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
438 Chapter 24 Sculpture
Tip: If you turn Object 3 off, you’ll hear a sound that is reminiscent of a 1970’s Fender
Precision Bass.
4 Save this Setting as “Flatwound Pick Damped”.
To get a nice percussive sound a la “Bert Kaempfert”, proceed as follows:
1 Turn Object 3 back on.
2 Move both Pickups a little to the left (position 0.08).
3 Our virtual pick (Object 1) can also be moved a little further to the outside (position
0.10).
4 We can add the icing to the cake with the Body EQ. Turn the Low dial to its maximum
value (1.00).
5 To remove the smacking in the attack phase, we’ll use the graphical display to choose a
value of 0.48 for the Body EQ Mid frequency, then use the dial to increase this value to
0.51. Option-click on the Body EQ High parameter to set it to a value of 0.00.
6 Save this setting as “Easy Listening Pick Bass”.
Slap Bass
We’re actually dealing with two different articulations here. The low notes originate
when the thumb literally slaps the strings on the upper part of the fingerboard. The
high notes are produced when the strings are strongly plucked or “popped” with the
fingers. This is achieved by hooking a finger under the string, pulling it away from the
instrument and then allowing it to slap back onto the fingerboard. In conjunction,
these articulation methods make up the typically aggressive and overtone-rich “slap
bass” sound.
To simulate a slap bass:
1 Load the “E-Bass Fingered Basic EQ1” Setting.
2 Turn off the Body EQ.
3 Also turn off Object 2 and Object 3, for now.
As the basic sound of a slap bass is brighter than a standard fingered bass, we need to
adjust some Material Pad settings:
4 Return the Low Key Scale parameter to its initial value by clicking on the little green tri-
angle, while holding down the Option key.