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
432 Chapter 24 Sculpture
Once activated, the key-scaling function is used to adjust the timbre of the sound,
independent of pitch. To do this, we’ll initially employ the Resolution parameter. This is
normally used to set the balance between DSP load and sound quality. As the over-
tone spectrum is reduced at low Resolution values, this parameter can also be used to
shape the sound.
To use the Resolution parameter to control the timbre, independent of pitch:
1 Play some notes at the higher end of the bass’s range (around C2), then move the Reso-
lution slider all the way to the right and then gradually back towards the left.
2 You can hear how the sound loses overtones, yet simultaneously becomes louder. At
low Resolution values, an inharmonic metallic “rattling” is heard in the sound.
3 Increase the Resolution value until the metallic rattling disappears. We recommend set-
ting the slider to the following position:
4 Play some notes in the bottom range (around E 0). You’ll note that the sound is quite
muffled and vintage-like. Move the green Low Keyscale slider (found below the main
Resolution slider) all the way to the right; the low range should now sound a little more
“wiry”.
With most stringed instruments, the overtone content decreases as the pitch becomes
higher. Strictly speaking, this is only true of open strings, and even then, in a limited
sense. If the strings are fingered, the length of the string is shortened (especially in the
high register) and the effect becomes more significant.
This is why we use the Inner Loss parameter to scale the overtone content,
dependent on pitch:
1 Move the Material Pad ball above the words Inner Loss. Try to move the ball solely in a
vertical direction, in order to maintain a constant Stiffness value.
2 Grab the green line next to the ball, and pull it towards the bottom until the small
green diamond is located directly above the word Steel.