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 431
We can simulate these disturbing elements with Object 2:
1 Activate Object 2, and choose the Bouncing Type menu item. The sound should now
vaguely remind you of a mandolin tremolo. This is way too strong an effect for the kind
of sound we’re after.
2 Move Object 2 all the way to the right (a value of 1.00).
3 Experiment with Object 2’s parameters. A discrete and realistic result can be achieved
with the following parameter values: Strength: 0.33, Timbre: −1.00 and Variation: −0.69.
Play some low notes, and you’ll find that, once again, the overtones sustain a little too
long, reminding us of the lowest strings on a piano.
We’ll use Object 3 to dampen these overtones:
1 Activate Object 3 and choose the Damp Type menu option.
2 Also move Object 3 all the way to the right (value 1.00).
3 Set the Strength parameter to 0.18.
Note: Experiment with how the Strength parameter of Object 3 interacts with the Inner
Loss Material Pad parameter. The higher the Inner Loss value, the smaller the Strength
value can be, and vice versa.
In order to more realistically replicate the different tonal ranges of the bass, we’ll use
Sculpture’s scaling function.
Firstly, we need to activate the scaling function display:
m
Click on the Keyscale button located at the bottom of the Material Pad. The key-scaling
below C3 is displayed in green, the range above in light blue. The Material Pad with its
key-scaling parameters activated:
Note: The most relevant performance range for basses is found exclusively below C3.
For this reason, we’ll be using the green sliders to set the actual timbre of the sound.
The “primary” sliders found around the ring determine the timbre of the sound above
C3. For the moment, we’ll disregard the blue sliders (which control high key-scaling)
and simply set them to the same positions as the main sliders.