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Chapter 3 ES2 105
You can also use LFO 2 to increase the pitch diusion against LFO 1’s pitch and pan movements.
Just exchange it for LFO 1 on modulation routings 2 and 3. 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. Alternatively, you’ll need to sacrice one of the other modulations in favor of a second twirl.
For another stereo modication 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.
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 dierent 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 oscillator 2’s 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 diers 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 LFOs are used, to achieve a stronger diusion eect at dierent
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, pressure, 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 diusion eect. 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
oscillator 1’s sawtooth wave.
The primary aim, however, is to have a little bit of “growl,” achieved through a short wavetable
push, as described in ES2 Slapped StratENV setting on page 103. This conguration is set up in
modulation routing 3 (oscillator 3 Wave moved by Envelope 1’s Decay).