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Chapter 20 ES2 269
So set up Envelope 1’s Decay time for this short push, moving the wave selectors for all
Oscillators on the attack. (… actually it makes no sense on the synced sawtooth
Oscillator, No. 2—it just works this way …)
So you can vary the punchiness of the content between:
 Envelope 1’s contribution to the overall attack noise, changing decay speed (a slow
one gives you a peak, a long one gives you a growl, as it is reading a couple of waves
from the wavetable).
 Modulation destination: you can always assign this to each of the Oscillators
separately.
 Start point (you vary the wave window start with minimum/maximum control of
EG1/Osc.waves modulation: negative values for a start wave before the selected
wave, positive starts from a position behind the selected wave and rolls the table
back) …
 Feel free to experiment with this wavetable-driving trick. The growl effect works
pretty well for brass sounds, and some organs absolutely shine with a little click,
courtesy of a wavetable push.
Envelope 2, which controls the filter, provides a slight attack when used for “slapped”
characteristics. Setting it to the fastest value eliminates the wah-like attack (and don’t
worry, there’s enough punch left).
For playing purposes, you’ll find that LFO 2 is used as a real time source for vibrato. It is
assigned to the mod wheel and pressure.
Don’t concern yourself too much with the different wheel and pressure settings. Feel
free to change them!
Velocity is set up to be very responsive because many synthesizer players don’t strike
keys like a piano player would with a weighted-action “punch.” As such, you should
play this patch softly, or you may find that the slap tends to sweep a little. Alternately,
you can adjust the sensitivity of the filter modulation’s velocity value to match your
personal touch.
Also feel free to increase the Voices to maximum; six strings should be enough for a
guitar, but for held or sustained notes, a few extra voices may come in handy.