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Setting the string characteristics with the Material Pad

From: Virtual Instruments in Logic Pro

Video: Setting the string characteristics with the Material Pad

One of the most important aspects of creating a sound in Sculpture is determining the material of the string. So, we can do that here in the Material pad. So, I want to make sure we have a few things set up first. So, a good preset to use to explore Sculpture is this 0000 default, because it doesn't really have much going on in terms of modulation. It's kind of like a blank slate. So, in order to load that, I can go to the Settings menu and then go down to this 12 Tutorial folder and choose the first one, 0000 default.

Setting the string characteristics with the Material Pad

One of the most important aspects of creating a sound in Sculpture is determining the material of the string. So, we can do that here in the Material pad. So, I want to make sure we have a few things set up first. So, a good preset to use to explore Sculpture is this 0000 default, because it doesn't really have much going on in terms of modulation. It's kind of like a blank slate. So, in order to load that, I can go to the Settings menu and then go down to this 12 Tutorial folder and choose the first one, 0000 default.

Another thing I want to check is if I'm playing notes, you can see that the string is animated. I can see the vibration here. If you don't see that for some reason, we can always Ctrl+Click and select Enable String Animation. So, go out to the Material pad. We can move this Material Selector Ball around to adjust the material of the string. (music playing) The material changes. So, basically we're doing two adjustments at once here.

We're adjusting Inner Loss verse Stiffness. So, Inner Loss is the vertical direction, and Stiffness is horizontal. So, Inner Loss is essentially the amount of high-frequency damping that the string material is going to have. So, if you have more Inner Loss, it means the string is not going to ring out quite as much. If you have Less Inner loss, it's going to ring out more. And Stiffness has to do with the rigidity of the material. So, let's explore Inner Loss first. In this left-bottom corner, we have Steel.

So that has low Inner Loss, so that means it's going to ring out, so there's not much damping, and there's not much stiffness either. So, if I move this vertically, I'm increasing the amount of Inner Loss. We can hear, it sounds more muted. It doesn't ring out quite as much. Then if I move to the right, so we still have a lot of inner loss. It's not ringing out but we're increasing the rigidity or stiffness of the material. So, that's more like a wooden-type sound.

And now, if I go down, what I'm doing is decreasing the inner loss. So, the sound is going to start ringing out more, and it's very stiff. So, we have the glass material here. Now notice, in terms of stiffness, when I adjust this, take a look at the string animation over here. So, you can see that when I reduce the Stiffness, the string is thinner and if I increase the Stiffness, it's a thicker string. (music playing) So, another important feature, in terms of this Materials pad, is the Resolution.

So, the Resolution has to do with how many harmonics it's going to use to represent the string material. So, I'm going to go ahead and just set this to Steel, so we've got something that rings out quite a bit. And what I can do is adjust the Resolution. So, if I decrease the Resolution, it's going to use less harmonics to represent the sound. (music playing) Now, it's not making it sound lower quality or lo-fi; it's just changing the timbral characteristics. So, it actually ends up sounding more metallic or enharmonic. So, high resolution isn't always better.

For the metallic sounds, a lower resolution typically sounds better and then at a higher resolution, it's going to use more harmonics to represent it. Over on the left side here we have Media Loss. Media Loss is quite similar to Inner Loss and that it has to do with the amount of damping, but instead of it being based on the string material itself, it has to do with the environment the strings vibrating in. So, if I'm in a setting where there is very little Media Loss, that means that the string is going to ring out more. All right! (music playing) So, you can hear it just rings out for a long time.

If I give it more Media Loss, so I increase the amount, that means it's in an environment where it's not going to ring out as much. So, you could think of it like, well, if I had the string underwater it's not going to vibrate quite as much, so that would be an environment that has a lot of Media Loss. (music playing) So, the other parameter that we have is Tension Modulation, and that's over on the right here. So, this has to do with the temporary de-tuning of when you strike a string. So, if I increase the amount of Tension Modulation, you can hear, when I play some of the notes that it has a temporary sort of pitch modulation that's happening.

So, I'll go ahead and set this back. There're a couple of features in the Material pad that are hidden at first, but that are very useful in terms of performing the string and how it responds across the range of the keyboard. So, if you take a look down here, notice this Keyscale button. So, when I press that we can see Low and High, and we have adjustments for Media Loss, Resolution, Tension Modulation, and even our Material. So, let's start with Media Loss first. We can see that we've got two sliders on the side next to just the main Media Loss slider.

So, the ones in the outside that are in blue are going to have to do with the higher notes on the keyboard, so that's anything above the note C3. The green ones on the inner circle here, those have to do with the low notes, so that anything that's below C3. So, for example if I want the higher notes to be in an environment where there's less Media Loss, if I ring out more, I'm going to decrease that. So, I'll use this blue slider and bring that down. And I want the lower notes to be in an environment where there's more Media Loss, so they'll be dampened quicker.

And so now, if I play the keyboard and I'll play up high, everything rings out for a very long time. If I play lower notes, you can hear there's a lot of damping, and it's very muted kind of sound. And now if I want to set these back to the default, I can just Option+Click and that's going to line it up here with the initial setting. So, let's take a look at Resolution here. I can adjust the Resolution for the higher notes. So, I'll adjust that here. So, we'll have a higher resolution for notes that are above C3, and so we'll give it a lower resolution for notes that are below C3.

So, let's check that out. So, I'll play up higher on the keyboard. (music playing) It's very clean. If I go lower, it's definitely more of a darker metallic kind of sound. So, you can hear that has lower resolution. So, if I want to set those back in line with this Resolution slider, I can just Option+Click and then it's back with our initial setting. And I could do the same with Tension Mod as well. So, we can set the Tension Mod for the notes above C3 and for the notes below C3.

So, one of the cool things is is we can actually Keyscale the material. So, if I move the material selector here-- I'll just set it to somewhere in the center here--and what I can do is adjust the material for the lower notes and for the higher notes. So, for the higher notes it's going to be this blue selector right here. So, I'll adjust that. So, I can set that maybe to a Glass type setting and for the lower notes, that's going to be a green selector. So, right now I can't see it, but if I move my mouse, you can see there's this green line.

So, if I click on that and drag it and I can just select the square right here and move that over to Wood. So, now it's keyscaled so that the lower notes will be more wooden and the higher notes will be more glasslike. So, let's check that out. So, I'll play up high. (music playing) It's very glasslike. If I play lower, it's more of a wooden-type sound. So, it's pretty cool. I'm going to go ahead and set those back. So, I'm going to Option+Click, and that just returns them to their original position.

And what I can do is hide the Keyscaling and there's one other feature in the Materials pad that's useful to adjust, and that's the Release parameter for the Media Loss. So, if I click the Release button here you can see I have this slider on the side. So, what this means is when I let go of the note it can adjust the amount of Media Loss, or damping. So, what I'm going to do is set it so that when I let go of the note, there's less Media Loss. So, the note should ring out more. So, we'll play and let go of the note and it rings out, or I can go the other direction, so that basically when I let go off the note, it's going to be more Media Loss and so it won't ring out as much.

So, you can hear it cut off right away. So, that's the Release parameter and then if I want to hide these features, I can just press the Hide button. So, now we've explored how to choose the material of our string and keyscale it across the range of the keyboard. In the next video let's explore how we can use the objects to excite and disturb the vibrations of the string.

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This video is part of

Image for Virtual Instruments in Logic Pro
Virtual Instruments in Logic Pro

144 video lessons · 8920 viewers

Brian Trifon
Author

 
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  1. 6m 59s
    1. Welcome
      2m 21s
    2. Setting up Logic Pro for using virtual instruments and configuring MIDI controllers
      4m 5s
    3. Using the exercise files
      33s
  2. 21m 50s
    1. Getting started with the ES M
      1m 13s
    2. Understanding the signal flow of the ES M
      2m 18s
    3. Using the oscillator
      3m 4s
    4. Tone shaping with the lowpass filter
      2m 59s
    5. Using the volume controls
      3m 5s
    6. Using the Filter envelope to adjust cutoff
      3m 22s
    7. Composing with the ES M
      5m 49s
  3. 26m 16s
    1. Getting started with the ES E
      1m 15s
    2. Understanding the signal flow of the ES E
      2m 5s
    3. Selecting a waveform
      2m 9s
    4. Using the Vibrato/PWM dial
      2m 15s
    5. Using the ES E lowpass filter
      2m 43s
    6. Shaping the amplitude with the Attack and Release envelope
      3m 10s
    7. Shaping the filter with the Attack and Release envelope
      3m 55s
    8. Using the Chorus and Ensemble settings
      2m 1s
    9. Composing with the ES E
      6m 43s
  4. 39m 0s
    1. Getting started with the ES P
      1m 54s
    2. Understanding the signal flow of the ES P
      2m 22s
    3. Balancing the oscillator levels
      4m 7s
    4. Enabling key follow on the filter
      6m 9s
    5. Shaping the volume with the ADSR
      6m 20s
    6. Modulating the cutoff with the ADSR
      3m 48s
    7. Using the Vibrato/Wah control
      3m 23s
    8. Tweaking the Overdrive and Chorus settings
      2m 34s
    9. Composing with the ES P
      8m 23s
  5. 1h 19m
    1. Getting started with the ES1
      2m 8s
    2. Exploring the signal flow of the ES1
      3m 31s
    3. Using the oscillator and sub-oscillator
      3m 58s
    4. Tweaking the filter
      6m 36s
    5. Using key follow on the cutoff
      5m 25s
    6. Exploring the amplifier section and ADSR
      7m 42s
    7. Modulating the cutoff with ADSR
      4m 9s
    8. Creating movement with the LFO
      14m 18s
    9. Using the Modulation envelope to add contour
      13m 31s
    10. Using the Glide and the Global Voices settings
      4m 30s
    11. Using the side chain input and LFO external feature
      4m 34s
    12. Composing with the ES1
      9m 20s
  6. 48m 8s
    1. Getting started with EFM1
      1m 51s
    2. FM synthesis basics and signal flow
      3m 21s
    3. Setting the carrier pitch
      2m 56s
    4. Changing timbre with the modulator
      6m 2s
    5. Using the volume and modulation envelope to shape the sound
      9m 55s
    6. Adding movement with the LFO
      2m 59s
    7. Using unison, detune and sub osc for thick sounds
      3m 22s
    8. Randomize, do you feel lucky today?
      3m 47s
    9. Assigning MIDI controls to FM
      3m 38s
    10. Composing with the EFM1
      10m 17s
  7. 46m 4s
    1. Getting Started with EVOC 20
      2m 9s
    2. Vocoding Basics: Making your synth sing!
      3m 14s
    3. Exploring the synthesis section
      4m 47s
    4. Managing the Global voice settings
      4m 39s
    5. Using the filterbank section to shape the vocoded sounds
      5m 34s
    6. Tweaking the formants and adding movement with the LFO's
      5m 26s
    7. Getting more intelligible results with U/V detection
      3m 52s
    8. Making your beats melodic: vocoding drums
      3m 38s
    9. Composing with the EVOC 20
      12m 45s
  8. 1h 28m
    1. Getting Started with ES2
      3m 33s
    2. Exploring the ES2 Oscillators and Mix Triangle
      9m 7s
    3. Tweaking the ES2 filters to shape expressive sounds
      7m 11s
    4. Series or Parallel?
      6m 34s
    5. Understanding the amplifier effects
      3m 45s
    6. Bringing life to ES2 with the modulation router
      4m 50s
    7. Creating rhythmic movement with the LFO's
      10m 8s
    8. Using the 3 envelopes to give shape to your sounds
      8m 13s
    9. Create evolving sounds with basic vector modulation
      5m 37s
    10. Looping with the vector envelope
      8m 17s
    11. Voice parameters and global settings
      7m 15s
    12. Making changes to your macro and MIDI controls
      3m 29s
    13. Composing with the ES2
      10m 26s
  9. 1h 15m
    1. Getting Started with EXS24
      3m 29s
    2. Create your own sample instruments the easy way
      5m 4s
    3. Exploring single zone sample instruments
      4m 29s
    4. Creating multiple zone instruments
      5m 9s
    5. Adding dynamics with velocity layers
      5m 46s
    6. Organizing zones with groups
      7m 4s
    7. Advanced zone editing and looping
      5m 21s
    8. Using the filter section to shape your sampled sounds
      7m 3s
    9. Using transpose and glide to add expression to EXS24
      5m 22s
    10. Adding life and expression with the modulation
      7m 33s
    11. Further shaping with the envelopes
      6m 35s
    12. Adjusting Global voice settings
      3m 14s
    13. Composing with the EXS24
      9m 5s
  10. 59m 45s
    1. Getting started with EVB3
      3m 59s
    2. Synthesizing with the Drawbars
      3m 10s
    3. Utilizing the Preset Keys and Morph Wheel
      4m 31s
    4. Adding Vibrato and Percussion Parameters
      4m 43s
    5. Customizing the Pitch and Condition Parameters
      7m 0s
    6. Adjusting the Organ and Sustain Parameters
      6m 6s
    7. Using the EVB3 effects
      5m 43s
    8. Modulating sound with the Leslie Rotor Cabinet
      7m 49s
    9. Setting the extended parameters
      5m 17s
    10. Composing with the EVB3
      11m 27s
  11. 19m 52s
    1. Getting Started with EVP88
      2m 46s
    2. Selecting a piano model
      1m 17s
    3. Adjusting the model parameters
      2m 38s
    4. Setting the tuning parameters
      1m 54s
    5. Adding effects to thicken the sound
      4m 40s
    6. Musical example
      6m 37s
  12. 29m 15s
    1. Getting Started with EVD6
      2m 29s
    2. Choosing the instrument model
      3m 41s
    3. Customizing the string parameters
      4m 25s
    4. Adjusting pickup configuration and position
      3m 49s
    5. Using the EVD6 Effects
      5m 24s
    6. Composing with the EVD6
      9m 27s
  13. 1h 57m
    1. Getting Started with Sculpture
      4m 53s
    2. Setting the string characteristics with the Material Pad
      8m 26s
    3. Exciting the string with objects
      8m 52s
    4. Adjusting the Pickups and Global Voice Settings
      8m 10s
    5. Shaping sound with the Amp Envelope
      4m 24s
    6. Saturating sound with the Wave Shaper
      3m 42s
    7. Sculpting with the filter
      7m 37s
    8. Adding depth to the stereo delay
      5m 18s
    9. Understanding the Body EQ
      6m 34s
    10. Modulating with the LFO's
      8m 9s
    11. Using the Vibrato, Velocity and Controllers
      6m 40s
    12. Introducing the Control Envelope
      6m 15s
    13. Recording the Envelope Shape with a MIDI Controller
      5m 57s
    14. Looping with the Control Envelopes
      5m 46s
    15. Transitioning between settings the Morph Pad
      6m 10s
    16. Employing the Morph Envelope
      9m 48s
    17. Composing with Sculpture
      10m 52s
  14. 2h 4m
    1. Getting started with Ultrabeat
      2m 54s
    2. Exploring the Assignment section
      6m 22s
    3. Importing settings into Ultrabeat
      4m 19s
    4. Synthesizing with Oscillator 2
      7m 42s
    5. Using Oscillator 1 and the noise generator
      4m 36s
    6. Shaping with the envelopes
      7m 21s
    7. Filtering and setting distortion
      8m 36s
    8. Adding movement with the LFOs
      8m 23s
    9. Refining the sound with EQ in the Output section
      6m 10s
    10. Building a kick drum
      8m 18s
    11. Synthesizing a snare drum
      8m 31s
    12. Creating a hi-hat
      4m 34s
    13. Introduction to the step sequencer
      5m 54s
    14. Sequencing in the step sequencer
      7m 18s
    15. Working with the playback options
      5m 1s
    16. Sequencing automation in Step Edit mode
      5m 3s
    17. Utilizing the side chain
      9m 2s
    18. Composing with Ultrabeat
      14m 13s
  15. 7m 24s
    1. Introducing and composing with the Klopfgeist
      7m 24s
  16. 1m 12s
    1. What's next?
      1m 12s

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