This section covers the creation of basic types of sounds, such as organs, basses, guitars, and so on. See Acoustic instrument programming examples, Stringed instrument programming examples, and Classic synthesizer programming examples.
For a detailed look at programming particular types of sounds, see Electric bass programming overview and Synthetic sound programming overview.
The idea here is to provide you with a starting point for your own experiments and to introduce you to different approaches for tone creation with Sculpture. As you become more familiar with Sculpture and component modeling, you’ll find that there are many ways to achieve an end result. In other words, each component of the sound can be modeled using different techniques and parameters. This flexible approach allows you to create a brass sound, for example, in several ways—using the Waveshaper as a major tonal element in one sound or the filter and Body EQ to emulate the same sonic component in another sound.
It is helpful to have a good understanding of the physical properties of the instrument you are trying to emulate. Although you can do some research on the Internet to obtain this type of specialized knowledge, for most sound creation tasks you can follow the general approach set forth below.
How is the sound of the instrument created?
Is it a string that is vibrating and resonating in a box (such as a guitar or violin)?
Is it a column of air that is vibrating in a tube (a flute or trumpet)?
Is it a solid object that is struck, causing vibration (a woodblock)?
Is it a hollow object that is struck, causing vibration or resonance (a drum or bell)?
What is the instrument made of?
When you answer this question, don’t just consider the body of the instrument. Take into account the string material—nylon or steel on a guitar, or perhaps the thickness and material of the reed in a clarinet or oboe, or a mute in a trumpet.
Is the instrument polyphonic or monophonic?
This is a significant factor and relates to the next question about how the instrument is played. Some differences between monophonic and polyphonic instruments are obvious, such as the inability to play chords on a flute. A more subtle difference involves the way a modeled string will interact with any currently active string. This, of course, can’t happen in a flute, which is strictly a one-note instrument.
How is the instrument played?
Is it bowed, blown, struck, or plucked?
Are there other elements that form part of the instrument sound?
Changes in lip pressure and mouth position with brass and wind instruments
Breath or mechanical noises
Momentary pitch changes—for example, when fingers are pressed into a fretboard, or when a string is plucked
Momentary tonal or level changes—such as when brass players are running out of breath, or fluttering the valves
After you mentally, or physically, construct a list of properties, try to emulate each component that contributes to the sound’s character. This is what component modeling is all about.
Before you begin, it should be stressed that the examples discussed in the subtopics provide one or two approaches to the task at hand. There are many ways to model each component of the sound. With this in mind, consider the following:
Experiment with the suggested parameters to create your own versions of sounds. Use your own parameter values if the supplied values don’t match your ideal bass sound, for example.
Subtle changes—particularly to Keyscale parameters—result in more controlled sounds. Take your time, and try everything as you follow the examples.
Make use of other user settings, and the factory settings—either as a starting point for your own sounds or as an object of study. Looking at existing settings provides an insight into how the sound was created. Enable and disable different parameters to see what each does.
Have fun and take risks—you can’t break anything.