10.6

277Logic Pro Instruments
• Modulation routing 4 does not need to be adjusted, but you are free to do so. It has
been set up to use ENV1 to “push” the wavetable. Adjust ENV1 Decay to make the sound
more pipe organ-like. Adjust ENV1 Attack to sweep through the wavetable.
• Modulation routing 5 reduces the overall volume according to personal taste, but the
organ level shouldn’t increase too drastically when all modulations are moved to their
respective maximums.
• Modulation routings 6 and 7 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 modulation routings 2 and 3; oscillator1 remains at a stable pitch.
• Modulation routing 8 brings in LFO1 as a modulator for panorama movement—this
patch changes from mono to stereo. If you prefer a full stereo sound with a slowly
rotating Leslie in its idle position, just set an amount equal to the chosen 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 routing 9 speeds up LFO2 modulation frequency.
• Modulation routing 10:A little cutoff was added to Filter1, increasing the intensity of
the big twirl.
Feel free to find your own values. While doing so, keep in mind the fact that there are two
modulation pairs that should only be changed symmetrically—modulation routings 2 and
3 work as a pair, as do modulation routings 6 and 7. If you change Pitch 2 maximum to a
lower minus value, remember to set Pitch 3 maximum value to the same positive amount—
the same rule applies for modulation routing pair 6 and 7.
You can also use LFO2 to increase the pitch diffusion against LFO1 pitch and pan
movements. Just exchange it for LFO1 on modulation routings 2 and 3. Note that there is
no modulation source for the Leslie acceleration, so you need to use it in a static way by
fading it in. Alternatively, you need to sacrifice one of the other modulations in favor of a
second twirl.
For another stereo modification of the static sound, you can use the patch in Unison mode
with a slight detune—make sure to adjust the Analog parameter for this.
Logic Pro ES2 Crescendo Brass setting
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 routing 4).
Note: The following critical point should be taken into account for any modulations. There
are four parameters that behave in an entirely different fashion when any one of them is
changed. Therefore, all four must be changed when making adjustments:
• You may adjust the initial pulse width of the oscillator2 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 routing 4 adjusts the modulation intensity—how far the range differs from
fat to narrow when being pulse-width modulated. Set with the Minimum parameter.