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 441
4 Adjust Object 2’s parameters to the following values: Strength 0.14, Timbre −0.05,
Variation −1.00.
5 Object 2’s Pickup position remains at the far right; please enter a value of 0.99. You’ll
note that the range between C2 and C3 already sounds quite acceptable, but the buz-
zing in the lower notes is still too strong. It is somewhat sitar-like, so keep this disturb
model in mind when it comes to creating a “home-spun” sitar.
6 Try different settings for the Strength parameter for both the higher and lower playing
ranges. You’ll see that, at best, only a compromise is possible. The buzzing is either too
loud in the low range or not present enough in the high range.
Obviously, we need to scale the effect over the relevant tonal range. Unlike the para-
meters for the string, Objects 1–3 don’t have a directly adressable key scaling function.
We’ve got to be a little clever here. Both LFOs offer a key scaling function. As we don’t
want the buzzing to be modulated by a periodic oscillation, we need to reduce the LFO
speed to “infinitely slow” or 0. In this way, we can deactivate the LFO itself but still use
its modulation matrix.
7 Activate LFO2 by clicking on the LFO2 button at the bottom left, and set the Rate dial
to a value of 0.00 Hz.
8 Click on the button marked “1” (next to the Rate slider, to the upper right) to activate
the first modulation target.
9 Choose Object2 Strength as the Target parameter.
10 Select the KeyScale entry in the via column.
11 Move the lower slider labeled Amt (amount) to the right while you are playing. You’ll
quickly realize that the “singing” buzzing fades out in the lower range, while gradually
being retained as you move towards C3. Set the slider to a value of 0.15. The buzzing
will now be far more moderate in the low range.
12 Switch Object 3 back on. Set Timbre to its minimum value (−1.00) and Variation to its
maximum value (1.00). Object 3 should be positioned all the way to the right, at a value
of 1.00.