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• A keyboard assignment was set up as the source for modulation routing 4. This is
because all pitch, or pulse-width, modulations tend to cause a stronger detuning in
the lower ranges, while the middle and upper key zones feature the desired diffusion
effect. When using this parameter, you should initially adjust the lower ranges until an
acceptable amount of detuning (resulting from the modulation) is reached. When set,
check whether or not the modulations in the upper zones work to your satisfaction.
Adjust the relationship between intensity (Max) and scaling (Min) values.
Oscillator 3 generates a Digiwave, which is “brassy” enough, within the overall wave mix.
As an alternative to the Digiwave, another modulated pulse wave could be used to support
the ensemble, or another sawtooth wave—to achieve a “fatter” sound, when detuning
it with Oscillator 1’s sawtooth wave.
The primary aim, however, is to have a little bit of “growl,” achieved through a short
wavetable push, as described in Using the ES2 Slapped StratENV Setting. This configuration
is set up in modulation routing 3 (Oscillator 3 Wave moved by Envelope 1’s Decay).
Other controls have a variety of functions:
• Envelope 1 also effects the pitch of Oscillator 2 against Oscillator 3. This results in both
pitches clashing with each other, and also with the stable pitch of Oscillator 1 in the
attack phase of the sound.
• The filter envelope’s design closes with a short stab in the attack phase, then reopens
for a slower crescendo phase.
• A further real-time crescendo has been assigned to the mod wheel, which also brings
in an overall pitch modulation, controlled by LFO 2.
• In addition to all of this, a “contrary” real-time modulation by pressure—which closes
the filters—has been programmed. This allows you to play with an additional
decrescendo, remotely controlled by touch. Try to get a feel for the patch’s response.
You’ll find that it offers quite a few controls for expression—velocity, pressure after
note-on, and pressure in advance. Listen to what happens when you press with the
left hand before hitting a new chord with the right hand and allowing the swell to
come in.
Using the ES2 MW-Pad-Creator Setting
This is an attempt to create a patch that is able to automatically generate new patches.
Again, Oscillator 2 is used for a pulse width modulation—which creates a strong ensemble
component (for more information, see Using the ES2 Crescendo Brass Setting.
Oscillators 1 and 3 are set to an initial start wave combination within their respective
Digiwave tables. You can modify these, if you wish, and start with a different combination
of Digiwaves from the outset.
126 Chapter 5 ES2