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Chapter 3 ES2 104
Velocity is set up to be very responsive, because many synthesizer players don’t strike keys like a
piano player would with a weighted-action “punch.” Therefore, you should play this patch softly,
or you may nd that the slap tends to sweep a little. Alternatively, you can adjust the sensitivity
of the lter modulation’s velocity value to match your personal touch.
If required, increase the Voices value to maximum—six strings should be enough for a guitar, but
for held or sustained notes, a few extra voices may come in handy.
ES2 Wheelrocker setting
This ordinary organ patch doesn’t hold any deep, high-end sound design secrets—it is just
a combination of three oscillators with mixed wave levels. You’ll probably nd a dierent
combination that more closely matches your vision of what an organ sounds like. Check out
the Digiwaves.
Focus your attention on the mod wheel’s response—hold a chord, and bring the wheel in
by moving it slowly upward until you reach the top (maximum). The intention behind the
programming of this mod wheel modulation is to simulate an accelerating Leslie rotor speaker.
The modulation routings do the following:
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Modulation routing 1 assigns envelope 2 to Filter 1—the only one used for this patch—and
produces a little organ key click with the envelope. The lter is opened slightly (with Keyboard
as via) when you play in the higher keyboard range, with the maximum value.
•
Modulation routings 2 and 3 bring in LFO 1 vibrato, and both oscillators are modulated out
of phase.
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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’s 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 modication you may wish to try is a higher value, resulting
in more extreme channel separation.
•
Modulation routing 9 speeds up LFO 2’s modulation frequency.
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Modulation routing 10: A little cuto was added to Filter 1, increasing the intensity of the
big twirl.
Feel free to nd 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. 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—the same
rule applies for modulation routing pair 6 and 7.