9

Feel free to find your own values. While doing so, keep in mind the fact that there are
two modulation pairs that should only be changed symmetrically—modulation routings
2 and 3 work as a pair, as do modulation routings 6 and 7. So, if you change Pitch 2’s
maximum to a lower minus value, remember to set Pitch 3’s maximum value to the same
positive amount—the same rule applies for modulation routing pair 6 and 7.
You can also bring in LFO 2 to increase the pitch diffusion against LFO 1’s pitch and pan
movements. Just exchange it for LFO 1 on modulation 2 and 3. Note that there will be
no modulation source for the Leslie acceleration, so you’ll need to use it in a static way,
just fading it in. Alternatively, you’ll need to sacrifice one of the other modulations in
favor of a second twirl.
For another stereo modification of the static sound, you can use the patch in Unison
mode with a slight detune—make sure to adjust the analog parameter for this.
Using the ES2 Crescendo Brass Setting
The oscillators are used for the following tasks:
• Oscillator 1 provides the basic brass wave—sawtooth.
• Oscillator 2 provides a not particularly “brassy” pulse wave, which brings in the ensemble.
It is pulse-width modulated by LFO 1 (modulation routing 4).
Note: The following critical point should be taken into account for any modulations.
There are four parameters that behave in an entirely different fashion when any one of
them is changed. Therefore, all four must be changed when making adjustments:
• You may adjust the initial pulse width of Oscillator 2’s wave parameter. A “fat” position,
close to the ideal square wave, has been chosen for this patch—in order to program
a full, voluminous synth-brass sound.
• Modulation routing 4 adjusts the modulation intensity—how far the range differs from
fat to narrow when being pulse-width modulated. Set with the Minimum parameter.
• The rate of LFO1 directly controls the speed of the movement of the pulse width
modulation. For this patch, both LFOs are used, to achieve a stronger diffusion effect
at different modulation speeds.
Tip: You should use LFO1 for all permanent, automatic modulations, because you are
able to delay its impact with its EG parameter. You can use LFO 2 for all real-time
modulations, which you intend to access via ModWheel, pressure, or other controls
while playing.
125Chapter 5 ES2