Instruments and Effects
Table Of Contents
- Logic Studio Instruments and Effects
- Contents
- Introduction to the Logic Studio Plugins
- Amp Modeling
- Delay
- Distortion
- Dynamics
- EQ
- Filter
- Imaging
- Metering
- Modulation
- Pitch
- Reverb
- Convolution Reverb: Space Designer
- Specialized
- Utility
- EVOC 20 PolySynth
- EFM1
- ES E
- ES M
- ES P
- ES1
- ES2
- The ES2 Parameters
- Tutorials
- Sound Workshop
- Sound Design From Scratch, Filter Settings, Digiwaves
- Three Detuned Sawtooth Oscillators and Unison Mode
- Extremely Detuned Monophonic Analog Sounds, Effects
- Clean Bass Settings With One Oscillator Only
- Distorted Analog Basses
- FM Intensity and Frequency
- Controlling FM Intensity by an Envelope and FM Scaling
- FM With Drive and Filter-FM
- FM With Digiwaves
- FM With Wavetables
- Distorted FM in Monophonic Unison
- FM With Unusual Spectra
- Slow and Fast Pulse Width Modulations With Oscillator 2
- Pulse Width Modulation With Two Oscillators, PWM Strings
- Ring Modulation
- Oscillator Synchronization
- First Steps in Vector Synthesis
- Vector Synthesis—XY Pad
- Vector Synthesis Loops
- Bass Drum With Self-Oscillating Filter and Vector Envelope
- Percussive Synthesizers and Basses With Two Filter Decay Phases
- Templates for the ES2
- Sound Workshop
- EVB3
- EVD6
- EVP88
- EXS24 mkII
- Learning About Sampler Instruments
- Loading Sampler Instruments
- Working With Sampler Instrument Settings
- Managing Sampler Instruments
- Searching for Sampler Instruments
- Importing Sampler Instruments
- Parameters Window
- The Instrument Editor
- Setting Sampler Preferences
- Configuring Virtual Memory
- Using the VSL Performance Tool
- External Instrument
- Klopfgeist
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Programming: Quick Start Guide
- Programming: In Depth
- Ultrabeat
- GarageBand Instruments
- Synthesizer Basics
- Glossary
- Index
Chapter 28 Sculpture 459
Keep the Sculpture flowchart diagram (on page 456) handy while familiarizing yourself
with the interface/programming. If your approach is methodical—and you follow the
flowchart, you shouldn’t encounter too many surprise results.
The user interface of Sculpture is broken down into three main areas. The large silver
section at the top contains the sound engine. It is divided into four sections:
 Global parameters: Light silver area across the top, incorporating Glide, Tune, and
other global parameters.
 String and object parameters: Dark silver area to the left, and the Material Pad ring in
the center.
 Processing parameters: These parameters include the green-gray Filter area,
Waveshaper (in light silver area at the top), pickup (in dark silver area to the left) and
amplitude envelope (in dark silver area to the right).
 Post-Processing parameters: Dark silver area to the right that contains the Delay, Body
EQ and Spread, Level, and Level Limiter parameters. This area also houses the
amplitude envelope parameters.
The blue/gray area below houses the polyphonic modulation sources (LFOs, Jitter
Generators and recordable envelopes).
Global control sources, incorporating the Morph Pad, are located on the bottom, gray
edge. This is where you can assign MIDI controllers to various Sculpture parameters.
Sound engine
Polyphonic modulation
sources
Global control sources