10.6

278Logic Pro Instruments
• 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 can use LFO2 for all real-time
modulations that you intend to access via ModWheel, aftertouch, or other controls while
playing.
• A keyboard assignment was set up as the source for modulation routing 4. 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 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. When 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.
Oscillator3 generates a Digiwave, which is “brassy” enough, within the overall wave mix.
As an alternative to the Digiwave, another modulated pulse wave could be used to support
the ensemble, or another sawtooth wave—to achieve a “fatter” sound, when detuning it
with the oscillator1 sawtooth wave.
The primary aim, however, is to have a little bit of “growl,” achieved through a short
wavetable push, as described in Logic Pro ES2 Slapped StratENV setting. This
configuration is set up in modulation routing 3 (oscillator3 Wave moved by Envelope1
Decay).
Other controls have a variety of functions:
• Envelope1 also affects the pitch of oscillator2 against oscillator3. This results in both
pitches clashing with each other, and also with the stable pitch of oscillator1 in the
attack phase of the sound.
• The filter envelope design closes with a short stab in the attack phase, then reopens for
a slower crescendo phase.
• A further real-time crescendo has been assigned to the mod wheel, which also brings in
an overall pitch modulation, controlled by LFO2.
• In addition to all of this, a “contrary” real-time modulation by aftertouch—which
closes the filters—has been programmed. This allows you to play with an additional
decrescendo, remotely controlled by aftertouch. Get a feel for the way the patch
responds. You’ll find that it offers quite a few controls for expression—velocity,
aftertouch after note-on, and aftertouch in advance. Listen to what happens when you
press with the left hand before hitting a new chord with the right hand and allowing the
swell to come in.