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Chapter 20 ES2 271
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—but 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. Alternately, you’ll need to sacrifice one of the other
modulations in favor of a second twirl.
For another stereo modification of the idle sound, you can use the patch in Unison
mode with a slight detune (please adjust the analog parameter for this).
Something Horny (Crescendo Brass)
First up—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 4).
Note: The following critical point should be taken into account for any modulations.
There are four (4) parameters, which behave in an entirely different fashion, once one
of them is changed. As such, 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 4 adjusts the modulation intensity, which means: how far does the
range differ 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 may use LFO 2 for all real-time
modulations, which you intend to access via modwheel, pressure, or other controls
while playing.
 A keyboard assignment was set up as the Modulation 4 source. 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. Once 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.