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Chapter 3 ES2 101
m Click point 4 (the end point) and drag its corresponding pointer in the Triangle to oscillator 1, if
it’s not already there. Listen to how the sound returns to oscillator 1’s sawtooth wave, following
the release of the key.
Vector synthesis with the Planar Pad
The Vector Envelope setting starts where the Vector Start setting left o. You have a simple Vector
Envelope consisting of four points, which is set to modulate the oscillator mix (the Triangle).
In this example, the Vector Envelope is used to control two additional parameters—the Cuto
Frequency of Filter 2 and Panorama. These are preset as the X and Y targets in the Planar Pad.
Both have a value of 0.50.
Do the following:
m Switch on Solo Point, to more easily listen to the settings for the single points.
m Click point 1. You will hear only oscillator 1’s sawtooth.
m Drag the pointer in the Planar Pad to the far left, which results in a low cuto frequency for
oscillator 2.
m Click Point 2. You will hear only oscillator 2’s rectangular wave.
m Drag the pointer in the Planar Pad all the way down, which results in the rightmost
panorama position.
m Click Point 3. You will hear only oscillator 3’s triangular wave.
m Drag the pointer in the Planar Pad all the way up, which results in the leftmost
panorama position.
m Switch on Solo Point. The sound begins with a strongly ltered sawtooth wave and turns into
an unltered square wave. It initially sounds from the right, and then it moves to the left while
morphing into a triangular wave. After you release the key, the saw sound is heard.
Use Vector synthesis loops
The basic sound of the Vector Loop setting—without the Vector Envelope—consists of three
elements:
•
Oscillator 1 delivers a metallic FM spectrum, modulated by oscillator 2’s wavetable.
•
Oscillator 2 outputs cross-faded Digiwaves (a wavetable), modulated by LFO 2.
•
Oscillator 3 plays a PWM sound at the well-balanced, and keyboard-scaled, speed of LFO 1.
These heterogeneous sound colors are used as sound sources for the vector loop. Unison and
Analog make the sound fat and wide.
A slow, forward loop is preset. It moves from oscillator 3 (PWM sound, point 1) to oscillator 1
(FM sound, point 2), then to oscillator 3 again (PWM, point 3), then to oscillator 2 (wavetable,
point 4), and nally it returns to oscillator 3 (PWM, point 5). Points 1 and 5 are identical, which
prevents any transition from point 5 to point 1 in the forward loop. This transition could be
smoothed out with Loop Smooth, but this would make the rhythmic design more dicult
to program.
The distances between the points of the Vector Envelope have been set to be rhythmically
exact. Given that Loop Rate has been engaged, the time values are not displayed in ms,
but as percentages. There are four time values (each at 25%), which is a good basis for the
transformation into note values.