X
Table Of Contents
- Logic Pro X Instruments
- Contents
- Chapter 1: Drum Kit Designer
- Chapter 2: ES1
- Chapter 3: ES2
- ES2 overview
- ES2 interface
- ES2 sound sources
- ES2 oscillator parameters overview
- ES2 basic oscillator waveforms
- Use pulse width modulation in ES2
- Use frequency modulation in ES2
- Use ring modulation in ES2
- Use ES2 Digiwaves
- Use the ES2 noise generator
- ES2 emulation of detuned analog oscillators
- Stretch tuning in ES2
- Balance ES2 oscillator levels
- ES2 oscillator start points
- Synchronize ES2 oscillators
- ES2 global parameters
- ES2 filter parameters
- ES2 amplifier parameters
- ES2 modulation
- ES2 integrated effects processor
- ES2 macro controls and controller assignments
- ES2 Surround mode
- ES2 extended parameters
- Create random ES2 sound variations
- ES2 tutorials
- Chapter 4: EFM1
- Chapter 5: ES E
- Chapter 6: ES M
- Chapter 7: ES P
- Chapter 8: EVOC 20 PolySynth
- EVOC 20 PolySynth and vocoding
- EVOC 20 PolySynth interface
- EVOC 20 PolySynth analysis parameters
- EVOC 20 PolySynth (U/V) detection parameters
- EVOC 20 PolySynth synthesis parameters
- EVOC 20 PolySynth formant filter
- EVOC 20 PolySynth modulation parameters
- EVOC 20 PolySynth output parameters
- EVOC 20 PolySynth performance tips
- Vocoder history
- EVOC 20 block diagram
- Chapter 9: EXS24 mkII
- EXS24 mkII overview
- Sampler instruments
- EXS24 mkII Parameter window
- EXS24 mkII Parameter window overview
- Sampler Instruments pop-up menu
- EXS24 mkII global parameters
- EXS24 mkII pitch parameters
- EXS24 mkII filter parameters
- EXS24 mkII output parameters
- EXS24 mkII extended parameters
- EXS24 mkII modulation overview
- EXS24 mkII modulation router
- EXS24 mkII LFOs
- EXS24 mkII envelope overview
- EXS24 mkII modulation reference
- EXS24 mkII Instrument Editor window
- EXS24 mkII preferences
- EXS24 mkII memory management
- Chapter 10: External Instrument
- Chapter 11: Klopfgeist
- Chapter 12: Retro Synth
- Retro Synth overview
- Retro Synth Analog oscillator controls
- Retro Synth Sync oscillator controls
- Retro Synth Table oscillator controls
- Retro Synth FM oscillator controls
- Retro Synth filter controls
- Retro Synth amp and effect controls
- Retro Synth modulation controls
- Retro Synth global and controller settings
- Retro Synth extended parameters
- Chapter 13: Sculpture
- Sculpture overview
- Sculpture interface
- Sculpture string parameters
- Sculpture objects parameters
- Sculpture pickups parameters
- Sculpture global parameters
- Sculpture amplitude envelope parameters
- Use Sculpture’s Waveshaper
- Sculpture filter parameters
- Sculpture delay effect parameters
- Sculpture Body EQ parameters
- Sculpture output parameters
- Sculpture surround range and diversity
- Sculpture modulation controls
- Sculpture morph parameters
- Define Sculpture MIDI controllers
- Sculpture tutorials
- Chapter 14: Ultrabeat
- Ultrabeat overview
- Ultrabeat interface
- Ultrabeat Assignment section
- Ultrabeat Synthesizer section overview
- Ultrabeat sound sources
- Ultrabeat oscillator overview
- Ultrabeat oscillator 1 phase oscillator mode
- Use Ultrabeat oscillator 1 FM mode
- Use Ultrabeat oscillator 1 side chain mode
- Use Ultrabeat oscillator 2 phase oscillator mode
- Basic waveform characteristics
- Use Ultrabeat oscillator 2 sample mode
- Use Ultrabeat oscillator 2 model mode
- Ultrabeat ring modulator
- Ultrabeat noise generator
- Use Ultrabeat’s filter section
- Ultrabeat distortion circuit
- Ultrabeat Output section
- Ultrabeat modulation
- Ultrabeat step sequencer
- Ultrabeat step sequencer overview
- Step sequencer basics
- Ultrabeat step sequencer interface
- Ultrabeat global sequencer controls
- Ultrabeat pattern controls
- Use Ultrabeat’s swing function
- Ultrabeat Step grid
- Automate parameters in Ultrabeat’s step sequencer
- Export Ultrabeat patterns as MIDI regions
- MIDI control of Ultrabeat’s step sequencer
- Ultrabeat tutorials
- Chapter 15: Vintage B3
- Chapter 16: Vintage Clav
- Chapter 17: Vintage Electric Piano
- Appendix A: Legacy instruments
- Appendix B: Synthesizer Basics
Chapter 13 Sculpture 305
Recreate the sound characteristics of a typical bass instrument
1 Set the Attack value of the amplitude envelope to its minimum value (0.00 ms). The A(ttack)
slider is just to the right of the Material Pad.
2 Shorten the Release time of the amplitude envelope to a value between 4 and 5 ms.
Play a key on your keyboard. The note should stop abruptly when you release the key and should
be free of artifacts (a digital crackle or snap). If you encounter any artifacts, carefully increase the
Release time.
3 Play some sustained notes in the range above E 0. These will die away too quickly. Correct this
quick die-out with the Media Loss parameter by dragging the slider to the left of the Material
Pad almost all the way down to the bottom. Note that the low E string on a high-quality bass can
sound for over a minute.
Your basic bass should simulate a ngered articulation, which means that the sound is created
by striking the strings with ngers.
4 Choose Pick from the Type pop-up menu of Object 1.
Don’t be confused by the name of the object type; despite the name pick, this model is
appropriate for simulating the playing of strings with your ngers.
Play some notes in the lower range. You’ll hear that the sound is very mued, hollow, and
distorted. Before you adjust further parameters in Object 1, you need to set the position of
the pickup.
This is accomplished in Sculpture’s Pickup display located to the left of the Material Pad. You’ll
nd three arrow-shaped sliders, representing Objects 1 to 3. The two transparent bell-shaped
curves help you to visualize the position and width of Pickup A and Pickup B.
On electric basses the pickups are found quite a way o to the side and near the bridge. This
particular bass has only a single pickup.
The behavior of a single pickup is simulated by placing both pickups at exactly the
same position.
5 Drag Pickup B to the exact position of Pickup A while keeping an eye on the help tag. The two
thin orange lines should overlap perfectly. As a suitable value for the example, set both pickups
to 0.10.
Note: Make sure the Invert switch to the lower left of the Pickup display isn’t turned on, because
this would cause the pickups to completely cancel each other out.
It’s now time to determine the playing position.
6 Drag the Object 1 slider in the Pickup display in a horizontal direction. Play the keyboard while
doing so, to hear the changes it makes.