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Chapter 13 Sculpture 297
Create an organ sound
Organ sounds are among the easiest and quickest sounds to emulate in Sculpture, because they
have no release phase. This simplies things in that you don’t need to set Keyscaling parameters
for the basic tone. You may, however, do so at a later stage—for modulation routing or specic
sound design purposes.
1 Load the #default (or your vanilla) setting le. (Object 1’s type should be set to Impulse. If it isn’t,
change it now.)
2 Set the Voices parameter to a value of 8, or higher if you wish.
3 Drag the Material Pad ball to the top-left corner.
4 Activate Object 2 and set the type to Bow.
5 Set the Object 2 Gate mode to Always.
6 Drag the R(elease) slider of the amplitude envelope all the way down.
7 Play a C chord, and you’ll hear a ute-like sound.
8 Drag Pickup A to the far right.
9 Play a C chord, and you’ll hear a cheesy organ sound. As you can see, Pickup A’s position has a
signicant eect on the overall sonic character of the sound.
10 Drag the Object 2 pickup while holding down the C chord. When you nd a position that meets
your “that sounds like an organ” criteria, release the object pickup.
11 Very slightly adjust Object 2’s Timbre parameter upward.
12 Carefully adjust Object 2’s Variation parameter downward and upward until you nd a tone
you like.
13 You may at this point want to move the Object 2 pickup parameter to another position. Hold
down a chord while doing so.
14 You can make further tweaks to the Variation and Timbre parameters of Object 2.
15 To introduce a little key click, change Object 1’s type to Strike, and adjust the Strength and
Timbre parameters.
16 To add a little of the detuned organ vibe, set the Warmth parameter between 0.150 and 0.200.
17 Choose Save Setting As from the Settings pop-up menu and save the setting with a new name.
You can use this as the basis for your next organ setting.
Tip: Play notes or chords adjusting parameters, so you can hear what each parameter is doing
to the sound. You probably notice some intermodulations that are introduced when you’re
playing chords. Apart from the pitch dierences between notes in the chord, this is a result of the
interactions between each voice being produced by Sculpture. These slight variations between
each voice—or string—and their harmonic interactions with each other are not dissimilar to the
harmonic interactions of a violin section in an orchestra—even when playing identical lines.