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Chapter 22 ES2 297
Please feel free to find your own values for customization of this setup. While doing so,
keep in mind the fact that there are two modulation “couples”, which should only be
changed symmetrically (Mod. 2 and 3 work as a pair of “twins”, and also Mod. 6 and 7).
So, if you change Pitch 2’s maximum to a lower minus value, remember to set Pitch 3’s
maximum value to the same positive amount (same goes for modulation pair 6 and 7).
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).
-3- Something Horny (Crescendo Brass)
First of all—the tasks of the Oscillators:
• Oscillator 1 provides the basic brass wave—“sawtooth”.
• Oscillator 2 provides a—not that brassy—“pulse” wave, which brings in the
“ensemble”. It is pulse-width modulated by LFO 1 (Modulation 4).
Please note that for any modifications, the following critical point should be taken into
account. 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. We selected a
sort of “fat” position, close to the ideal square wave because we wanted 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 LFO’s are used, to achieve a stronger diffusion effect
at different modulation speeds. As a bit of general advice, we suggest that you use
LFO1 for all permanent, automatic modulations because you are able to delay its
“job” 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.
• Additionally, we set up a keyboard assignment as the Modulation 4 source 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.