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 521
 A number of approaches can be taken to add interest to the sustained sound. These
include; using the vibrato modulator (assigned to aftertouch, perhaps), or perhaps
recording or drawing in an envelope, and controlling the Waveshape Inner Scale via
Velocity and/or String Media Loss. You could even use the Loop Alternate Sustain
Mode. Feel free to experiment!
 Save setting as… with a new name.
Guitar
Guitar, lute, mandolin, and other plucked type instruments, including harps, can be
created from this basic patch.
 Load your “plain vanilla” patch.
 Set the Voices parameter to a value of 6—there’s only 6 strings on a guitar. Obviously,
pick 7 for a banjo, as many as possible for a harp.
 Set Object 1’s type to Impulse, if it’s not already there.
 Activate Object 2 and set its type to Pick.
 Now move Pickup A’s position to the extreme right.
 Move Object 2’s Pickup position to a value of 0.14.
 Activate the Body EQ, and select one of the Guitar models.
 Adjust the various Body EQ parameters. These have a major impact on the overall
brightness and tone of your guitar sound. (Suggestions—Guitar 2, Int—0.46, Shift—
0.38 and Stretch—0.20).
 Finestructure should be at a value around 0.30 to 0.35—but use your ears to judge
this. Remember that an increase in the Finestructure value results in a greater load
on the computer CPU.
 Click-hold on the Spread Pickup button, and drag your mouse upwards—to increase
the perception of stereo width (a value around the 10 o’clock/2 o’clock mark is nice).
 Activate the Filter, and select Lo Pass mode.
 Adjust the Cutoff and Resonance parameters to taste. (suggestion—both at 0.81).
 Adjust the Tension Mod slider upwards, and play the keyboard to see how the
momentary detuning effect caused by this parameter affects the sound. Set it to an
appropriate amount.
 Set the Level Limiter to Both.
 Save setting as… with a new name.
You may have noticed that a “detour” from the signal path of the Core synthesis engine
was taken in the creation of this setting. The reason for this is the major impact that the
Body EQ model has on the sound.
In some cases, like this one, it may be better to work slightly out of sequence, rather
than strictly follow the signal flow.