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Chapter 22 ES2 295
Let’s have a look at its architecture:
Osc 1 and 3 provide the basic wave combination within the DigiWave field. Changing
the DigiWaves of both (in combination) delivers a huge number of basic variations—
some also work pretty well for electric piano-type keyboard sounds.
Osc 2 adds harmonics with its synced waveform, so you should only vary its pitch or
sync waveform. We kept the “noisiness” we were after in mind. There are a couple of
values which can be changed here, which will give you a much stronger, more
balanced signal.
An an old trick which delivers a punchy attack that the use of a “naked” wave wouldn’t
deliver was used—even with the best and fastest filters available: You use an envelope
(in this case No. 1) for a quick “push” of a wavetable’s window (or all wavetables
together, where it makes sense).
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, but what an effort to exclude it from the selection!—it just works this
way …)
So you can vary the “punchiness” of the content between:
• envelope 1’s contribution to 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 startwave before the selected
wave, positive starts from a position behind the selected wave and rolls the table
back) …
• Feel free to try out a couple of experiments 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 used for the 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 settings for wheel and pressure—
this is only how we felt most comfortable bringing in the controls. Feel free to change
them!