Sound Synthesis and Design in Logic Pro X : ES2 | Christopher Carvalho | Skillshare

Sound Synthesis and Design in Logic Pro X : ES2

Christopher Carvalho, Founder — Unlock Your Sound

Sound Synthesis and Design in Logic Pro X : ES2

Christopher Carvalho, Founder — Unlock Your Sound

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14 Lessons (50m)
    • 1. Oscillators

      2:45
    • 2. Oscillators 1 and 2

      5:34
    • 3. Oscillator 3

      1:01
    • 4. CBD

      1:50
    • 5. Voicing

      3:50
    • 6. Glide (Portamento)

      1:51
    • 7. Filter

      5:58
    • 8. Amp Stage

      5:23
    • 9. Modulation 1 : LFO

      3:40
    • 10. Modulation 2 : Envelopes

      5:42
    • 11. Modulation 3 : Vector Envelopes

      5:58
    • 12. Macros

      1:46
    • 13. ES2 Part 1 COMPLETE

      2:45
    • 14. MIDI Control

      1:50
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About This Class

In this class, you will learn how to confidently navigate the all powerful ES2 Synthesizer which comes included with Apple's Logic Pro X

START YOUR SOUND DESIGN JOURNEY WITH ES2 TODAY

The ES2 is one of the most powerful soft synths out there, and it comes FREE with Logic Pro X

Whether you are looking to rely less on presets, set yourself apart from your peers, or simply looking to learn Sound Design, this class is for you!

What will you learn?

  • How to use all 3 of ES2's Oscillators
  • Subtractive Synthesis
  • Wavetable Synthesis
  • Voicing
  • LFOs
  • Modulation
  • Vector Envelopes
  • ADSR Envelopes
  • and much more!

Why should you take this class?

I will take you through every step and feature of the ES2 in a way that actually teaches you the theory and practice of Sound Design.

Premium Support

My goal is to help you get out of the funk of relying solely on presets. If you get stuck or have questions, you'll get answers.

You will get personalized attention and support as a student of this course!

See you in class!

Cheers,

Christopher Carvalho

Meet Your Teacher

Teacher Profile Image

Christopher Carvalho

Founder — Unlock Your Sound

Teacher

Hi, I’m Christopher Carvalho and I run Unlock Your Sound out of the UK, helping independent music artists and producers create and release their music.

I’ve had the pleasure of working with the likes of Labi Ramaj, Elisabeth Elektra, Distrokid, Tunecore, Gerald Duchene, Daniel Halford, Aliki Rodgers, Matt Cahill, Chris Pavey, Simone Silvestroni, Cheri Lyn, Peter Ngqibs, and many others.

I make educational videos on Youtube.

I write things and published them on my blog.

Here is my company’s website.

Here you can join my email list.

And here is where you can get hold of me.

In 2010 I graduated from The University of Hertfordshire with a First Class Honours award in Sound Design and Techno... See full profile

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Transcripts

1. Oscillators: Hi there. In this video, we're going to start to talk about the ears to synthesizer in logic Pro. Also logics asking me to create a track on and on this truck. I'm going to choose ears too, in stereo and create. Okay, so this since has a lot of features. So what we're going to is in this video, we're going to concentrate on the oscillator section, at least part of the oscillator section before we move on. Okay, great. So it's gonna be a keyboard. Great. So what we see here are three different oscillators, and we can actually choose to turn each of them on or off. Andi, between the three of them here, we actually have this kind off oscillator mixer. So if for example, I bring it up all the way to the top there. I'm only hearing oscillates one in the middle. I'm hearing mix of oscillator one and two, but none off oscillator three. If I bring it into the middle of trying go, I hear equal amounts off the three and you get the idea. And within these oscillators, we have different types off way forms that we have available to us. which are explore further in the next video. But over here we have the tuning for each of our oscillators, so we can transpose also little one up by semi tones, as you can see, goes up by three actives and down by three actives, Or we can adjust the sense of again 1 1/100 off a semi tone is one sense that he's a really , really fine tune in control. So, for example, if you had all of them on sawtooth mode at 07 Tones said they will play in the same tone. You can slightly de tuned all of them, so I'll do that. One plus one sent that one minus one cent on this one zero sense on the See how that sounds . Ah, uh so you can hear that Faizi nature off the sound due to the summing those sort of waves at slightly de tuned pictures. Excellent. In the next video, we'll talk more about the oscillator section on looking further into the different way forms are available to us 2. Oscillators 1 and 2: Hi. In this video, we're going to talk more about the oscillators in years to. So if we focus just on oscillator one for a moment, I'm gonna turn off oscillator two and three. Let's have a listen to that. Uh, just a salty flavor. Uh, what do now is cycle for the different options available to us. So we got square. Got pulse wave there, sort of triangle and sign. Now, what's special about this sign option is is that it's actually a wave table oscillator. If you actually control, click or right click and hold, you can select from a number off DJ ways. And these are basically the transient parts of snapshot off the transient parts off commonly found. Sounds like glass and organs and stuff like that. So let's go with glass. Let's try something else. Books. Ah, uh, great. So there were wave tables available to you in the oscillator. One off is to well, what's also available? Teoh is frequency modulation. So if we go here, we got signed. Return it up. Nothing's gonna happen yet, but this is how we turn up the intensity or frequency modulation. But in order for that to work, we need a modulator. And for that we can use the second oscillator. So what I'm gonna do is set that to sign, and that's going to be used as the modulator. Meaning the frequency off oscillator to is gonna much like the frequency off us a little one. Right now they're the same. So let's make that affect a bit more interesting on a turn this one down by three actives and turn the cents and zero and see what happens. You hear actually modulating the pitch there, I'm gonna turn up a lot of if we go really low. No, go further down the keyboard. That's really Ah, uh, awesome. So that's the FM that's available to us in years to now. There's also something called ring modulation. So where frequency modulation, much of its frequency ring modulation, modulates amplitude. So we're going to switch shots of ring on. What we could into is keep that in sign. So those are just signs. Now, one you can hear that sub sign for Britney active up again because ring modulation creates these side band frequencies because you kind of multiplying these wave forms very easy way , just like we've FM to create kind of rich tones by only using a couple of sound waves through accident in years to we also have sink, wave sink. You can basically, when you got to oscillators. One is re synchronizing at the beginning, off the cycle, off the number one or at the begin when the notes played as well. So this is grateful, very aggressive sounds. Compare that to a sort of Let's bring that up again. So that's, uh, why not so below the other was trying out in Sink it boring. Let's do the same active one sense divided without saying You see here this sort of in this sort of combined because it start the out of tune. Um, there's a phase modulation in there, but in sync, that doesn't happen because one oscillators, always re synchronizing of another, said there's no phase discrepancy between the two, even if you do slightly de tuned them. So again, if I bring that out, See, it hasn't affected the sound but doesn't create that Faizi that you get just by combining to de tune sort of waves. Okay, that is sink. What we talk about in the next video is the third and final, also later in years to 3. Oscillator 3: welcome back and which is going to talk about oscillator three Now? What also a to three does have is a noise generator, which is very useful. If you want to create synthetic snare and drum sounds and such things, you can obviously subtract a lot off the harmonic content from the noise use in the filter , which we're going to talk about in the next video us later. Three also has sink just like oscillates to did Onda some way forms available to us as well as the wave tables. If you just right click on the sign so again you got the wave tables there on a pulse width adjustment here. So we're starting from a perfectly square wave toe. Other variations off rectangular wave. Excellent stuff. See in the next video. 4. CBD: Hi. In this video, we're gonna talk about the C B D option in years to which stands for constant beat d tuning . So, for example, let's festivals recalled a default patch. Ah. Okay, So what we got here are three sorters there started D tunes on as a result. You hear that, Faizi nous, that Werling beating sound What you'll notice is as well if I transpose if I go up a couple of tips here, the actual swirling is slower in the lower pictures. Ah, which might be the effect that you want. But if it isn't, CBD helps. So if I turn it all the way to 100% Yeah, that shouldn't be any different now if I go up a couple of boxes and then down the beating that's caused by the D tuning is now at a constant rate, no matter which pitches out of play. And of course, you can choose some middle ground between completely, often completely on at 50% for example, which could make for some very interesting effects. Thank you. And see in the next video 5. Voicing: hi. In this video, we're going to talk about the different voicing options that are available to us in years. Two years, too. You could work as a polyphonic or Mata phonic synthesizer. It does both very, very well. But the way that we assigned the type of voicing that we want in years to raise up here in the very top middle. So right now it sets a polyphonic at eight voices, which means we can play eight voices or eight different notes at the same time. Using is to okay, but, however, was set to mono phonic, even if I hold down the same notes only one place at a time. If I do the Gatto when there are no gaps in between the notes, just the first envelope plays and it continues to note, just adjusts the pitch into the next night out play. However, what's really, really interesting is when I turn on unison. So what unison means is that when I play in the guard Toyo, if I play a money, it's using all of the available voices to play a single note. Ah, just wise a bit louder, but it's also a bit more aggressive because if, for example, I switch all of these oscillators to sore tooth on and I de tune, I would already create, like, a fairly big sound anyway. But if I'm gonna gets very, very aggressive, turn down the volume here. Let's compare about this. Is using all of the available voices to play a single note. If I turned up to something like 20 very, very loud and aggressive sound, uh, it definitely need to watch that volume numbers. You do this. And if I turn up the analog mind, which we'll talk about further Internet so dear, that's how you get a really cool sort superstore sound. Tell a few dozen Turn on Eunice and again and turn up the voices, even water 32. Very big sound. I'm just turning up the tune in by 50 cents there when she can do just above the analog style. And then Aiken turn on glide Accident will talk more about analog CBD and glide in the next video, but that shows you the different options that are available to you in terms off E S two's voicing controls 6. Glide (Portamento): Hi. In this video, we couldn't talk about the glide options or the port aumento options that are available to us in years to So I was gonna bring up my keyboard here. Okay, so let's turn up the glide to make it longer, okay. And what we have here are the upward and downward ranges. So right now downward is set some link, which means it's just gonna replicate the range that I assigned to upward range. So I'm going to turn up to 12 7 tones, which is a negative, like, even longer on. Of course, I can set that independent. That down would bend range independently from the up foot we owe, and then play a note a few octaves down very large range. But for go up, I've got a smaller range. Uh, excellent. That is the glide feature for port aumento inside ears to that's watching 7. Filter: Hi. In this video, we're gonna talk about ES twos. Filters is to has two filters filter while and filter to on. We can either use them in parallel or in Siris. Now, when we're using them in serious, for example, the output off the oscillators has been fed into filter one, and the output of Filter one has been fed into filter to. And then that's going to the AMP. Stage. When we are doing this in parallel, however, the output off the oscillators is being fed both to filter one unfiltered to in parallel and then the outputs of being some together. Two D m stage, parallel and Siri's. When we're in Siris, we had this blend control. So driver hearing the output off filter wired or the output fields to or mixture of the two . So rumor zero, We're here in both. Now let's focus on filter one for a moment. Eso got these Sore tooth is going on. What I'm gonna do is actually turned off. Also, it's a two and three s, so we get a very static filter sound on the cut off is set to about halfway down the frequency spectrum, and it sets a low. So basically what's happening is it's a low pass filter, meaning that frequencies below the cut off frequency are being passed through on frequencies above the cut off frequency are being attenuated okay with high passes the opposite. So frequencies above the cutter frequency are passing through frequencies below or not. No tape. I always got the volume control available to you on the right hand side here on there's Peak. So basically you got pick bands, which you can increase with residents. So it's just peeking a certain band there. So think of it as like an e que based. There you go. Careful of levels, of course, a special of residence. Let's turn that down a bit and we got banned. Reject. So if I put it in the middle, there is rejecting that band. You see, when I turned the filter on enough, you can hear the band's that's basically being notched. So if you think of it as ah que curve, you're kind of just during their can narrow band cut a certain band, which is a sign a bill by the cut off and you got banned past, which is like a narrow past basically. So it's like a low pass. Plus are high parts and it was the band in the middle that's been allowed to pass through. Okay, you can also drive more input, making it louder. Got Be careful with that as well, unless what she had to bypass Ah ah, they go. So that's how filter one works. If we switch over to filter to now filter to resolve low pass way have different options for the steepness off the curve. So we're low passing. Ah, but load of frequency. Ah, but anything above that is being attenuated by 12 decibels per active. So frequencies one octave above the cut off have been attenuated by 12 desa bells above that 24 decibels, etcetera. So this is decibels productive, and basically, the larger the number, the steeper that curve is way also had the fat option there, which basically allows us to reinforce lower frequencies which can be overly attenuated when using such steep filters. Ah, uh, okay. Great. We also have a residence control. So again, residence is just a boost. The cut off frequency. Ah, we also have this FM control, which means you can use oscillator one as a modulator for the cut off frequency. So let's actually turn off. Also, data one for moment. Turn on oscillated two and three and use those as our sound. I shall just leave us later to on. Okay, I'm not gonna do is I'm gonna set also later, one to really low frequency, transposing it down by three octaves there. And I was switched that on and switching to sine wave. What should here now if I turn up the FM on the filter is the sine wave modulating to cut off? Okay, so that's kind of like a low frequency oscillator. Now for the cut off frequency on up. Make it a bit more interesting. You get the idea. Excellent. So those air filters that available to us in years two and you can run them in parallel or in Siris. It's always worth experiments with the to see in the next video 8. Amp Stage: Hi there. In this video, we're gonna talk about this section off the ears, too. What we're going to start with is the volume knob. Obviously, we've been using a little bit already, but it's very useful for gain staging your instrument, getting the right level of your instrument in the mix, but also, when you are creating sounds ordered, the different things that you're going to do to manipulate you sound. They're gonna result in various volume fluctuations. So keep an eye on that I wanted to is just turn it down a little bit for myself. Certainly not enough. Turned out my monitoring. Okay, so you can just set the output noble there. Ah, that's really let's talk about is the sign never. Also, this basically sets the volume off the sign oscillator. So basically, imagine we have a four also later going straight through to the AMP. State. So it's not getting filtered or anything like that. And that sine wave is there just just thinking up the sound a bit. So let's say I turn off oscillators two and three says bit thicker. It's just a sine wave running through now. This sine wave will resonate at the same frequency as oscillator one. So if we wanted to use it like a not active or two below, what we're playing, we could actually use are slated to and three or just thoughts about it. So for example, Okay. And then set that too. For example, two octaves above. So the sore tooth is tortures above the sine wave. And then just come down the motive or two on our keyboard and start back up one. You can hear that low rumble from the sub sine wave. Just the excellent Turned that down one active again co. The next thing I want to talk about here, So I want to turn down sign level is the different effects that we have in terms off course flans, aan de fazer modulation effects like this. What they do is they take a signal. They duplicate it on done the duplicate version of the signal they mess of the phase of it , said a phase bean. The timing off the sound on day also can modulate the delay of the sound as well, so that we get this sort of beating this off Faizi effect that's happening on each different effect does that to different extents. Varian delay times and stuff like that. So let's try out. Turn up the intensity now. So that's what it's like. Teoh solve chorus to sound on flinch. Shorter delay between the original signal and the duplicated signal. Let's for back into original Andi Fraser way have here the speed at which the delay off the second signal is modulated way across course. Fanja and Fayza excellent. The Nets and lots of belt is the distortion that's built in Esso. What we're gonna do is I'm gonna turn those down. And actually, what we do is set oscillator one to a sine wave. Like I very clean signal on on my audio track On my stories software, instrument track download a channel e que and turn on the analyzer We're gonna have a look at our sine wave And as we know from a previous video, a sine wave resonates at a single frequency. No distortion. But that does is it bends the way form it deforms the way form. And we know that when you take a sign away from you, turn it to something other than the sine wave because it's no longer sine wave is now a complex tone on this that's gonna create new harmonic content. The case I want to do is I'm gonna turn on a distortion and see what happens to the special . See, here we got this harmonic creeping up, Andi turning up that second time on it there, Master soft distortion setting. So it does with the hard distortion loads of new harmonics. That's great. We also have this dark and bright setting here, like a filter within the distortion itself so you can filter away. Someone has topped harmonics if you don't necessarily want them. Great. So that refers to the volume and distortion on the modulation effects that are available to us in years to see you in the next video. 9. Modulation 1 : LFO: Hi. In this video, we're gonna talk about using the modulation router to create an L. A phone that's gonna modulate the filter cut off its create. That's off wobbly filtered effect. That's quite common. Okay, so what we need to do, first of all, is decide what is to carrier on. What is the budget later? The carrier in this case is the filter cut off on the modulator is going to be an LFO. We want the LFO two wobbled the cut off. So I want to Here's use one of these blank, unused unassigned modulators here on the target, of course, is going to be filter cut off oneness the filter that we're using and the source is going to be the left one. Okay, Andi, we're going to set the rate. So we were you know, just here is that it's measurable in heart, so cycles per second. So if I drop it to around one, that's gonna be one lfo cycle per second I want to do is turn this up. So the intensity of the modulations turned up and see what happens. Okay. The shape of the other phone is a sign herbal here for L. A. For one, which is when we're using forever for two, which we're not using quite yet. Excellent on the LF I also has an assign noble decay. So if we want it to decay at first for over two seconds that we could do that here c went from open to closed over about two seconds, we could make that longer and we can go into negative territory here, or we could just reset that. So there's no decay. It'll here, the other foes in full effect right from the start. Excellent. Now if you wanted to. If you're midi keyboards, support such a thing. You can choose the via menu from here and choose the model so that the mod will on your Medicare board would also be used to modulate the cut off as well as the LFO. You can choose the intensity off the mod will relative to the intensity that's already there is in the Orange Triangle. There you could also have a via from another modulation source, such as Releford to if you wanted to. So now we have to l. A firs modulating that stuff. It can intense intensify the L a for two. It's effectively and turn it square with to see what happens. Yeah, turn up a bit. Excellent. So that's how we use he s two's modulation router to create on L. A foe that modulates to cut off frequency. See in the next video. 10. Modulation 2 : Envelopes: Hi. In this video, we're gonna talk about using envelopes as a modulation source so common the envelopes are used to modulate the amplitude, the volume off the notes from the course of the note. And that's the first example will use now in yes to we have three different envelopes available to us. Let's have a look at envelope three now enveloped three. Whether we like it or not will always modulate the amplitude off the note the volume of it . But it could also be used to modulate other things such as filter envelope one and two. However, just Frito, do what we want, you know, as little as much as we want them to. No, to kind of explain how this works. Yes, there is a little bit different, or at least envelope three is a little bit different. As his invalid to a normal, a DSR attacked the case of staying in release envelope. If you haven't already watched our video about a DSR, make sure you just that information before proceeding here because he has to takes a bit further. Now we have attack. Obviously, that's how long it goes up to the top and decay is how long it goes down to the sustained volume on a sustain dialled. The sustained parameter is how allowed the sustained volume is relative to the max volume before decay. Now they've gone and phone in this time cider. So the difference with that is, how quickly does it rise or fall Teoh a new volume, or to the to the highest volume or lowest volume after the sustain, which sounds a bit confusing. So let's let's kind of demonstrate it so normally if we set that to negative their toe, nothing rather and we have a slow attack on a short decay lo sustain the reason we loan release. So there's like a little bit and then the soft bit. As I hold the note down, there's that really low sustained volume, which I can turn up. And as long as I hold down this note that sustain volume will be sustained. And as I let go, the release is how quickly it decays to nothing. Okay, now the time is for example, let's say we moving up towards right. Are you ever going to rise or to fall for Do rise off one seconds, see what happens. See how it's changing volume there if we do full off one second or two 1/2 2nd So it just felt to nothing, even though it's holding a note down, so that kind of gives you a limited envelope. Time holding the note down no longer determines the length of the note effectively, but if we go back up to rise like a really long rise, like three seconds so that decay is really is toe transient part of it, if you like. So that's one second it's a dome in the sustain Now rise. Okay, so you see how that makes things a bit more interesting relative to normal idea. So stuff we also have here the velocity slider. So if returned it all the way up, the velocity of the note is gonna have a full bearing, if you like, on how intense the envelope is. OK, but if I turned down the velocity way, can't hear it so much because it's like but I just determines the velocities. The medieval Aussies effect on on the envelope. Excellent, and we can also use, like I said, envelope three to modulate things other than the volume. It's stuck on during volume. So let's just a thing. But what we can do is go. Okay? Well, I kind of wanted to modulate the filter. Cut off a swell. So I want to do is use one of these unassigned routers here on the target is going to be cuts off one and the source is going to be enveloped. Three. Turn up the intensity there. Our So now you can hear it's having the same effect on the filter cut off. So that's basically hell weaken Set up an envelope to modulate not just the volume, but things that the cut off we could also do pitch as well. So let's say I do pitch. You see how it's modulating the pitch, their excellent see in the next video. 11. Modulation 3 : Vector Envelopes: Hi. In this video, we're going to talk about the vector envelope in years to so the first Very much you're gonna do is I'm gonna turn off all sort of modulation on this sound right now so that how years can focus on what the vector is doing. So turn off these two oscillators here. I'm gonna leave the cut off about their on. What to do on the router is double click in the middle of the slider status toe. Bring that modulation to zero. Sanofi's happening. Let's have a listen. Ah, great. So very static sound. What now? So anything that we do with the Vetter enveloped should be quite nuts, Sport. Okay, so let's get to factor. Now again, Think of Vector as an envelope. So it's a bit like a DSR, but we have a bit more control and we're not limited to just a DSR. What I'm gonna do first is I'm gonna right click on here a few times to insert a few points . So there's a few more stages in now envelope. So just by having this many were already exceeding the benefits of a DSR on this note. Here Is this the same point. So where in the in flight will it sustained at? So when I'm holding down at the notes, will it stop and just remain at that point at Andi? What I'm gonna do next is I'm gonna go to each point. We'll decide where on the X y pad. It's going to move things to let me explain. So we have this X Y pad here, and the first thing I would do is the X target. I'm gonna make that filter cut off one. I'm going to turn up the intensity a bit. 2.5 roughly on and in vector modes, I'm gonna switch just two x y because I don't want it to modulate this mixer over here. Would it make any difference in this patch? Because I'm going to use one Awesome later. But that's just explains what that does. And then what I'm gonna do is because basically what I want the vector invalid to do is modulate the cut off. Kind of like an l A fire a bit, but with a bit more control. So right now there's no modulation, but what I wanted to do something like this. Ah, a So you can see there it was modulating because I assigns the cut off to the X axes. It was much later in the filter. Uh, okay. So in order for that to start happening, what I need to do is I need to set different points in the envelope. Different points in the x y pad. So I'm going to start with over here on the second point on it to be over here. The point, maybe. Ah, four point. And I'm just gonna make a few more adjustments to you. That that's fine. That's fine on here. Within these points, I can choose how long each stage off the inflict it so very up with some slow and some fast , you know, two seconds there. 15 million seconds there and someone. Okay, Right now that sustain point is in the middle of the envelope. I'm actually gonna moving over here. So it does. The entire envelope in It just stays at that point when I'm sustained in the notes. Okay? And I need to turn off cellular point in order for this, have any effect and see what happens. Ah. Okay. As you can hear, there it was modulating the cut off frequency for out. These different stages vary in glimpse of time, and stuff like that should turn up the intensity a bit more. Okay, great. Now, when I got to the end, it just sustained the note from there, Just sustained where things were in the X y pad at that moment. But what I actually wanted to do is loop. And I wanted to look forward. So every time it gets to the end, it just loops again. So it just plays the envelope from left to right. I can have it do backwards. So it just goes forward once and in backwards or can have it all tonight between the two. It's going to forward for now. And then my loop point is gonna be there, see what difference that makes. Okay, call. That's Lupin for me and let's do alternate. It's a bit more interesting I'm going to do now is randomly select a few of these points and position them on the Y axes. And I'm going to set the white target to pitch. So this this should sound pretty weird. Let's hope the intends to bit just a bit more uh, excellent. So that's kind of how you get started using the effect on the envelope in years to to modulate things such as cut off frequency and pitch see in the next video. 12. Macros: hi. In this video, we're going to talk about the macro controls available to us in years to so macro control is basically like a global control for similar or multiple parameters within years. To to give an example that say amusing to filters bring the blend into the middle. This one is set so high pass, and this one is stuck at low pass on what turned. That's our high frequency that's at low frequency on its effectively letting the band between them through. Because once a lead passwords are high pass. Let's say that later on, in my sound designing, I decided that I want to turn both of them down by the same amount or turn them both up by the same amount. The easiest way to do that is to use the cut off macro here. So if I turn that up, just have a look at the to cut offs over there as they turn up. As I turned it down, there were turned down okay, so I just control multiple. Kutteles is in the cut off macro. I can do the same for release times. If I wanted all of my release times to be longer. Pretty short right now. I can just turn up the release macro. And it turns up the release on each on a lot in flips. I have a release control on a second. Do that the same four attack you. You can also choose to switch to macro only. So you're just looking at the macro controls if you wanted to do that. And that's how you use macro controls in yes, to see in the next video. 13. ES2 Part 1 COMPLETE: Hi there. In this video, we're going to start to talk about the ears to synthesizer in logic Pro. Also logics asking me to create a track on and on this truck. I'm going to choose ears too, in stereo and create. Okay, so this since has a lot of features. So what we're going to is in this video, we're going to concentrate on the oscillator section, at least part of the oscillator section before we move on. Okay, great. So it's gonna be a keyboard. Great. So what we see here are three different oscillators, and we can actually choose to turn each of them on or off. Andi, between the three of them here, we actually have this kind off oscillator mixer. So if for example, I bring it up all the way to the top there. I'm only hearing oscillates one in the middle. I'm hearing mix of oscillator one and two, but none off oscillator three. If I bring it into the middle of trying go, I hear equal amounts off the three and you get the idea. And within these oscillators, we have different types off way forms that we have available to us. which are explore further in the next video. But over here we have the tuning for each of our oscillators, so we can transpose also little one up by semi tones, as you can see, goes up by three actives and down by three actives, Or we can adjust the sense of again 1 1/100 off a semi tone is one sense that he's a really , really fine tune in control. So, for example, if you had all of them on sawtooth mode at 07 Tones said they will play in the same tone. You can slightly de tuned all of them, so I'll do that. One plus one sent that one minus one cent on this one zero sense on the See how that sounds . Ah, uh so you can hear that Faizi nature off the sound due to the summing those sort of waves at slightly de tuned pictures. Excellent. In the next video, we'll talk more about the oscillator section on looking further into the different way forms are available to us 14. MIDI Control: Hi. In this video, we're going to talk about the MIDI controller assignments that you could make in the years to. So let's say that you have a MIDI keyboard and on Let me Dickie Bullets, some knobs and some sliders and stuff like that, and you want to put them to use in the years to So this car of its ah midi option over here on. And let's say that you had a pan control on your mini keyboard that you're not using, not using it for pan or anything like that. You can assign it to something else, something more useful in the ears, too. Let's say that you wanted to, because over here we were modulating the pitch using on LFO. Andi Ahmad will. Right now let's say that you prefer Jews in the pan. Control to the mud will or you'll need to do is switch the Via control from mud will to controller see, because that is what we set panto, and it says they're 10 pan. And now, when you turn the pan knob on your midi controller, you're also modulating the pitch as you've assigned. Another version of that would be that say control A. D. You set that to the volume up on your MIDI controller. You can have that modulating the filter cut off, which is a very common example. You just switch that from via too, the volume control on your mini keyboard, and you just turn up the orange triangle there just to turn up the intensity off the modulation so you could just use the volume. Control the volume dial on your medic E board to adjust the cut off frequency. So that's how you use MIDI controller assignments in years to see in the next video.