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Chapter 3 ES2 106
Other controls have a variety of functions:
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Envelope 1 also aects 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 lter envelope’s 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 pressure—which closes the
lters—has been programmed. This allows you to play with an additional decrescendo,
remotely controlled by touch. Try to get a feel for the patch’s response. You’ll nd that it oers
quite a few controls for expression—velocity, pressure after note-on, and pressure 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.
ES2 MW-Pad-Creator setting
This is an attempt to create a patch that is able to automatically generate new patches.
Oscillator 2 is used for a pulse width modulation—which creates a strong ensemble component
(for more information, see ES2 Crescendo Brass setting on page 105).
Oscillators 1 and 3 are set to an initial start wave combination within their respective Digiwave
tables. You can modify these, if you wish, and start with a dierent combination of Digiwaves
from the outset.
Modulation 3 “drives” the wavetables of all three oscillators, via the mod wheel. Stated simply,
you can simultaneously scroll through the oscillator 1 and oscillator 3 wavetables, and change
oscillator 2’s pulse width—by moving the mod wheel.
Try a careful, very slow movement of the mod wheel, and you’ll hear drastic changes within the
wave conguration. Each incremental position of the wheel oers a dierent digital pad sound.
Avoid rapid movements, or this will sound like an AM radio.
Another potential modication procedure is hidden in the modulation intensity of the
oscillator 1, 2, and 3 wave parameters. The value of this intensity parameter assigns both the
step width and direction through the wavetables. You can try modications to the amount using
positive or negative values.
An interesting side-eect of FM assignment to Filter 2 (modulation routing 4—Lowpass Filter FM)
occurs when the mod wheel is moved to higher positions: the frequency modulation of the lter
is increased, causing all cyclical beats (vibrating pitches, detunes, pulse width) to be emphasized.
This also adds a rough, “hissing” quality to the overall sound character. FM oers vast scope for
experimentation, and you can decide between:
•
An initial FM, using Filter 2’s FM parameter, which you can redraw (set a negative modulation
amount for modulation routing 4’s maximum) by moving the mod wheel to its top position.
•
Permanent FM (and another modulation setup, saved for a dierent assignment). You can also
switch o FM, if you consider its eect too dirty sounding.
Real-time control is via pressure for a vibrato (modulation routing 10) and also for a slight
opening of the Cuto to emphasize the modulation (modulation routing 9).