7
Table Of Contents
- Logic Pro 7
- Plug-In Reference
- Contents
- Introducing Logic’s Plug-ins
- Basics
- Instruments and Effects
- Equalizer
- Dynamic
- Distortion
- Filter
- Delay
- Modulation
- Reverb
- Convolution Reverb: SpaceDesigner
- Special
- Helper
- Vocoder—Basics
- The EVOC20PS
- Vocoder History
- Synthesizer Basics
- EFM 1
- ES M
- ES P
- ES E
- ES1
- ES2
- Concept and Function
- The ES2 Parameters
- Tutorials
- Sound Workshop: Logic ES2
- Tutorial Setting: Analog Saw Init
- Tutorial Setting: Analog Saw 3Osc
- Tutorial Setting: Analog Unison
- Tutorial Setting: Analog Bass clean
- Tutorial Setting: Analog Bass distorted
- Tutorial Setting: FM Start
- Tutorial Setting: FM Envelope
- Tutorial Setting: FM Drive
- Tutorial Setting: FM DigiWave
- Tutorial Setting: FM Wavetable
- Tutorial Setting: FM Megafat
- Tutorial Setting: FM Out of Tune and FM Tuned
- Tutorial Settings: PWM Start, PWM Slow, PWM Fast, and PWMScaled
- Tutorial Settings: PWM 2 Osc and PWM Soft Strings
- Tutorial Setting: Ringmod Start
- Tutorial Setting: Sync Start
- Tutorial Setting: Vector Start and Vector Envelope
- Tutorial Settings: Vector Envelope and Vector XY
- Tutorial Settings: Vector Loop
- Tutorial Setting: Vector Kick
- Tutorial Settings: Vector Perc Synth and Vector Punch Bass
- Templates for Logic’s ES2
- Sound Workshop: Logic ES2
- Ultrabeat
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Global Parameters
- String and Object Parameters
- Processing
- Post Processing
- Modulation Generators
- The Control Envelopes
- Morph
- MIDI Controller Assignments
- Programming: Quick Start Guide
- Programming: In Depth
- KlopfGeist
- EVB3
- EVD6
- The EVD6—Concept and Functions
- Parameters of the EVD6
- Controlling the EVD6 via MIDI
- A Brief History of the Clavinet
- EVP88
- EXS24 mkII
- Using Instruments
- File Organization
- Sample File Import
- EXS24 Key Commands
- A Brief History of Sampling
- MIDI Controller List
- GarageBand Instruments
- External Instrument
- Glossary
- Index
Chapter 24 Sculpture 415
A good understanding of the physical properties of the instrument that you are trying
to emulate is obviously advantageous. This type of knowledge, however, is not
common to most people, but it can be found online.
You can certainly do some detailed research, but for most sound creation tasks with
Sculpture, you can follow this general breakdown formula when creating your “string”.
How is the sound of the instrument created?
By this, we mean:
• is it a string that is vibrating and resonating in a “box” (guitar or violin, as examples)?
• is it a column of air that is vibrating in a tube (flute, trumpet)?
• is it a solid object that is struck, causing vibration (woodblock)?
• is it a hollow object that is struck, causing vibration/resonance? (drum, bell)?
What are the physical properties of the instrument?
In other words, what is it made of?
When answering this question, don’t just consider the body of the instrument. Take
into account the “string” material—nylon or steel on a guitar, or perhaps the thickness
and material of the reed in a clarinet or oboe, or a mute in a trumpet.
Is it polyphonic or monophonic?
This is a pretty significant factor, that ties into the next question. Apart from the
obvious things such as the inability to play chords on a flute, a modelled “string” will
interact with any currently active string. This, of course, can’t happen in a flute. It’s
strictly a one-note instrument.
How is it played?
Is it bowed, blown, struck, plucked?
Are there other characteristics that contribute to the sonic character of the instrument?
Examples of this are:
• changes to lip pressure and mouth position with brass and wind instruments.
• breath or mechanical noises.
• momentary pitch changes—as an example, when fingers are pressed into a
fretboard, or when a string is plucked.
• momentary tonal or level changes—such as when brass players are running out of
breath, or “fluttering” the valves.
Once you’ve mentally, or physically, written down your “list” of properties, try to
emulate each component that contributes to the sound’s character. This is what
component modelling is all about.