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 429
Play some notes in the lower range. you’ll note that the sound is very muffled, hollow,
and distorted. Before we adjust further parameters in Object 1, we need to set the posi-
tion of the Pickup.
This is accomplished in Sculpture’s Pickup window located to the left of the Material
Pad (see the GUI detail above). You’ll find three trapezoidally shaped sliders, represen-
ting Objects 1 to 3. Both of the transparent bell-shaped curves help you to visualize the
position and width of Pickup A and Pickup B.
On electric basses, the pickups are found quite a way off to the side and near the
bridge. We also assume that our bass only has a single pickup.
We can simulate the behavior of a single pickup by placing both Pickups at exactly the
same position.
5 Keep an eye on the Help Tag, and drag Pickup B to the exact position of Pickup A. The
two thin orange lines should overlap perfectly.
Note: Make sure that the Invert switch to the lower left of the Pickup window isn’t
turned on, as this would cause the Pickups to completely cancel each other out.
6 As a suitable value for our example, set both Pickups to 0.10.
It’s now time to determine the playing position:
7 Grab the Object 1 slider in the Pickup window and move it in a horizontal direction.
Play the keyboard while doing so, to hear the changes it makes.
8 You’ll quickly realize that you can only achieve a precise, crisp sound when relatively far
away from the middle of the string. Move Object 1 closer to the Pickup (position 0.15—
see GUI detail below).
9 The low notes are still distorted. You can remedy this by adjusting the Level dial found
to the right of the Amplitude Envelope. Set a value of −10 dB.
Although you can already recognize the sound of an electric bass, it doesn’t sound
“wiry” enough yet. Let us now direct our attention to the bass strings themselves.