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Table Of Contents
Chapter 24 Sculpture 443
8 In order to hear the effect, the modulation intensity (amount) has to be set. Familiarize
yourself with this effect by moving the slider labeled Amt (amount) gradually to the
right. Set it to a final value of 0.15, a moderate rate that doesn’t “wobble” too much.
9 Save this Setting as “Fretless Chorus Dry.
Tip: At the maximum stereo breadth, effects based on detuning are not as prominent,
especially when the “beats” heard in the sound result from signal differences between
the left and right channels. This is only valid to a certain degree because the motion of
the pickup doesn’t create a true chorus or harmonizer effect. Try it out and see what
happens when the stereo breadth is reduced a little. Also test other modulation
targets: Pickup Pos A
+
B, Pickup Pan A
+
B, Pickup Pan A
B, and String Stiffness are recom-
mended. Have fun!
Reverb and Reflections
As a rule, basses are mixed without effects (“dry”) and you probably havent missed any
reverb or delay effects in our examples, so far. Having said this, a little bit of reverb can
be quite appealing on a fretless bass, when its used as a solo instrument. We can use
Sculptures Stereo Delay section to emulate this.
In order to create an unobtrusive atmospheric space, proceed as follows:
1 Load the “Fretless Chorus Dry Setting.
2 Turn on the stereo delay section by clicking on the Stereo Delay button.
3 Set the Input Balance slider to 1.00.
4 Switch off the tempo synchronization of the delay by deactivating the small Sync
button (found directly to the right of the Delay Base Time slider).
5 Set the Delay Base Time slider to 90 ms.
6 Set the Crossfeed dial to 0.30.
The individual reflections are still too brash. In order to make the effect more discrete
and unobtrusive, we are going to adjust the frequency spectrum and amplitude of the
reflections. lets start with the frequency spectrum:
7 Set LoCut to 200 Hz and HiCut to 1000 Hz (in the stereo delay section).
The LoCut at 200 Hz excludes the low frequencies in the reflections, thus avoiding a
“muddy” sound. The comparatively drastic cut to the highs with the HiCut parameter
blurs the individual reflections, thereby creating the impression of a small room with
soft surfaces.