Creating your own EXS24 instruments can be a quick and intuitive process, opening a wealth of creative potential. Mark Cousins is caught mapping… While the EXS24 might not be the most elegant part of the Logic Pro X experience, it is certainly a superbly functional instrument and an essential part of the overall Logic workflow.

Mark Cousins is caught mapping…. While the EXS24 might not be the most elegant part of the Logic Pro X experience, it is certainly a superbly functional instrument and an essential part of the overall Logic workflow. Once saved, these newly created instruments can become an essential part of your sound palette, accessible across the entirety of your Logic projects. Mapping Success One key component that can confuse new users is the difference between the EXS24 instrument plug-in, which you instantiate into your track list or mixer, and the so-called EXS24 Instrument Editor.

In essence, the EXS24 Instrument plug-in is the front-end of the sampler, complete with a set of synthesiser-like controls that can be used to modify the sample playback — using envelope generators, for example, to shape the amplitude over time, or the filter to home in on harmonic information. Creating a new instrument from scratch begins with an empty instance of the EXS To open the editor, press the small Edit button in the top right-hand corner of the EXS24 plug-in. From here, we can see a list of the samples used in our instrument, along with their relative position on the keyboard, the number of keys that they span across, as well as how they respond to velocity.

Zone Out Technically speaking, an EXS24 instrument is comprised of a series of zones, with each zone containing a sample of your choice. The importing process works intelligently, so that you could drag just one sample over a single note and have it mapped accordingly, or drag a collection of samples and have them auto-mapped across a series of consecutive keys. Basic controls like volume and pan let you mix the samples — maybe panning some drum samples across the stereo image, for example, or sitting a reverberated snare sample behind a dry snare.

Tuning controls can either be used correctively re-tuning a sampled bass note with poor intonation, for example or creatively, particularly in the example of re-tuning drum samples. Other creative options include the option to reverse the sample playback, which is well worth using in conjunction with the in-built sample editor accessible via a drop-down menu in the Audio File column to adjust the start and end points.

The Groups are listed down the left-hand side of the editor window, and work much the same as playlists in iTunes — simply select your required zones and drag them across into the Groups list. In effect, the controls here — including filters, envelopes, LFOs, a modulation matrix and tuning functions — are applied globally across all the zones, making it a quick and easy way of changing the sound of the instrument en masse.

Ultimately, the quicker you can map the samples, the less interruption there is to your creative process, giving you more time to explore the creative potential of sampling in your music. Data Management Remember to store all your sample data in a clear, organised way, arguably making some optimisation in respect to the speed of the hard drive which will affect how many voices you can stream.

An external drive, connected via a fast connection protocol like FireWire or USB 3, or an additional internal drive, should be considered essential, reserved solely for the task of sample streaming. This tutorial is endorsed by Point Blank.

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FREE EXS24 PATCHES LOGIC PRO X – Recording Connection

It might not be the newest piece of kit on the block but the EXS24 sampler is tried, tested and true. Logic Pro’s go-to factory sampler since the days of the software’s creator, Emagic, EXS24 is simple, straight-forward to use and yet feature-laden enough to remain useful to producers today. In this article, I want to show you how you can experiment quickly using loops and a handful of EXS24’s functions within a session in Logic Pro X , applying modulations to your source sounds in often highly musical ways.

Of course, I could simply drag and drop this loop onto a blank audio channel in my Logic session, but importing it into EXS24 allows me a handful of important sound design options that we’ll look at in turn. Here’s how the loop sounds:. Next, I want to change the root pitch of the sample, so I can trigger it from C3 using my MIDI keyboard or the piano roll – this is achieved simply by double clicking the box under the ‘Key’ column in EXS24’s edit window and typing in C3.

This lets me trigger my guitar loop, in full, by recording in or drawing a note at C3 that lasts for 4 bars at 80 Bpm. Now the fun begins! If we head back to EXS24’s main interface, we can see that we have a small selection of tools and modulation sources at our fingertips to play with. To begin, let’s give the guitar loop a warbly effect by modulating its pitch with an LFO – I can do this using the 2nd slot in EXS24’s modulation matrix, choosing ‘LFO 1’ as source and ‘Pitch’ as destination.

I like this effect but the repetitiveness of the modulation makes it sound a bit mechanical – I can rectify this by modulating the LFO rate itself with another LFO! Setting LFO 2 to 0. It’s time to introduce a different modulation source – we could turn to EXS24’s envelope options but I feel they’re quite a well-used modulation source and I want to introduce something a bit more musical into the mix. So, let’s take advantage of EXS24’s sidechain abilities and introduce some more audio into the equation!

The hi hat loop contains very well-defined and rhythmic sounds, which is pretty ideal for use as a modulation source. I can use this loop as a sidechain signal by selecting the appropriate track number from the drop-down list in the top right corner of EXS24’s main interface – in this case it’s ‘audio 2’ I want to use. I also made the pan modulation more complex by modulating it with LFO 2 via the sidechain signal, meaning the amplitude of the hi hat loop will scale the LFO’s value in modifying the position of the guitar loop in stereo space.

With EXS24, you really can do a lot with just a little! So there we have it, with just a classic piece of software, a little bit of routing around and some loops to hand, we can create musical modulations and effects without breaking a sweat.

Good luck with your own loop experimentations and get creative! Download MB of free sounds to get you started, or listen to our latest releases! Subscribe to our newsletter and get MB of free sounds, exclusive discounts, news, tutorials and more. We will never share your personal information with anyone else, ever – see our full Privacy Policy. Getting Freaky If we head back to EXS24’s main interface, we can see that we have a small selection of tools and modulation sources at our fingertips to play with.

Setting the LFO to 4. Related Packs Glide. Chill Electronic Loops. View Pack Play Demo. Downtempo Loops. Groove Machine. Synth Pop Loops. Download MB of free sounds! Email Join Up. Download your free sounds!

Logic pro x exs24 tutorial free

From here, we can see a list of the samples used in our instrument, along with their relative position on the keyboard, the number of keys that they span across, as well as how they respond to velocity. Zone Out Technically speaking, an EXS24 instrument is comprised of a series of zones, with each zone containing a sample of your choice.

The importing process works intelligently, so that you could drag just one sample over a single note and have it mapped accordingly, or drag a collection of samples and have them auto-mapped across a series of consecutive keys. Basic controls like volume and pan let you mix the samples — maybe panning some drum samples across the stereo image, for example, or sitting a reverberated snare sample behind a dry snare.

Tuning controls can either be used correctively re-tuning a sampled bass note with poor intonation, for example or creatively, particularly in the example of re-tuning drum samples. Other creative options include the option to reverse the sample playback, which is well worth using in conjunction with the in-built sample editor accessible via a drop-down menu in the Audio File column to adjust the start and end points.

The Groups are listed down the left-hand side of the editor window, and work much the same as playlists in iTunes — simply select your required zones and drag them across into the Groups list. In effect, the controls here — including filters, envelopes, LFOs, a modulation matrix and tuning functions — are applied globally across all the zones, making it a quick and easy way of changing the sound of the instrument en masse.

Ultimately, the quicker you can map the samples, the less interruption there is to your creative process, giving you more time to explore the creative potential of sampling in your music.

Data Management Remember to store all your sample data in a clear, organised way, arguably making some optimisation in respect to the speed of the hard drive which will affect how many voices you can stream.

An external drive, connected via a fast connection protocol like FireWire or USB 3, or an additional internal drive, should be considered essential, reserved solely for the task of sample streaming. This tutorial is endorsed by Point Blank. I like this effect but the repetitiveness of the modulation makes it sound a bit mechanical – I can rectify this by modulating the LFO rate itself with another LFO!

Setting LFO 2 to 0. It’s time to introduce a different modulation source – we could turn to EXS24’s envelope options but I feel they’re quite a well-used modulation source and I want to introduce something a bit more musical into the mix. So, let’s take advantage of EXS24’s sidechain abilities and introduce some more audio into the equation! The hi hat loop contains very well-defined and rhythmic sounds, which is pretty ideal for use as a modulation source.

I can use this loop as a sidechain signal by selecting the appropriate track number from the drop-down list in the top right corner of EXS24’s main interface – in this case it’s ‘audio 2’ I want to use. I also made the pan modulation more complex by modulating it with LFO 2 via the sidechain signal, meaning the amplitude of the hi hat loop will scale the LFO’s value in modifying the position of the guitar loop in stereo space.

With EXS24, you really can do a lot with just a little! So there we have it, with just a classic piece of software, a little bit of routing around and some loops to hand, we can create musical modulations and effects without breaking a sweat.

Good luck with your own loop experimentations and get creative! Download MB of free sounds to get you started, or listen to our latest releases! Subscribe to our newsletter and get MB of free sounds, exclusive discounts, news, tutorials and more. We will never share your personal information with anyone else, ever – see our full Privacy Policy. Getting Freaky If we head back to EXS24’s main interface, we can see that we have a small selection of tools and modulation sources at our fingertips to play with.

Setting the LFO to 4. Related Packs Glide. Chill Electronic Loops.