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 445
In the following sections, we’ll be demonstrating Sculpture’s ability to create somew-
hat spacy and less “organic” sounds, using several pad patches as examples. After
having studied the modeling of bass sounds in the preceding sections, we’ll now intro-
duce you to a totally different group of sounds. Provided that you’re willing to supply
the necessary level of curiosity and time investment for experimentation, you’ll disco-
ver a wide variety of interesting and animated sounds.
Within the framework of these short experiments, it’s of course impossible to compre-
hensively cover all of Sculpture’s possibilities. We’d like to expressly encourage you to
experiment with the suggested settings and closely observe the results of the changes
you make. In this way you can learn a lot about the instrument, and hopefully be
inspired to create new sounds and variations.
Note: You will find the settings for these tutorials in the Tutorial Settings folder in the
settings menu (in the head of the Sculpture Plug-in window).
The Sustained Sound
First, please load Sculpture’s default setting again; the very simple sound consisting of a
plucked string that vibrates and fades away. Obviously, we’ll need to edit this sound
drastically as we need a sustained or extended sound for pads, rather than one that
dies away.
Have a look at the three Objects: you can see that only Object 1 is active, and acts on
the string with an Impulse. As in the pick example in the bass section, the string is
briefly excited when the note is played, and then the sound decays. For a sustained pad
sound we require an exciting agent that constantly acts upon the string; the appro-
priate Object Types are Bow or Bow wide (the string is played with either short or long,
extended bow strokes), Noise (excited by a random noise signal) or Blow (excited by
being blown—much like a clarinet or flute).