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
436 Chapter 24 Sculpture
Damping
Playing with a pick is often combined with a damping technique that employs the ball
of the thumb. The right hand, which also holds the pick, should physically lay on top of
the strings at the bridge. This technique results in the sound having less overtone
content but become more percussive and “punchy” at the same time. You can variably
control the timbre of the sound through the angle and pressure of your hand while
playing.
Object 3 will be used to emulate the virtual ball of the thumb in this example. The
Timbre parameter determines the kind of damping that occurs. Variation dictates the
length of the string section that is being dampened.
To achieve this effect, proceed as follows:
1 Set the Object 3 Type to Damp.
2 Set Object 3’s Strength parameter to 0.50.
3 Move Object 3 a little bit to the right in the Pickup window (to position 0.95) to simu-
late the width and position of the ball of the thumb lying on the bridge.
4 Set Timbre to its minimum value (−1.00) to achieve a very soft damping effect.
5 Set the Variation parameter to its maximum value of 1.00.
You’ll note a metallic ringing that occurs during the attack phase still can be heard in
the octave above E0.
To suppress it:
Note: Move the small green diamond on the Material Pad to a position directly under
the ball. In doing so, you’ve just increased the Inner Loss value for the low key range.
Note: In order to place the diamond exactly under the ball, you can also click it while
pressing the Option key.
6 Save this setting as “Pick Bass Half muted”.