User Guide

Chapter 21 ES2 319
 A keyboard assignment was set up as the Modulation 4 source. 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 desired diffusion effect.
When using this parameter, you should initially adjust the lower ranges until an
acceptable amount of detuning (resulting from the modulation) is reached. Once 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 for the Stratocaster patch, on page 315. This configuration
is set up in Modulation 3 (Oscillator 3 Wave moved by Envelope 1’s Decay).
Other Controls
Envelope 1 also effects 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 filter 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 filters—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 find that it offers quite a few controls for expression: velocity, pressure after note
on, and pressure in advance. Listen to what happens when pressing with the left hand
before hitting a new chord with the right hand, and allowing the swell come in.