only a few semi tones. A transposition well saying, quite realistic. If you do try and transpose the notes say fifth or inoperative might not sound very natural , but only a few semi tones. You might get away of it, so you could always do that if your computer is struggling with a lot of samples. Okay, now let's change the velocities. And the way we do that is we just go on show velocity. So let's start with soft hit show velocity. You notice it covers all the velocities here for zero toe 1 to 7. Let's change all this. So the velocity goes from zero to say maybe 30. Experiment and find the correct velocities for the some. Please, you're playing. We can do slept the more like this on, then just direct down. I'm going to choose 30. And now when the play softly, it will just play this soft sample. So from zero to forsee, it will play this one. Now I'm going to go to medium. I'm going to select all these on. Then it's going to start at 31 and then go to 100. Finally, hard into slept all these, and it's going to start at 101. Finish it 1 to 7. Okay. And now when I go on all zones, you noticed we have the different velocities. So this philosophy here will play or trigger the soft samples. This flus t Here, drink this down to 100. This will trigger trigger the medium samples on the want. The top will trigger the hard samples. That's really how we set up multi samples. This is great for instruments. Say drums or pianos where you really want different velocities depending on how the notice hits. So now when I play a note for play medium, it will pick up this medium velocity change of last day. Here, Teoh less than 30 it will trigger the soft. If I play the velocity more than 100 it will trigger the hard velocity. So this is basically how you can set up all two samples in logic, pretend with X s 24. It can be quite straightforward. I do recommend going out on recording your own sounds. Of course, that our lows a different sample libraries but it is quite rewarding and fun to use your own samples. But one last thing before forget is you can always save this. So if you go to investment on, go to save, you can save your instrument here, so I'm going to call it Piano One, and this will save in the sample investments. And if you go back to the main interface of the excess 24 if we tweak a few of these settings, we can always say this here as well. Options save settings to instruments. And of course, we can say this is a patch and we can say this as a channel strip setting. So thank you again for watching, and I'll see you in the next lecture. 3. Why Learn the EXS24?: hi. In this lecture on to talk about why I think learning the excess 24 It's a really great way for you to learn sound design, synthesis and sampling a lot of the functions and features I'm going to be telling you and showing you in the next few lectures a universal for samplers. So if you want to be able to make your own instruments, make your own sound. Create unique music. Learning sampling is one the best ways of doing this lot. The features I'll be showing you but how to load urine samples, how to create zones and groups, how to use filters, envelopes, Ella foes and global settings is universal for a lot samples and also for a lot of synthesizers. So if you go through these lectures and you learn about the excess 24 when you come to other samplers, when you come to other synthesizers should be able to transfer the skills you've learned from the excess 24 onto other samplers and also of synthesizers. So I hope you find these next few lectures useful. I'm going to be going through the front end of the excess 24 so this interface here, and also I'll be looking at their instruments editor. So we're looking at zones and groups, so you can really go in and create some amazing samples or edit some samples autism samples so you can get away from the presets. You could make own sounds that you can edit presets to make them a bit more interesting or to make some realistic sounds. So thank you for watching this lecture on. I'll see you in the next few lectures. 4. Instrument Editor: Hello. In this lecture, we're going to be looking at the instrument editor in the excess 24. So let's just load up a preset by hidden this display here on Let's Go to Factory, that's choose Funk Horn section. Okay, we open up the instrument editor by simply hitting the edit button here, but notice there's actually quite a few different samples, and if you click on them, it will actually link up to the different notes. So this one here, it's a really, really lied sample. Anything below the C one will play. Uh huh. The same sample, but transposed so it can sound a bit unrealistic if you get too low, but I don't really think these brass instruments are meant to be playing this low in the same. When we get a bit too high, it will play the same sample transposed, which does sang quite unrealistic. But really they think horn son should be this high. You have these two layers here, obviously, up there doesn't sound very realistic for the velocity. At 1 to 7, we dropped the velocity to say Wednesday we'll play the higher block here, play a never sample, so depending on the velocity really depends on which sample of place, so we can actually layer different samples. And they could be triggered by the incoming 1,000,000 velocity who do actually cover this in a multi sample lecture to do once know how to create multi samples. But the excess 24 allows you to stack multiple samples on the same notes on the triggered by incoming media note velocity, which could be very useful, especially for instruments like a piano or say guitar. We want a different type of sample played depending on how hard the notice hit. Because the resonances world change on how hard the notice hits. We'll give different Tomba's and textures as well, so you don't always want the same sample being played. So we can't actually pictures here, obviously for notes like horns you wanted pitched. If it's drums, though, you might not want the drums to ascending pitch as you go up because less maybe their steel drums or a pitched room, he probably don't want the drums to be pitched. This key section is the root note key, so you really want to find out your root note key when you put in the sample. This is where it's meant to be played. This is its original sound, and it will make it sound more natural if you use the correct route. So if you record it, say a piano on you play a C two, make sure you take note that's a seed to Then you can put in the root key of C two, and it will sound more natural. Labeling is quite important when you import urine samples, and we do look at this in the multi sample lecture because the excess 24 can auto map as long as you label your samples correctly. If you are just using one sample the whole of the keyboard, it will actually speed up or slow down the sample, and it will create something called munchkin ization, or the chipmunk effects will make it sound quite a natural, like a chipmunk if it goes too high. So I do recommend using more than one sample. You don't necessarily need a sample for every single note you know to. Some of these aren't every single note every other note because it can use up a lot of CPU power, a memory if you have too many samples, just transposing one or two semi tones consigned. Fine, but don't really recommend. Transposing too far can sound quite unnatural. Depends on what sound you're after. Do you recommend having many samples? You can really make it sound more natural, especially if you're sampling really instruments. So, like this every. Even though it's fine for your free nuts, every two notes is upset. Fine, but yeah, maybe don't have one note productive because you will get that chipmunk effect. It will speed up too much. You'll slow down too much, and it won't sound that natural. So that's the basic overview off this instrument editor course. You can save this as well if you go to instruments and you can save us. So say you made adjustments to this. You could save the adjustments, and I do recommend making your own sounds not just using the presets just to try and get some unique sounds. So thank you for watching this lecture. Hope you found it useful, and I'll see you in the next one 5. Main Interface Overview: Hello. In this lecture, we're going to look at the basic interface of the X s 24. So that's correct. New instrument and choose excess 24 sampler. And here we have the basic interface. So the access 24 really is a traditional subtracted of synthesis layouts. It was basically a complex sound or a sample which then runs through a filter. Normally, this is a low pass, but we can choose different types of filters High pass, band, bus filter. What it does is it shapes the tone and it goes into an amplifier section on down here we have a standard a d s are attacked two K sustained release envelope. We have two different envelopes on these Modulate the filter or amplifier. So the attack on decay, What they do is they control the initial attack and drop off have s and they ask to stay in and release. So sustains sets the level of each notes as it's being held down on release determines the time it takes for the note to die away. Once you let go from there, it once and that isn't being held after all this. Next in the signal flow is the L. A. Focus. You have three different types of elephants which are low frequency oscillators. So these air subsonic oscillators that could be applied to various parameters so we could apply the LFO two pitch, which will simulate librato. We could apply the LFO two amplifier, which will simulate tremolo, and we can also use it for other effects too. And up here we do have some global parameters on. We do have some pitch controls as well. Andi. In the middle, we have the modulation matrix, which allows additional modulation. So that's it. Basically, we have the sound going into a filter. Then an amplifier, then envelopes Ella foes. We also have global controls such as Pitch on. We also have a modulation matrix where you can add additional modulation. That's just a basic overview off the interface in the excess 24. Thank you for watching, and I'll see you in the next lecture. 6. Pitch Section: Hello. In this lecture, we're going to be looking at the pit parameters in the excess 24. So these pitch parameters, they're pretty basic. But there's also something useful ones in there as well. So going along, we do actually have a transpose here. So what transposed does actually shifts to another sample? So say we transpose up two semi tones. This will transposed the next note, the next hole note along So few players See, we transposed this up too, a day by two semi tones who this isn't actually transposing the audio data. This is actually shifting up two semi tones to the next sample. So it's playing this d sample when I play. See Tune, however, works differently. Tune will actually stretch or compress the audio. It will actually transpose the audio so it speed up or slow it down, depending on how much you set. So we have tuned in semi tones, and then we have tuned in cents below. So if I changed his tune dial two plus two, so two semi tones this would play the sample. That's two semi tones along. This will actually transposed change the wave off the sample that I'm going to play. So if I play C is going to play back a day, however, it is going to transpose and change this audio information rather than trigger another sample through. This is me playing, see transposed or two semi tones so we'll hear back a day. But it does have a little bit of chipmunk effect because it is sped up on Let's put this back to zero and then below, we have fine tune. So this is anywhere from 0 to 50 cents. Look all down. Who who? So these 22 knobs will actually change the tone off the sample? The transpose will just play another sample. So it really depends on what Sandra actually after, if you just want to play a note but higher, I recommend using transposed but want to change the tone of the sample I'd recommend having a look at tune on. And, of course, the fine tuning up as well. There's also this random dial. So what this does is that randomly do tunes each new notes. So this Congar oh, up to 50 cents plus or minus This is good for drums, for example, say you want the snare drums sounding slightly different every time you can randomize the tuning here rather than having the exact same snare, you can have one that has a slight pitch variation. On that way it will make your drum sound a little bit more natural. You also have these pitch Ben settings here, so this actually links to your MIDI controller. So how? Maney semi tones. You want your MIDI controller to bend on its pitch will at the moment it's on to Who will change this to say 12. You here. Dr Wu defaults normally too, on the one next to it linked. So this actually we'll link the pitch above on the pitch below. But if we change this, this will change the pitch downwards. So let's change this to 12 toe, one active so it will bend two semi tones up the one octave dad who could make this more dramatic If we like who? Who so it really depends on what kind of sound you're after. But for now I'm going to put this back too late. Next is remotes, so this reserves the notes on the keyboard an octave above and below that pitch off the transpose function, so these notes will no longer be playable. Instead, the notes will be transposed by that amount. We can slap the notes here. This could be a useful feature as long as you have enough spare notes on your MIDI keyboard . Okay, next is the glide on the picture, So this is useful for creating a porta mental effect. Support aumento is when the pitch of a note slides or glides or pull down to the pitch of the note next to it. So this will only work in leg also mode and the glide slider. What that does this sets the speed of the glide. So let's changes to an instrument that's more likely to use the port mental effect that's try electric bass front, the space That's but this on Lagarde Styron A few electives you can hear with the speed of the glide that says Port mental The way down, let's increase this glide. Things come useful for safe spaces. Violins, compared to all depends on what affect your actually after on, then the picture one. So this picture setting allows you to set a consistent glide going into every note, so settings above the midpoint. This will set the slide down to the pitch below the mid points. This will slide up to the pitch below is up to the pitch and above is down to the pitch. You could also divide this as well. Now this is determined upon the amount of incoming Midi note velocity. So this is really how hard the note is played. So it has the minimum slider for how hard the notice played on the maximum slider. So for played this softly for play hard, let's make this a bit more dramatic. Play this softly played hard, so this allows you to really customize your sound even more of these sliders. So this is the pitch section off the excess 24. Join me in the next lecture where we would be looking at the filter section, so thank you for watching, and I'll see you in the next lecture 7. Filter: Hello and welcome to this lecture where we're going to be looking at the filter section off the excess 24. So this filter section is pretty standard for what you'll find in a traditional subtracted on log synth, so the filter has free modes. Down here we have Low Pass Van Pass on High Pass so LP, page B and B P. It's what low pastors is actually cuts at the highs and allows the lows so it allows the lows to pass. The high pass will consent the lows and will allow the highs to pass on. The band pass will cut out the highs, and the lows on will allow a middle band to pass. Most common filled type you're used is low pass, but ban pass and High Pass will have its uses also. Then we contend to filter on with this on or off, but in here and then we have this cut off dial, so the cut off dial it determines what frequencies filter begins at in a low pass filter. The more we bring it down, the more high frequencies or cut out on, the more we open it up. More high frequencies and I'll have to pass. So let's just play some notes Now on when I you hear a lot of these high frequencies of contact when they open up high frequencies back in again, let's try a bigger chord. Now let's try a high pass. You can hit cut out a lot of the lows. This time. The bring it down will bring back the low frequencies when they opened up or take out the low frequencies. That's tribe and pass. So here is taking out the highs and the low frequencies on. When I put the cuffs off down it bring back the highs and the lows. Like I said, the most common one is low pass. But it really depends on what type of sound you're trying to subtract with this filter. You know, it is here that we have different slope types. We have four for the low pass. We have 6 12 18 and 24 so this determines the slope. So the more aggressive slope will be the 24 compared to the lower ones and the band pass on the high pass. We just have 12 so let's hear the low pass at 24. Let's hear at six notice it's more aggressive. 24. You. So in a traditional subtracted synthesize, that low pass filter is really used to subtract the higher oscillator waves. So this could be the sound of the symptoms too bright, and the filter will make sounds more musical. It's a little bit different in a sample, however, because we already have sampled sounds. You already have musical sounds, so you might not want to filter as much as, say, in a regular synthesizer compared to a sampler, because you already do have these musical sounds because it's a sampler. Next is the resonance promise. Er, so what The resonance parameter does increase a narrow peak just before the cut off, so emphasizes the highest remaining harmonic on overtone. Let's change this to a different sound. Let's try a synthesizer, and if we pull the cut off time on, let's increase the resonance. It's increasing that band just before the way. If we move the cut off, also move the residence cradle while are or washing effect when having resonance on and also moving the so it's moving the highest peak just before the filter cut off, just moving this residence as we made that way. Obviously, the more we increase the residents higher, the peak will be just before the filter cut off. After a while, though, the excesses residents will begin to self isolate the highest settings, and it will actually create a feedback effect to just be careful. Of that. The residents dial coming useful, which want to create mawr oven effect. However, to avoid overload. When you increase the amount of resonance, the overall level of the sand automatically is lowered. So this is why we have this fat. But in here, this fat button will actually increase the lower levels off the harmonics. So when you increase, the resonance will increase the lower levels to compensate for the level being turned down because you'll lose a lot of the sound where it's been turned down and the fat button would just compensate it. So the fact level really just restores the level of the fullness of the sound. Okay, going along, we have key. Sochi refers to the key tracking, so when the key is off, there's no change to this cut off frequency. That means the higher pictures will normally end up being a little bit duller. This is because the higher pictures, their frequencies, will normally fall above the fix cut off. So if you want to make the higher notes, Ringel shine a bit more. You can increase the key, so this means the tone of the higher notes will be a bit brighter. So when you play higher, it won't sound duller. Let's just play that now. Let's increase the key on increased the active on decrease. The key you can hear it makes the higher notes brighter. So if you want to have brighter high notes as bright as the lower notes with the filter run , I recommends playing around with this key dial here and finding a good spot. Next, we have the drive dial here, so the drive dial adds a bit of harmonic distortion and a big edge to the sound, so actually adds harmonic distortion to each note individually. So it's different than actually sending or adding a distortion effect, because distortion effect will affect the entire excess 24 and the drive will actually affect each individual notes or each individual sample. So having the drive on each individual note condone a better job preserving the clarity of each sample rather than running the excess 24 into, say, a distortion effect or an overdrive effect. Okay, so that's the filter section off the excess 24. Thank you for watching, and I'll see you in the next lecture. 8. Mod Matrix: Hello. And in this lecture we're going to be looking at the modulation matrix in the excess 24. So the modulation matrix or the Mod matrix is this strip here, and it has 10 identical punctures that allow almost every excess parameter to be controlled automatically or in real time if you want by this control surface. So this includes all the internal modulation. So the pitch, the filter, the amplifier two envelopes free LF O's as well as some other external control surfaces, such as midi controller, this mod matrix is a really powerful tool. If you want to add some expression to your samples or instruments, each of these 10 slots they do have the same controls, so they have these free, different pop up. So they have these free, different pop up menus, and then they also have this intensity slider. So let's just choose an instrument, and you're noticed that some of these presets will have different modulation controls. So let's just go onto synthesizer Andi that sink and you'll notice there's already some of these mod matrix controls in here Already, you come back with engineer, work out what they're doing, or we can actually create our own patch you here. So all it really does is allow you to modulate even more or use a midi controller to apply modulation. So the top one here destination, This is the target or the destination. So let's choose filter cut off. So this is what we're going to modulate. This destination does include the pitch, the glide time, the filter, Allah foes, the envelopes, all the standard things you see in the excess 24 cents and also includes a few other things as well. Like articulation I d. So let's choose full to cut off on. We're going to put the field to cut off all the way down the bottom parameter here. So this is modulation source. So this list includes things like the envelopes, telephones, release, release, velocity pressure. So we have pitchers Welke velocity. So I'm going to choose velocity. And we also have a load more sources here that can be controlled by your MIDI controller. But I'm just going to choose velocity for this example. Okay, Now, let's have a look at this intensity slider, so if it's above zero, you get a positive modulation on below. You'll get a negative modulation. So what this basically means is when it's above zero mawr velocity or harder than notes hit , we'll open up this filter cut off. So you hear when the player notes softly, the filter cut off will pretty much stay the same. When I heard that hard, they'll open up the field, cut off. So let's just play a note. Some playing this softly. You can hear when they play a harder the field to cut off opens up lets after when they play a harder the filter course off opens up. So it's effectively doing this with a filter cut off, depending on how hard I hit the velocity and, of course, the intensity. So this will make it more intense on when they put it closer to zero or put it back to zero . I play harder. Play softer, makes any difference. Zero is off. Onda, above zero is a positive modulation. On below is a negative modulation. Like I said, there's loads different ones. You can roots. You don't have to just do feel to cut off the recommended going in on experiment. We also have this I envy, but in here so this means inversion invert, so this will invert the intensity slider of the same range. So if you invest source and then we put this down, you notice it's doing the same as when it was in the positive modulation. When I play soft, feel to cut off is down around here. When I play harder, feel to cut off opens up. And if we put this intensity dollop now because we have the inversion on you get a negative modulation, that's what the inversion does. It just inverts the positive and negative. We also have this middle pop up here, which is labeled via So this actually allows you to set up a second modulator to control the intensity off the first modulator. Okay, so let's choose Pitch Bend. Then we'll get these two controls here. So the bottom slider This determines the intensity off this pitch bend when it's at its minimum position or off on the top. Setting Orange sets the intensity off the effect when this pitch ben wheels at its maximum position, so that's just move the Pittsburgh wheel. Now when it increased this and that this is a lot more what a move. And so this is actually your notice. Changing the pitch. The pitch, because it's a pitch bender on is also changing filled cut off. So when I move these sliders towards the middle, obviously the pitches bending. But the filter cut off isn't changing too much. As I increase this orange one up, you hear the filter cut off increases on again, even more so, It's just another way of adding another modulator to modulate the modulation that makes any sense. So you can add this vier. So this will modulate these premises as well. Okay, in the last, but in the BP, the bypass. So what this does is this lets you temporarily disable the effect without losing your settings. And this is just one off these modulation patches, there's 10 of them. We'll do the same thing. It just allows you to modulate even more Onda lower, more customization in your sampler or instrument. So thank you for this lecture all about the modulation matrix. And I'll see you in the next lecture 9. LFOs: Hello. In this lecture, we're going to be looking at the L A foes or low frequency oscillators and the excess 24. So the excess 24 has free elephants. So you have Allah for one LFO two on LFO free. So LFO is a subsonic oscillator where the wave is used for modulation. You never actually hear the telephone because it's subsonic, but you can hear the effect it has on the sound is routed to common uses for an LFO. In a sample, instruments is creating librato, which is a variation of pitch. So the pitch is being modulated and we also have tremolo, which is where the volume is being modulated. So we have a variation in volume. You can also use telephones for special effects. It spend it really quick already slow down. You can use it for special effects rather than for just creating librato or tremolo. We do have different way forms. We can choose for the telephone. We have a triangle wave which is good for musical effects like vibrato or tremolo. And then we do also have a sore tooth when we have square and then we have a random as well , LFO one is actually Polly, which means if you play, say accord of free notes, it will apply different LFO onto each notes. So if the note some played exactly the same time, the telephones will trigger at different times on LFO to L. A for free on mono. So if you play a chord, all three of these notes will go to the same LFO so similar to saying effects units will be a money on L. A. For one is Polly. Polly can be useful if you want to create some more realistic Sanick Instruments, say, a violin section where each player is playing a tremolo effect. At the same time, they might not necessarily play exactly at the same time, so Polly can make it sound more realistic on the mono. LFO will be more useful if you want more mechanical sounds, say the tremolo effect off electric organ LFO two and L. A. For one, you can choose the wave type LFO Free does actually have a fixed wife, which is a triangle wife. Now let's have a look at the writing up, so the right number of each LFO sets the frequency off the LFO, so this determines the speed off the modulation. Now let's set up an LFO. So let's start off with LFO. Free on have just loaded a string of preset on the way we set of telephones. We have to do in the Mod matrix, So let's choose destination. Let's try felt cut off. Make sure the filters on and then source. We're going to choose LFO free. You can set. This is a right or we can set this to think of the clock of our tempo. So I'm just going to increase this and you hear the rates of the telephone. I I'm going to sink this to eight nights. You can try the of one. Let's try L F O T increase the rate saying again we can cheese a rate that's think of our big cock on. Let's change this source to L. A. For one. Remember Ella for one's actually Polly. So if I play two notes, No, not the same time exactly for playing Polyphonic telephone. Let's try 16th notes things like that because I didn't play them at the exact same time, Sofus emphasizes like this. You might not want to polyphonic telephone booth once cracked sample. So it sounds like it's really players playing Get and maybe a polyphonic telephone might be more useful. Let's try feel to go tough, too. Pitch. Let's change this to elevate free that could be useful for maybe some effects. Let's try a different destination. That's try pump. You have headphones on or speakers. You'll notice that this is panic could increase this. Of course, we can decrease the intensity with this arrow here as well. So it's basically how we can set up the L A foes. There's also a different ways shapes, so let's change this to LFO. Two to change this to 18 nights. Let's change panty filled. You notice because I change this to a random way. It creates a random telephone can try it on square, a lot sharper than triangle, which is Ah, a lot smoother telephone. These are the different waves you can use the LFO. You can use this with LFO one, which is Polly LFO two. Just mono on LFO Free is just set to a triangle wave, so thanks. Watch this lecture on. I'll see you in the next one 10. Amplifier: Hello. This lecture is all about the amplifier or the output section in the excess 24. So that's this section over here. It's the volume knob on the master fader. We also have this key scale as well. This volume knob is the overall level. So this is the level for all of the excess 24 on this level. Slider here is also a volume controller. So this level slider here's main function is to determine how the instruments volume will change. That has different incoming midi note velocities. So the top part off the level sets the maximum volume level on this is in response to a maximum midi level which is 1 to 7. On the bottom parts is the minimum volume level in response to the minimum midi level, which is one. So if you play a maximum velocity 1 to 7, it will reach this level here. And if there's a minimum midi level off one, it will play this for you here. So goes from 1 to 27. So, between this, its scale between 11 to 7 safe one all many levels be played at the same volume. Put these favors together. But if you want, say, the middle level of one's beauty played at minus 48 db on the level off 1 to 7 at zero db and have it like this. So it really depends on the dynamics that you want, depending on your MIDI velocities. Okay, then we have ski scale down here, so this actually shifts the balance off the low notes on the high notes to zero. As it's on now, this will play eat sample the same as it waas in the investment editor window. Negative key scales. This will cause the volume off lower pictures to gradually increase on the volume of higher pictures to gradually decreased. This is all centered around middle C on positive values. So this will cause the volume of lower pictures to decrease on higher pictures to increase Key scales can also be edited in the Investment Editor. Let's just load the samples, choose acoustic Kelly and if we're going to add it here, you'll notice we are scale, which is some of the key scale. So if you want to at each of these notes in the positive or negative way, this will affect the volume off the lower notes compared to the higher nights. But you can do this globally for the entire X S instruments Here is well in the amplifier section on the key scale. So that's the amplifiers section. How do you find it useful? It's just free. Different bits. The level volume on the key scale. So thank you for watching. And I'll see you in the next lecture. 11. Envelopes: Hello. In this lecture, we're going to be looking at envelopes in the X S 24. So the excess has two envelopes. Envelope one on envelope, too. Envelope, too, is permanently assigned to control the volume that it can actually be assigned to simultaneously control another promise as well. Andi enveloped one. This is actually intended to control the filter cut off, but it's not permanently assigned to the filter cut off. You can actually write this to a different parameter in the modulation matrix. So these two envelopes they have the standard a DSR that you'll find that most emphasizes or samplers, so attack, decay sustain on release. So let's look at envelope to the attack. Time is how long it takes for the sound to build up to its maximum level. The decay is the decay time, and it's the time it takes to go from maximum to sustain level. So for a volume envelope, it's the time it takes to go from maximum volume. To go to the sustained control. Sustain is a level in this case for envelope to its the volume level, says the volume level off the note being held down while it's actually sustaining and then release. So the release is a time, and it's the time it takes to drop off from what level it's currently at. So for voice, remember lately envelope, too. It's the time it takes the note to basically die away in volume. So when you're dealing with a synthesizer, sometimes envelopes come in useful to actually sculpt the sound into something a bit more natural. Orbit more musical. But when you're dealing with sample, as already have this natural central, you have this musical sound. There's a natural envelope, so you don't really need to sculpt the sound as much as when you're working with synthesised sounds. However, you can still use envelopes to actually improve the siren door to manipulate the sound as you wish. Using envelopes can also add to expression, so just loaded a full string sample. Andi envelopes can be useful. For example, if you want the attack time to come in a bit more gradual to make it sound of it smoother. So if I play the sample now, soon as I hit, the K sample will reaches maximum volume. If I change the attack of envelope too, and now play a note from a more gradual. This could be useful for more cinematic sounds, rather sound entrance straight away. It also increased the release. Let go of the note and the release is still going. Maybe not that much, but could make more cinematic sounds by increasing the attack on increasing the release. Typically, a release time will be between, say, 10 to 20 milliseconds, or maybe even up to 100 milliseconds really depends on what type of sound you're after when creating special effects on designing your own sound. You don't have to stick to these rules but these arm or the basic rules for real life instruments. But if you want to create something a bit mawr wacky something a bit more crazy, you don't have to stick to any of these rules. So this attack dial can actually be split. So the bottom one is actually for the highest velocity on the top ones for the lowest velocity. Now let's have a look at these times lighters. You have time on curve, so this alters the length off the time based on bullet parameters. So this is attack decay on release for both off the envelopes based on the key position centered around. But we'll see. So when you raise this slider envelope times above middle C will get shorter and times for notes above middle C will get longer. This does, however, affect the times for both of these envelopes. Then we have the curve slider. So this adjusts the shape off the envelope. Attack times from linear in the center to log rhythmic or exponential. So thank you for watching this lecture all about the envelopes in excess 24. 12. Global Settings: Hello and welcome to this lecture where we're going to be looking at the global setting since these settings down here and also up here as well. So let's just go through some of these here. We have velocity offsets. So this allows you to add or subtract midi velocity values to incoming notes and going across we have hold. So this is the default for a sustained pedal. So on your midi controller, your sustained will be controlled 64. You can change this to something else if you want to use your sustain pedal for another setting. So just remember it's just for a sustained pedal going down. We have X fatal cross fade settings. So here we have the amounts. So this will expand the velocity range of all zones by applying identical value to each laid zone. So basically, when it's set to zero, the excess will simply switch from one zone to another. If you increase its, you can actually add some cross fade amounts. Then going along, we have the different types of cross fade, so here we have db linear. So this is a curve that evenly cross phase between zones. Then we have a linear. So this is a cross fade with a rapid fade towards the end and then we have e kapow. So this is a nonlinear curve with a rapid level increase at the beginning, off the faith. So this is useful if your cross fade seems to drop in volume part way free, okay, and then we have thes settings up here as well. So we have leg, auto, mono and poly. So mono on drug arto are for playing notes. One of the time, Aunt Polly is for playing more than one note at a time. So mono and lo gatto good for instruments like solo brass or base where it can only play one note at a time. Really so in mono each time a samples being played is being re triggered. The garter mode, however, we have overlapping notes it won't re trigger with a new attack. It will just change the pitch of the current notes. So many mono phonic or some other instruments might actually play with Lo Gatto, so something like a friendless base might want to have a bit of leg arto. Then we have polyphonic where it can play more than one note at a time. Going cross. We have voices, so this is the maximum amount of voices that can be played same time for just play a few notes now, plain to you can see that it says to five play for I can see that it says four. So it just tells you how Maney actually being used. And then we have unison. You can turn on unison. Then we have unison. This can act as a doubling effect or weaken due to knit actors. A chorus. This random nub here will actually de tune for unison. Add a bit more. You can do the same in mono or the garter, but I only play one note way. If we put around them all the way down, you can hear the difference if we turn off unison and turn on unison. Obviously hit a difference to these other global settings. Thank you for watching 13. Instrument Editor - Zones and Groups: high in the next few lectures were going to be looking at the zones on the groups. So this is the more advanced features in the excess 24. So previously we were looking at this window here. Next, we're going to be looking at the edit window, so let's just load up a presets. Let's try electric piano, electric stage piano. So now we're going to edit in the next few lectures were going to be looking at this window here, So the excess editor it consists off zone display and also a group display. And then we do have this menu bar up here as well in both the zone display on the group display. And we also have this show Velocity Tabas well at the bottom. Here you'll see the keyboard. Andi Also, you'll see the individual keys owns. You can make changes to zones by driving them, or you can actually change them in this editor here as well, so it can change the key range. Here. It's set to a one to be one. We can just drag this and change it here, or you can physically drag it around down here as well above the keyboard. Let's have a look at the menu bar up here. We have five different tabs. Instruments at it Zone Group on view. So investments. This is the equivalent off file menu, so this is where you can create and save new instruments. Edit has the usual commands. I undo Copy cut paste zone. So this allows you to create a new zone or to load multiple samples. Group here allows us to create a new group on to even delete a. News groups also has a section here, says Select Group of Last Played Key. So this makes it easier to identify the last played group and then the view top here. This allows you to actually set what you want to view. So if you view all, you'll notice a few more parameters. Have a bid. This could be useful if you're working on a laptop or a smaller screen, and you don't want all of these open the same time. So are quite a few. You can just go to view on de select, the ones that might take up too much space or the ones that you might not add it too often . You can always save as default as well. If you create your own view on groups as well, you notice almost the same on view. You can view all this well here. If you want to view all of the different parameters, let's have a look at zones now, quickly. Do you notice we have the names you can double click on these to rename them. And if we double click on the audio file here will open in a sample at its a window. So we have this section here pitch on mixer So here you will find the root key. So this is the root key off the samples. Original pitch. You can control the tuning coarse and fine. Then you have the volume. If you want to change the volume off each individual sample say you recorded one a bit quieter than the ever you can add gain or take away game. You can do the same of pan as well. Then we have the outputs. The excess will allow you to. I put to multiple outputs, not just one. Then you have the key range. So what notes The samples are actually going to cover. Then you have pit. So if it's a harmonic instrument like an electric plenary like this, you will want the pit selected. If, say, it's a drum, some poor you might not want to pitch. You might want to play on several keys, different drums, and you probably don't want these pitched unless it's a pitch drum like a steel drum. Then we have one shots on reverse, so one shot will play the entire sample. This comm useful for drums, real drums her actual drum. If you hit a snatch, going to play the whole whole snare, it's not going to stop the snare sound suddenly if you let go off the key. So drugs you want one shot selected reverse. Well, obviously, reverse the sample. This could be useful for sound effects and sound design. Okay, let's have a look at some or off the key parameters here. Then we have groups if we want to set a group. So say you have samples that played softly Consent Soft group, medium hard and ultra as they got here on this electric piano, you can group them if you wish they have velocity range. You can select a velocity range, have the sample, start, sample end so you can control whether sample starts where the sample ends. You can have a fade as well. So if the sample is a loop, you don't loop continuously. You can fade out this loop, then you have a cross fade. So that's for the Lupus. Well, okay, Now let's have a look at the group display. This has a few different columns as well. So just like the zones columns, you can slip the key ranges Have the mixer as well. So the volume for its group at the pan of each group. So you can Greep a few samples, and then you can affect the groups as well. You can change some of the settings for the groups. You can choose the out part if you want to set up excess is a multipart or nuts. Then you have voices. How Maney voices do you want the group to play? If you're struggling the CPU power. You might want to drop it a little bit, but set to Max at the moment and can go to 16 Voices has also on exclusive section here. Have a look at this in a bit more detail later run and then you can choose the filter offsets that envelopes the velocity range. I could said, Well, look at this. A lot more detail later on. Remember, if you do make any changes to save it and that's just a quick review off this instrument editor. So the zones the group's tab on these menu buttons up here on the show velocity. So thank you for this lecture. Hope you found it useful, and I'll see you in the next one. 14. Zones: hello. In this lecture, we're going to be looking at the zone parameter in the investment editor in more detail. Now let's go for the different things in the zone tap now, because this is quite important if you want to actually learn house using excess 24 for sampling your own sounds and really understand all its functions and features. So like I said previously, this is his own name. You can double click to rename this, and this comes from the sample, which is this sample here. If you double click on this, this will open up their sample in the sample editor. I do recommend actually editing your samples in logic pro in the actual window here. If you create a audio instruments because you can actually see what's going on, you can edit it a lot clearer on and then when you imported into the excess, 24 of samples would be more suitable. It is better to actually import samples that ready to go rather than try and edit the samples whilst in the excess 24 instrument editor. But it can be done. Don't get me wrong. It can be done, but it's a lot easier if samples are already there and already sounding great and already ready to be sampled and ready to be used in the excess 24. But if you do want to edit this in the sample editor, remember to actually save you all their fault will save a copy us that will save this into zones here and then also remember to save, as in the zones and then saving instrument as well. Just keep on saving. If you make any changes, you can always save as if you make a different copy, as I said previously, key but first to the root position key. So this is the note of the sample wets originally meant to be played. So if the sample is a C one, make sure this key says, see one and then course is for tuning and fine is for fine tuning. So course will chewing the sample in semi tones and fine tune will tune the sample incense . Then we have volume. This is useful, so you have a sample that's a bit quite in the rest. You can change the volumes off from here. Say, for example, we record the piano on the piano sounds a bit quiet. You can increase the volume here. What I'm going to do now is low. The multi sample library I created the previous lecture a case of Loaded, this camera library. It's just one active, if you what's a lecture about loading multi samples and creating multi sample? So let's just open this up and you'll notice. Here we go. It's just goes from see free. You can see here all the way to see four. We've got different groups here, so we've got soft the medium in the heart zones. You can see this hair soft, medium hard. I also labeled the samples with Octave the note name and also yeah, the sample. So this is quite important for loading samples. Make sure you you label them correctly because it will help a lot. Here, let's just go and find these operatives. Its 1st 1 see free soft compared to so you shop soft see shops off almost inaudible is really quiet. So I'm just going to increase this for you. Spy say six decibels now in the place. See, next one is still a bit quite a maybe even more 10 decibels that suits that bit better. So the volume congest help. If you have a multi sample or you create urine samples and there are all recorded, the same volume is quite difficult when recording a piano to make them all sound the same volume because can't always determine the exact pressure off those hammers compared to how you press the key, you might just press some of their keys a bit softer or a bit harder. So this volume can really help you at pan could be interested in. If you say you are critical orchestra and you want some of the violins on one side, the voters and the cello is panned out. You can do this in the groups on in the zones as well. You have pan in the groups and pan and the zones as well to scale actually re balances the level of different pictures. So negative values will make lower pictures in the key range gradually louder on the higher values makes high pictures gradually louder. So it's similar if you remember to a key here the key scale here. This is a global que scale for all off the samples and groups in the excess instruments. So the scale top here is a per zone version off this global one we have here key scale. Remember, looking at the level amplify settings. You could set the key scale globally, but this one is pers own. Then we have output, which allows you to route it zone independently to separate or channels and then we have key range. So this is a range of the keys for their zones. So here we have C four to C fourth because this will play C four here. You'll notice I have a sample on each notes. Some sample libraries. There won't be a sample for each notes. The sample may be transposed, sped up or slowed down. It may have a sample over 234 notes and I'll show you the key range here off the zones for the sample. Then we have pitch. So this is used for full pitched instruments, like a piano using drums. You might not want this pitched on one shot, so one shot will play the entire sample. So for a drum, if you hit a drum, is gonna play the entire drum sample, maybe a keyboard. You go between the notes. You don't want the whole of the sample being played because that's not really how a piano is used. It depends how you want to use this. If you want to use this for special effects or sound effects or drums, maybe you want one shot going all the way through. But for real played harmonic instruments like a piano, one shot isn't really needed because the hammer will go on enough as you press the piano key down Reversal. Simply reverse the sample. This could be fun for washes of their symbols, that kind of thing, and there's more we can actually view here, so we're going to view all and there's this is a lot more we can actually do. Okay, let's have a look at this group section here, so this will group into the different groups. So you notice says here. So the hard samples or the linked up with the name here hard. That's hard. The medium medium going down. We lost the range. This is on because we set up velocity for multi samples. So anywhere between 31 on 100 velocity will trigger the medium anywhere between 127 will trigger hard samples. If you click on all zones as well, you notice the soft will appear and this is from 0 to 30. So the velocity of zero 2 30 will trigger a self sample from 31 to 100 will trigger a medium sample on 127 will trigger hard sample. So that's the velocity range. Then we have the sample here, start and end. So this is where we can actually take out some dead space of the sample if need be. You are doing this blind. You can't see the waves when you do this. So do you recommend doing this in the sample editor by double clicking on the sample here or alternatively, reloading the sample in logic and trimming the sample there, Then we have fade. So this is to set a fade for the one shot samples. So say you play a loop. You will eventually want this to fade out or a really long sample. You might eventually want this to fade out so you can set fade here You wish it to fade So he even set a loop so you can turn on the loop started ends. Say, for example, a bass notes. You might want the last part of the base sample to actually look around around, and then then we have tuned because the loop may drop. Some notes may fluctuate in pitch as then there continue so you can actually tune that lupas well can be useful on. Then we have a cross fade which will yet cross fade thier loop if you want to make it sound a bit smoother. Okay, so these are the main settings for his own parameter. So remember, you have the different sections up here. The audio file, a pitch mixer key range, the playback a group velocity range, the sample and the loop. That's the main ones. And of course there is show velocity, which you will have in zones and in groups. So thank you for watching this lecture is starting to understand this own tab bit clearer at first. It can look quite complex, but when you go through work out, the main ones work out what they do. Then it starts to make a lot more sense, and you realize how powerful it's excess 24 can be for sampling your sounds and sampling instruments. So thanks again for watching, and I'll see you in the next lecture 15. Group Settings: Okay, now that's have a look at the group tub. So here we have open the sample library off the piano. One active free, different velocities. So free. Different samples. Fridge one on their grouped into soft, medium and hard. You can see on the side here, so the soft notes medium notes in the heart of notes with different velocities. For click on groups, we can see the soft medium on the heart a few different ways. You can actually select a grape. What you can do is you can actually drag them into one of the groups here. If you select more than one, you can even dragged him down to create their own group here, So creates a new grape. Well, you can just go to Group New Grape, Go back to the group. Stop here. A lot of these parameters for the group's parameters are similar to zones parameters. A few things here we can change. We can also change. The filter got off on the filter resonance off the main menu, so if you want to change some of the settings for the groups, you can do it here. Of course, there will still go through the settings off the main one day slash Just open up the main window to still gay Through this filter cut off on through this resonance. One thing you can do is open the field to cut off all the way up. And you could put all the envelopes time completely and then you could adjustable. Yeah, it is a lot easier to do this in the main window. Do you have an extra one here? Get hate for holds. So we have a DSR attacked the case sustained release. But we also have attack Hold the K sustained release So this whole parameter will hold after the attack reaches its maximum volume so hold can be useful for samplers compared to synthesize is because the samples are using riel sounds There actually has its own envelope has its own sound is already sculpted because it's a real sound. So hold on, hold this sound and it could make it a bit more realistic for samples compared to synthesizers. We also have output over here so we can set up a multi output so we can set up auxiliaries for mixed in different groups. But there will still go through this main interface to go through the main window. So if you want to change some of the settings, it's still going to be affected and modulated through this main windows. So remember that you might have to set up several different excess instruments. If you really want to change it, say you've got a drum kit and you want to kick and the snare to be completely different, you might have to set them up in different instruments, even if the group still going to go through these settings here. Of course, we have the key range low and high, and we have velocity and Pam, be careful of the pan. If you have panning in the zones Andi needs remembers, well, group settings will trump. There's own settings, so if you have a zone setting that has certain velocity and a group on clashes with, it is going to choose the group settings over the zone settings. So that's the group have similar to the zone top. Of course, you group zones together and put them into a group. Then you can further edit this in the group's tab. So thank you for watching this lecture and I'll see you in the next one 16. Multi-Outputs: Hi. In this lecture, we're going to be looking at setting up multi outputs in the excess 24 so the access 24 allows you to have multi outputs. So this means the excess 24 can be sent to different organs. Hillary's so you could have a group of, say, snare instruments going to a reverb effect, but the effects will still get processed through the excess. 24 still go through this main window before it gets sent to any auxiliaries, so you can't change the sound too much. However, you can add external effects to certain groups or zones afterwards. The first thing you need to do is go to the Access 24 and changes to multi output. And now open up the X 24 on Let's Open Up I investment editor. We could do this with zones, but I'm going to show you groups for this example, and so I have my panel instruments set up. It's just one active, free, different velocities, soft, medium and hard. So all the hard samples I'm going to set the output to free on four. I probably wouldn't normally do this with a piano because at different compressions. Maybe, but for effects is a lot of things you can do. So the hard samples have been sent to auxiliary free and four that. Say this. Okay. And then I'm going toe. Go down to this little plus button here and you'll notice that that says, excess free. And four, it's that socks Hillary frame. Four. So what we can do just, for example, sake I'm going to add on spaces on a river just so you can really hear a difference on. I'm gonna add loser reverb and turn down the dry. I probably wouldn't normally do this piano. I just want to show you sick and clearly hear the difference. This is me Plenty piano on When they play hard, get sent to this multi app so auxiliary free and four basically still gets processed through this main window, and then it gets sent into auxiliary frame for so this could be useful for drums useful for effects. It could be useful if you want different accuse for different groups or even different accuse for different zones or different compressions. But that's basically how you can set up the multi outputs. You can do it with groups, and you can also do it with zones so you could set up each different sample going to different auxiliaries. Or you could set up different groups going to different auxiliaries for now that I'm going to set this piano all domain, I'm just going to say this, but that's how you can set up multi outputs and the excess. If you want to get rid of this auxiliary outputs, just hit this minus person down here and that will bring it back to how it originally Waas . So thank you for watch this lecture just about sex, not multi outputs in the excess 24. 17. Realism: hi in this lecture against talk about realism so we can use the excess toe. Actually, the Hansa realism off acoustic qualities to acoustic instruments. So for using riel accused examples, we don't necessarily want the samples to be played the same all the time. We do want some kind of tonal variety to make it sound like it's a really player playing these samples. If you want to use this for sound effects, you might not have to take this into accord. If you want to use this for real sand, remember if there's a performer playing a violin string, it's not going to sound the same every single time. Even when it's the same string or different strings, it's gonna be different. Gonna have different pressure. Gonna have different tonal variety, different velocity. There's certain things we can actually do in the excess 24 to make the sound mawr riel, even though the samples are recorded samples of real instruments, the way they delivered the way they are played on, always going to be the same every time. Remember, we looked at the attack earlier. We can set the attack time so you can set high velocity points the low velocity points. We can also add random thus and going into the instrument. Remember, different velocities can trigger different samples, so there are a few different ways we can make our signs more realistic. Remember, if you do play a sample off a riel instrument, people's expectations of samples now really high in any journal music pop rock, especially orchestral music. So do you recommend going in on having different samples for different velocities just to kind of make it sound more realistic? This is, of course, if you want to make your sample sound like played by a real player rather than just a synthesized or just assemble. So thank you for watching this lecture. I just wanted to talk about realism and how you can make some of your samples sound a bit more realistic than just triggering the samples with the same velocity and the same pitch. So thank you for watching, and I'll talk to you soon. 18. Outro: Okay, so that wraps it up for the excess 24. Sample a section I hope you arm or confident and competent and actually using this sampler . Do you recommend actually going out recording their own sounds and then sampling them in? They don't have to be really instruments. That can really be any sound. Your wants. Hope you found this section useful. I hope you now understand how to use the front end on also the instrument editor in the excess 24. So thank you for watching this section and I'll talk to you soon.