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 515
In effect, each parameter that you introduce or make changes to, will affect the
modelled string. This will, in turn, affect the interaction of each parameter with the
modelled string. As such, parameter settings that you have already made for, say
Object 1, may need to be adjusted when Object 2 is activated.
Generally, such adjustments won’t need to be radical, and may only involve a small
tweak to the Strength parameters, or perhaps the pickup positions of each object, for
example. These parameters have the greatest impact on the tone and level of the
objects, and should be the first things you look at if the introduction of Object 2 results
in an unwanted change to the color of your sound.
You may want to fine tune the objects further through use of the Timbre and Variation
controls.
Small changes—rather than radical ones—will retain the general tonal character of the
string (and Object 1), while introducing the new flavor of Object 2.
Back to it …
Processing
From the pickups, the signal is sent to the processing section, which consists of the
ADSR-equipped amplitude stage, a Waveshaper (with selectable types of waveshaping
curves) and a multi-mode filter.
These processors and the pickup parameters are covered in “Processing Parameters” on
page 472. Feel free to experiment with these, while referring to the individual
parameter descriptions.
All elements covered thus far exist on a per-voice basis.
Additional Processing
All voice signals coming from the pickups are summed, and then processed by an
integrated Delay effect.
From there, the signal is sent to an EQ-like module (Body EQ), which globally simulates
the spectral shape or body response of your instrument. There are several body types
to choose from.
The resulting signal is then fed to a Level/Limiter section.
Please explore all of the parameters available in these processing sections at your
leisure—using the “plain vanilla” patch each time. This will give you a general feel for
each parameter, and its impact on the sounds you hear.