Sculpture filter parameters in Logic Pro for iPad
The parameters discussed in this section apply on a per-voice basis. A number of parameters can be morphed between as many as five morph points. These are indicated in the parameter descriptions. For more information, see Sculpture morph overview.
The filter parameters provide further timbral/spectral control over your sound. They will be familiar to you if you have any experience with synthesizers. If you’re new to the concepts behind synthesizer filters, see Filters overview.
Filter parameters
Filter On/Off button: Turn the filter section on or off.
Cutoff knob and field: Set the cutoff or center frequency, depending on the chosen filter type. In a lowpass filter, all frequency portions above the cutoff frequency are suppressed, or cut off, hence the name. The cutoff frequency controls the brilliance of the signal. The higher the cutoff frequency is set, the higher the frequencies of signals that are allowed to pass through the lowpass filter. This parameter can be morphed.
Resonance knob and field: Set the filter resonance value. This parameter can be morphed.
In highpass and lowpass modes, Resonance emphasizes the portions of the signal that surround the center frequency.
In Peak, Bandpass, and Notch modes, Resonance controls the width of the band that surrounds the center frequency.
KeyTrack knob and field: Determine how cutoff frequency responds to key position. The farther up or down the keyboard you play, the more bright or mellow the sound becomes. Technically speaking, the cutoff frequency is modulated by the keyboard position. A value of 0.0 disables key tracking. A value of 1.0 makes the cutoff frequency follow the fundamental of the note across the entire keyboard range. Play an octave higher and the cutoff frequency also changes by an octave.
Filter type buttons: Tap to choose the filter mode.
HP: Allow frequencies above the cutoff frequency to pass. Because frequencies below the cutoff frequency are suppressed, it’s also known as a low cut filter. The slope of the highpass filter is 12 dB/octave.
LP: Allow frequencies that fall below the cutoff frequency to pass. Because frequencies above the cutoff frequency are suppressed, it’s also known as a high cut filter. The slope of the lowpass filter is 12 dB/octave.
Peak: Choose to specify the center of a frequency band with Cutoff. Control bandwidth and gain with Resonance. Frequencies outside the band remain at their current level. Peak filters are generally used to enhance a frequency range.
BP: Allow the frequency band surrounding the center frequency to pass. Resonance controls the width of this band. All other frequencies are cut. The bandpass filter is a two-pole filter with a slope of 6 dB/octave on each side of the band.
BR: Cut the frequency band surrounding the center frequency. Resonance controls the width of this band. All other frequencies are allowed to pass. Band reject, or “notch” filters are generally used to suppress noise or a particular frequency.
VeloSens knob and field: Determine how cutoff frequency responds to incoming note velocities. The harder you strike the keyboard, the higher the cutoff frequency—and generally the brightness of the sound—becomes. A value of 0.0 disables velocity sensitivity. A value of 1.0 results in maximum velocity sensitivity.
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