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To review the functions of these parameters: Timbre determines the angle of the obstacle
to the string, whereas Variation defines the type and degree of reflection.
To adjust Object 2’s parameters
1 Set Timbre to 0.39. This corresponds to a fingerboard that runs almost parallel to the
string.
2 Set the Strength parameter to 0.33.
Note: Try some higher values as well. You’ll see that the sound becomes softer and softer
until it’s completely dampened by the obstacle.
3 Set Variation to 0.64. Despite the overtone-rich reflection, the string can still vibrate freely.
Note: Try some negative values—you’ll see that the reflections can no longer develop
in an unhindered fashion.
4 Set the Level knob to −3 dB; the Bound obstacle has made the sound softer.
5 Notice that the sound is still too smooth for a real slap bass, so try using the Body EQ
again. Switch on the Body EQ, and adjust the parameters as follows: Low 0.25, Mid 0.43,
High 0.51, and drag the Mid Frequency slider to 0.59.
6 Save this sound asSlap Bass Basic#1.
Emulating a Fretless Bass Sound with Sculpture
With the exception of shared playing techniques, the fretless bass differs from a normal
bass through its buzzing, singing sound. As the frets on the fingerboard of a standard
bass function as a collection of mini-bridges and allow the string to vibrate in an
unobstructed fashion, the direct collision of the string’s antinode with the fingerboard
on a fretless bass is responsible for its typical sound. The string length on a fretless bass
is markedly shorter than the string length on an acoustic double bass. The upshot of this
is that a controlled buzzing is produced, even when a fretless bass is played with a weak
attack. This buzzing can be consistently reproduced in the high register, even on fretless
basses that have very short string lengths. The use of the comparatively soft tip of your
finger—instead of a hard, metallic fret—to divide or shorten the string also plays a role.
To program a fretless bass
1 Load the E-Bass Fingered Basic EQ1 setting.
2 Turn Object 3 off. You’ll come back to it later.
3 Choose the Object 2 Disturb type menu item.
Tip: In the Disturb model, the Timbre parameter determines how far the string is deflected
from its resting position by the obstacle. Positive values precipitate no deflection of the
vibration from its resting position. Variation defines the length of the string section that
is disturbed—positive values correspond to a longer section of string, negative values to
a correspondingly shorter section of string.
412 Chapter 14 Sculpture