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This example shows that the Delay section can be used as a substitute reverb for small
spaces. For sophisticated reverb effects, it’s best to process Sculpture’s output with one
of Logic Studio’s reverb plug-ins.
To create a “drowned in delay” effect
1 Reload the Fretless Chorus Dry setting.
2 Switch the Delay section on.
3 Drag the Input Balance slider all the way to the right, to 1.00.
4 Set the Delay Time value to 1/4t (quarter-note triplet).
5 Set the Feedback knob to a value of 0.20.
6 Adjust the Xfeed knob to a value of 0.30.
7 Drag the LoCut slider to 200 Hz and the HiCut slider to 1600 Hz.
8 Now adjust the overall level of the effect—try setting the Wet Level knob to a value of
45%.
9 Vary the stereo position and rhythmical structure of the delay, by moving the small light
blue diamond around the Delay Pad.
10 Save this setting asFretless Chorus+Wet Delay.
Advanced Sculpture Tutorial: Programming Synthesized Sounds
The Advanced Sculpture Tutorial: Programming Electric Basses section covers
programming of natural bass sounds by authentically reproducing the real physical
interaction that occurs between a string and the exciting agent that acts upon it. While
producing such lifelike models is undoubtedly a forte of Sculpture’s architecture, its sonic
capabilities extend to the creation of very different sounds as well.
Sculpture contains a number of functions you can use to create new and novel synthesized
sounds. This includes the Morph Pad, which can be automated, as well as recordable and
programmable envelopes that can be used in a rhythmic context.
Such features are usually unnecessary when reproducing natural bass sounds, because
no electric bass that exists can alter the tonal characteristics of the string during the decay
phase of a note—perhaps from wood to metal—and rhythmically synchronize this change
to the tempo of the project. These functions are very useful, however, when creating
sustained, atmospheric sounds where slow and interesting modulations help it to come
alive.
In the following sections, Sculpture’s ability to create somewhat spacy and less organic
sounds, using several pad settings as examples, will be demonstrated. As you experiment,
you’ll discover a wide variety of interesting and animated sounds.
416 Chapter 14 Sculpture