2009

• 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 desired minimum
value, thereby achieving a permanent, slow rotation. Another modification 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.
• Modulation routing 10: A little cutoff was added to Filter 1, increasing the intensity of
the big twirl.
Feel free to find 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.
You can also bring in LFO 2 to increase the pitch diffusion against LFO 1’s pitch and pan
movements. Just exchange it for LFO 1 on modulation 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 sacrifice one of the other modulations in
favor of a second twirl.
For another stereo modification 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.
Using the 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 different 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.
126 Chapter 5 ES2