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 551
You now have a satisfactory pad sound, which you should leave alone at this point,
even though a few Sculpture features such as; the Filter and the Waveshaper lie idle,
not to mention the two additional Objects—but sometimes it’s smart to quit while
you’re ahead.
The last function, morphing, has been saved for the end. Follow this section to bend
and twist your pad sound (a little or a lot).
Morphing
In the middle of the lower part of Sculpture’s window you can see the Morph Pad. In
each corner, it can contain a different setting for a diverse number of parameters and
by moving the red ball—which can be seen in the center of the Morph Pad—you can
crossfade between these settings and morph the sound.
Choose the Paste to all Points command in the shortcut menu (accessible via a Control-
click on the Morph Pad) to copy the current patch setting into all four corners of the
Morph Pad. If you move the ball in the Morph Pad now, you won’t hear any changes in
the sound because the settings (in each corner) are all the same. Not for long …
To vary the sound with the Morph Pad:
1 When you move the ball to one corner, the corresponding partial sound is selected;
you can recognize this by the gray blue arches that light up in the graphic display.
Choose each of the four corners one after the other, and vary the sound by altering
several parameters directly in Sculpture’s GUI.
2 Use of the Material Pad allows you to achieve an especially noticeable variation:
carefully move the ball around in the Material Pad, and try to find a position where
your pad sound takes on a new and interesting character. Also try the extreme corners,
for example.
As soon as you’ve chosen different settings for the Morph Pad corners (A to D), moving
the morph ball will create marked sound variations—even though the intermediate
stages will not all exhibit a tonal character. You can automate the morphing process by
assigning two MIDI controllers to the MorphX and MorphY menus at Sculpture’s
bottom edge. You can also automate the Morph Pad using a recorded envelope—you’ll
find further information about this on page page 496.