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 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 haven’t 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 it’s used as a solo instrument. We can use
Sculpture’s 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. let’s 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.