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296 Chapter 22 ES2
Velocity is set up to be very responsive because many synthesizer players don’t touch
keys in the manner of a piano player’s weighted-action-punch. As such, we ask that you
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; we thought six strings would be
enough for a guitar, but for held or sustained notes, a few extra voices may come in
handy.
-2- The big twirl, basically (Wheelrocker)
This quite ordinary organ patch doesn’t hold any deep, high-end sound design
secrets: it is just a combination of three Oscillators with their wave levels mixed
together. we are positive that you’ll easily find a different combination which more
closely matches your vision of what an organ sound is like. Check out the DigiWaves.
Focus your attention on the mod wheel’s response: please hold a chord, and bring the
wheel in by moving it slowly upwards, until you reach the top (maximum).
What we intended to program with this mod wheel modulation was a simulation of an
accelerating rotor speaker (or “Leslie”).
The modulation routings do the following jobs:
• Modulation 1 (Cutoff 1) assigns envelope 2 to Filter 1 (the only one used for this
patch), and produces a little organ key “click” with the envelope. We also opened the
filter (with Keyboard as via) when playing the higher ranges of the keyboard (with
the maximum value).
• Modulation 2 and 3 (Pitch 2/Pitch 3) bring in LFO 1 vibrato, and both Oscillators are
modulated out of phase.
• Modulation 5 reduces the overall volume—according to personal taste, the organ’s
level shouldn’t increase too drastically when all modulations are moved to their
respective maximums.
• Modulations 6 and 7 (Pitch 2/Pitch 3) detune Oscillators 2 and 3 against each other,
within symmetrical values (to avoid the sound getting out of tune, overall). Again,
both work out of phase with modulations 2 and 3; Oscillator 1 remains at a stable
pitch.
• Modulation 8 brings in LFO1 as a modulator for panorama movement—this patch
changes from mono to stereo. If you would prefer a full stereo sound, with a slowly
rotating Leslie in its idle position, just set an amount equal to the desired minimum
value, thereby achieving a permanent, slow rotation. Another modification you may
wish to try is a higher value, resulting in more extreme channel separation.
• Modulation 9 speeds up LFO 2’s modulation frequency.
• Modulation 10: for increasing the intensity of the “big twirl” we added a little Cutoff
to Filter 1.