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258 Chapter 20 ES2
FM Intensity and Frequency
The FM Start setting is great for familiarizing yourself with linear Frequency Modulation
(FM) synthesis. You’ll hear an un-modulated sine sound, generated by Oscillator 1.
Oscillator 2 is switched on, and set to produce a sine oscillation as well, but its level is
set to 0: Just push the cursor in the triangle in the uppermost corner.
In the ES2—Oscillator 1 is always the carrier, and Oscillator 2, the modulator. IN other
words, Oscillator 2 modulates Oscillator 1.
 Adjust the intensity of the frequency modulation by slowly moving the wave selector
from Sine to FM. You will hear a typical FM spectrum, with the carrier and modulator
set to the same frequency.
 Alter the modulator frequency (Oscillator 2) by adjusting Fine Tune from 0 c to 50 c.
You’ll hear a very slow frequency modulation, that can be compared to the effect of
an LFO. The frequency modulation, however, takes place in the audio spectrum. It is
adjusted in semitone steps by the frequency selector. Check out the entire range
from –36 s to +36 s for Oscillator 2. You’ll hear a broad spectrum of FM sounds. Some
settings will remind you of classic FM synthesizer sounds.
 Select other waveforms for Oscillator 2. Sine is the classic, standard FM waveform,
but other waveforms lead to interesting results as well, especially the Digiwaves.
 You will achieve further interesting results by altering the carrier (Oscillator 1)
frequency. Check out the entire range: from –36 s to +36 s semitones here, as well.
The odd intervals are especially fascinating. Note that the basic pitch changes when
doing so.
Controlling FM Intensity by an Envelope and FM Scaling
In the FM Envelope setting, you can control the FM intensity with an envelope,
generated by Envelope 2. The modulation target is the range which falls between Sine
and FM—in the Oscillator wave selector. The first Router channel is used for this. You
can control a wider range through the use of additional modulations, which have been
pre-prepared for you. All you need to do is set their values. As these modulations work
without velocity sensitivity, you can set them in the Editor view—by moving both the
lower and upper fader halves to their top-most positions.
 Set the second modulation channel to 1.0. You’ll hear how the modulation now
“wanders” through a broader sound range.
 Set modulation channels 3 and 4 to a value of 1.0 as well, and listen to the increase in
the sound range.