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
524 Chapter 28 Sculpture
 Set the Object 1 Velosens slider to match your playing style and that of the music, as
you’re playing the keyboard. Adjust later, if desired.
 Grab the Tension Mod slider, and move it slightly upwards, so that the arrowhead
covers the “D.” This emulates the momentary detuning effect of the bow stretching
the string.
 Move Pickup A to a position around 0.90.
 Move Object 1’s pickup position to a value around 0.48.
 Activate the Body EQ, and select the Violin 1 model.
 Set the Body EQ parameters as follows: Int—0.73, Shift—+1.00, Stretch—+1.00.
 Adjust the Fine Structure to taste.
 Click-hold on the Spread Pickup dial, and drag upwards until the 10.30/1.30 positions
are reached.
 Set the Level Limiter to both.
 Save setting as… with a new name.
Set up your own modulations for this sound. The most obvious thing that springs to
mind is the introduction of vibrato into the sound after a short period.
The creation of higher pitched solo string instruments is much the same as the
example above but special attention must be given to all Keyscaling parameters.
The Body EQ also has a large bearing on the upper octaves, so take care with its
parameters.
∏ Tip: Simply change Object 1’s type to Pick, and you’ll have a round and rubbery synth
bass sound in the lower octaves, and a passable harp across the rest of the keyboard.
Synthesizers
One of Sculpture’s great strengths is the creation of endlessly evolving pad and
atmospheric sounds. It can also easily do fat synth basses (which you hopefully
discovered while following “Basses” on page 518), powerful leads and other types of
typical synthesizer sounds.
Sculpture has an advantage over traditional synthesizers as its core synthesis engine
produces a wider variety of basic tones, and these tones have an organic quality and
richness to them.
Basic Pad
 Load your “plain vanilla” patch.
 Set the Voices parameter to 16.
 Set Object 1’s type to Bow.
 Set Object 2’s type to Bow Wide.
 Grab the Material Pad ball, and position it at the extreme left of the Pad, exactly
halfway between the top/bottom—on the Material line.