7
Table Of Contents
- Logic Pro 7
- Plug-In Reference
- Contents
- Introducing Logic’s Plug-ins
- Basics
- Instruments and Effects
- Equalizer
- Dynamic
- Distortion
- Filter
- Delay
- Modulation
- Reverb
- Convolution Reverb: SpaceDesigner
- Special
- Helper
- Vocoder—Basics
- The EVOC20PS
- Vocoder History
- Synthesizer Basics
- EFM 1
- ES M
- ES P
- ES E
- ES1
- ES2
- Concept and Function
- The ES2 Parameters
- Tutorials
- Sound Workshop: Logic ES2
- Tutorial Setting: Analog Saw Init
- Tutorial Setting: Analog Saw 3Osc
- Tutorial Setting: Analog Unison
- Tutorial Setting: Analog Bass clean
- Tutorial Setting: Analog Bass distorted
- Tutorial Setting: FM Start
- Tutorial Setting: FM Envelope
- Tutorial Setting: FM Drive
- Tutorial Setting: FM DigiWave
- Tutorial Setting: FM Wavetable
- Tutorial Setting: FM Megafat
- Tutorial Setting: FM Out of Tune and FM Tuned
- Tutorial Settings: PWM Start, PWM Slow, PWM Fast, and PWMScaled
- Tutorial Settings: PWM 2 Osc and PWM Soft Strings
- Tutorial Setting: Ringmod Start
- Tutorial Setting: Sync Start
- Tutorial Setting: Vector Start and Vector Envelope
- Tutorial Settings: Vector Envelope and Vector XY
- Tutorial Settings: Vector Loop
- Tutorial Setting: Vector Kick
- Tutorial Settings: Vector Perc Synth and Vector Punch Bass
- Templates for Logic’s ES2
- Sound Workshop: Logic ES2
- Ultrabeat
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Global Parameters
- String and Object Parameters
- Processing
- Post Processing
- Modulation Generators
- The Control Envelopes
- Morph
- MIDI Controller Assignments
- Programming: Quick Start Guide
- Programming: In Depth
- KlopfGeist
- EVB3
- EVD6
- The EVD6—Concept and Functions
- Parameters of the EVD6
- Controlling the EVD6 via MIDI
- A Brief History of the Clavinet
- EVP88
- EXS24 mkII
- Using Instruments
- File Organization
- Sample File Import
- EXS24 Key Commands
- A Brief History of Sampling
- MIDI Controller List
- GarageBand Instruments
- External Instrument
- Glossary
- Index
434 Chapter 24 Sculpture
Modifying the Frequency Spectrum of our Basic Bass
The scope for sound design, by altering the frequency spectrum of electromagnetic
instruments, is far more flexible than that offered by acoustic instruments. In addition
to the number of pickups, the choice of amplifier, the equalization setting within the
amplifier and, last but not least, the physical properties of the speakers and their
enclosing cabinet also play a major role.
The central features of our electric bass sound are complete, but the sound can be
improved upon by paying close attention to some details. Here are a few general
suggestions:
• Vary the position of the Pickups. Try placing each of them in different positions. This
will cancel out certain frequencies, and others will be summed together.
• Try turning on the Invert switch, even though this effect is not typical for electric bas-
ses.
• What is typical for bass sounds is the placement of the Pickups in the outer left third
of the string model. The farther you move them to the left, the thinner and more
nasal the sound will become.
• Shifting Object 1 will have a similar effect. Try different combinations here as well.
The Body EQ is ideal for giving the bass sound that final, finishing touch. Our electric
bass sound could be a little less smooth, and be a bit more precise in its attack phase.
Bassists like to use the terms “drier” and “more bite” to describe this phenomenon.
To alter the frequency spectrum of our basic bass with the Body EQ:
1 Load the “E-Bass Fingered Basic” Setting.
2 Select the standard Lo Mid Hi Body EQ model.
3 Reduce the low bass frequencies by setting the Low dial to a value of −0.30.
4 Boost the mid-range frequencies substantially by setting the Mid dial to a value of 0.50.
Grab the Mid frequency dial and drag it to the graphical display of the frequency spec-
trum (to the right), and pull downwards. Experiment a little, then choose a value of
0.26.
5 You’ll probably find that the boosting of the low mid frequencies is a little too strong at
this point, so please return the Mid value to 0.30 (see the GUI detail below).
6 The sound could stand to be a little more “wiry”, so set the High dial to a value of 0.30.
7 To finish off, set the Level dial (to the right of the Amplitude Envelope) to a value of
−3 dB. The sound is now as loud as possible, without the low notes distorting.










