Apple MainStage - 3 User Manual

MainStage 3 Instruments

For OS X

K Apple Inc.

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14 Chapter 1: Drum Kit Designer 14 Drum Kit Designer overview 15 Drum Kit Designer Edit panel 16 Use Drum Kit Designer 19 Drum Kit Designer extended parameters 20 Drum Kit Designer mappings

21 Chapter 2: ES1 21 ES1 overview 22 ES1 oscillator parameters 22 ES1 oscillator parameters overview 23 ES1 oscillator waveforms 23 Use the ES1 sub-oscillator 24 ES1 global parameters 25 ES1 lter parameters 25 ES1 lter parameters overview 26 Drive the ES1 lter to self-oscillate 27 ES1 amplier parameters 28 ES1 envelope parameters 28 ES1 envelope parameters overview 28 ES1 lter cuto envelope modulation 29 ES1 amplier envelope modulation 30 ES1 modulation 30 ES1 modulation parameters overview 30 Use the ES1 router 31 Use the ES1 LFO 32 Use the ES1 modulation envelope 33 ES1 MIDI controllers

34 Chapter 3: ES2 34 ES2 overview 35 ES2 interface 37 ES2 sound sources 37 ES2 oscillator parameters overview 38 ES2 basic oscillator waveforms 39 Use pulse width modulation in ES2 40 Use frequency modulation in ES2 41 Use ring modulation in ES2 42 Use ES2 Digiwaves 42 Use the ES2 noise generator 43 ES2 emulation of detuned analog oscillators 44 Stretch tuning in ES2

45 Balance ES2 oscillator levels 45 ES2 oscillator start points 46 Synchronize ES2 oscillators 47 ES2 global parameters 47 Global parameters overview 48 Set the ES2 keyboard mode 48 Use unison and voices in ES2 49 Set the ES2 glide time 49 Set the ES2 pitch bend range 50 ES2 lter parameters 50 ES2 lter overview 51 ES2 lter conguration 51 Cross-fade between ES2 lters 53 ES2 Filter 1 modes 53 ES2 Filter 2 slopes 54 ES2 lter cuto and resonance 56 Overdrive ES2 lters 57 Modulate ES2’s Filter 2 Frequency 58 ES2 amplier parameters 58 Use ES2’s dynamic stage 58 Sine Level enhanced ES2 sounds 59 ES2 modulation 59 ES2 modulation overview 60 ES2 modulation router 64 ES2 LFOs 66 Use ES2 LFOs 67 ES2 envelopes 70 Use the Vector Envelope 71 Vector Envelope points, times, and loops 77 Use the Planar Pad 78 ES2 modulation target reference 84 ES2 modulation source reference 86 ES2 via modulation source reference 88 ES2 integrated eects processor 90 ES2 macro controls and controller assignments 90 ES2 macro and controller assignment overview 90 ES2 macro controls 91 Make ES2 controller assignments 92 ES2 extended parameters 92 Create random ES2 sound variations 92 Use ES2’s randomization parameters 93 Restriction of ES2 randomization 95 ES2 tutorials 95 Create ES2 sounds from scratch 106 Create ES2 sounds with templates

Contents 4

111 Chapter 4: EFM1 111 EFM1 overview 113 EFM1 modulator and carrier parameters 113 Modulator and carrier overview 115 Set the EFM1 tuning ratio 115 Choose a dierent EFM1 modulator waveform 116 EFM1 modulation parameters 117 EFM1 global parameters 118 EFM1 output parameters 119 Create random EFM1 sounds 119 EFM1 extended parameters 120 EFM1 MIDI controller assignments

121 Chapter 5: ES E 121 ES E overview 122 ES E oscillator parameters 123 ES E LFO parameters 124 ES E lter parameters 125 ES E envelope parameters 125 ES E output parameters 126 Extended ES E parameters

127 Chapter 6: ES M 127 ES M overview 128 ES M oscillator parameters 129 ES M lter and lter envelope 130 ES M level envelope and output controls 130 Extended ES M parameters

131 Chapter 7: ES P 131 ES P overview 132 ES P oscillator parameters 133 ES P LFO parameters 134 ES P lter parameters 135 ES P envelope and level controls 136 Integrated ES P eects processor 136 Extended ES P parameters

Contents 5

137 Chapter 8: EVOC 20 PolySynth 137 EVOC 20 PolySynth and vocoding 137 EVOC 20 PolySynth overview 138 Vocoder basics 139 EVOC 20 PolySynth interface 140 EVOC 20 PolySynth analysis parameters 141 EVOC 20 PolySynth (U/V) detection parameters 143 EVOC 20 PolySynth synthesis parameters 143 EVOC 20 PolySynth synthesis parameters overview 144 EVOC 20 PolySynth oscillator parameters 146 EVOC 20 PolySynth tuning and pitch parameters 147 EVOC 20 PolySynth lter parameters 147 EVOC 20 PolySynth envelope parameters 148 EVOC 20 PolySynth global parameters 149 EVOC 20 PolySynth formant lter 151 EVOC 20 PolySynth modulation parameters 152 EVOC 20 PolySynth output parameters 153 EVOC 20 PolySynth performance tips 153 Level and frequency tips 153 Tips to avoid sonic artifacts 154 Tips to enhance speech intelligibility 155 Vocoder history 156 EVOC 20 block diagram

157 Chapter 9: EXS24 mkII 157 EXS24 mkII overview 159 Sampler instruments 159 Sampler instruments overview 159 Sample storage locations 160 Manage sampler instruments 161 Use sampler instruments and settings 162 Import SoundFont2, DLS, and Gigasampler les 164 Convert audio regions to sampler instruments 165 Convert ReCycle les to sampler instruments 167 EXS24 mkII Parameter window 167 EXS24 mkII Parameter window overview 168 Sampler Instruments pop-up menu 171 EXS24 mkII global parameters 174 EXS24 mkII pitch parameters 176 EXS24 mkII lter parameters 178 EXS24 mkII output parameters 179 EXS24 mkII extended parameters 179 EXS24 mkII modulation overview 180 EXS24 mkII modulation router 184 EXS24 mkII LFOs 187 EXS24 mkII envelope overview 188 EXS24 mkII modulation reference

Contents 6

192 EXS24 mkII Instrument Editor window 192 EXS24 mkII Instrument Editor overview 193 EXS24 mkII Zones and Groups view 195 Create instruments, zones, and groups 199 Edit EXS24 mkII zones and groups 211 Save, rename, and export EXS24 mkII instruments 212 Edit samples in the Logic Pro Audio File Editor 213 Use an external instrument editor with EXS24 mkII 214 EXS24 mkII preferences 217 EXS24 mkII memory management

219 Chapter 10: External Instrument 219 External Instrument overview 220 Use the External Instrument

221 Chapter 11: Klopfgeist 221 Klopfgeist parameters

223 Chapter 12: Retro Synth 223 Retro Synth overview 224 Retro Synth Analog oscillator controls 225 Retro Synth Sync oscillator controls 226 Retro Synth Table oscillator controls 227 Retro Synth FM oscillator controls 229 Retro Synth lter controls 231 Retro Synth amp and eect controls 232 Retro Synth modulation controls 232 Use Retro Synth modulation 233 Retro Synth Glide and Autobend 234 Retro Synth LFO and Vibrato 235 Retro Synth envelopes 236 Retro Synth global and controller settings 237 Retro Synth extended parameters

238 Chapter 13: Sculpture 238 Sculpture overview 240 Sculpture interface 241 Sculpture string parameters 241 Sculpture string overview 242 Sculpture Hide, Keyscale, and Release view 243 Sculpture’s basic Material Pad parameters 244 Use Sculpture’s Material Pad in Keyscale or Release view 245 Use Sculpture’s string parameter sliders 247 Sculpture objects parameters 247 Sculpture objects overview 248 Sculpture excite table (objects 1 and 2) 250 Sculpture disturb and damp table (objects 2 and 3) 252 Sculpture pickups parameters 252 Use Sculpture pickup parameters 253 Sculpture’s spread controls 254 Sculpture global parameters

Contents 7

255 Sculpture amplitude envelope parameters 256 Use Sculpture’s Waveshaper 257 Sculpture lter parameters 258 Sculpture delay eect parameters 258 Sculpture delay eect overview 259 Sculpture’s Groove Pad (stereo) 260 Sculpture Body EQ parameters 260 Sculpture Body EQ overview 261 Use Sculpture’s Basic EQ model 262 Use Sculpture’s Body EQ models 263 Sculpture output parameters 263 Sculpture modulation controls 263 Sculpture modulation overview 264 Sculpture LFOs 268 Sculpture Vibrato parameters 269 Sculpture Jitter generators 270 Sculpture note-on random modulators 271 Sculpture velocity modulators 272 Use Controller A and B in Sculpture 272 Sculpture envelope parameters 280 Sculpture morph parameters 280 Sculpture morph overview 281 Use Sculpture’s Morph Pad 284 Use Sculpture’s Morph Envelope 289 Dene Sculpture MIDI controllers 290 Sculpture tutorials 290 Explore Sculpture 295 Create basic sounds in Sculpture 305 Advanced Sculpture tutorial: electric bass 323 Advanced Sculpture tutorial: synthesizer sounds

328 Chapter 14: Ultrabeat 328 Ultrabeat overview 329 Ultrabeat interface 330 Ultrabeat Assignment section 330 Ultrabeat Assignment section overview 331 Play and select Ultrabeat drum sounds 333 Name, swap, and copy Ultrabeat drum sounds 335 Import sounds and EXS instruments into Ultrabeat 337 Ultrabeat settings 338 Ultrabeat Synthesizer section overview 340 Ultrabeat sound sources 340 Ultrabeat oscillator overview 341 Ultrabeat oscillator 1 phase oscillator mode 342 Use Ultrabeat oscillator 1 FM mode 343 Use Ultrabeat oscillator 1 side chain mode 344 Use Ultrabeat oscillator 2 phase oscillator mode 345 Basic waveform characteristics 345 Use Ultrabeat oscillator 2 sample mode

Contents 8

347 Use Ultrabeat oscillator 2 model mode 349 Ultrabeat ring modulator 349 Ultrabeat noise generator 351 Use Ultrabeat’s lter section 354 Ultrabeat distortion circuit 355 Ultrabeat Output section 355 Ultrabeat Output section overview 356 Adjust Ultrabeat’s two-band EQ 357 Ultrabeat pan and stereo spread 358 Ultrabeat voice volume control 359 Change Ultrabeat’s trigger mode 360 Ultrabeat modulation 360 Ultrabeat modulation overview 360 Mod and via modulations in Ultrabeat 362 Create a modulation routing in Ultrabeat 363 Assign Ultrabeat MIDI controllers A–D 364 Use Ultrabeat LFOs 367 Ultrabeat envelope overview 368 Ultrabeat envelope parameters 369 Use Ultrabeat’s modulation target display 370 Ultrabeat step sequencer 370 Ultrabeat step sequencer overview 370 Step sequencer basics 371 Ultrabeat step sequencer interface 371 Ultrabeat global sequencer controls 372 Ultrabeat pattern controls 373 Use Ultrabeat’s swing function 374 Ultrabeat Step grid 378 Automate parameters in Ultrabeat’s step sequencer 380 Export Ultrabeat patterns as MIDI regions 381 MIDI control of Ultrabeat’s step sequencer 382 Ultrabeat tutorials 382 Ultrabeat sound programming overview 383 Create Ultrabeat kick drums 387 Create Ultrabeat snare drums 392 Create Ultrabeat tonal percussion 392 Create Ultrabeat hi-hats and cymbals 393 Create metallic Ultrabeat sounds 393 Tips for extreme Ultrabeat sounds

Contents 9

394 Chapter 15: Vintage B3 394 Vintage B3 overview 395 Vintage B3 Main window 395 Vintage B3 Main window overview 396 Vintage B3 draw bar controls 397 Vintage B3 Scanner Vibrato and Chorus 398 Vintage B3 Percussion eect 399 Use Vintage B3 preset keys 401 Set up Vintage B3 for your MIDI equipment 404 Vintage B3 Rotor Cabinet window 404 Vintage B3 Rotor Cabinet window overview 405 Advanced Cabinet parameters 406 Advanced Motor parameters 407 Advanced Brake parameters 408 Vintage B3 Microphone types 409 Vintage B3 Microphone parameters 410 Vintage B3 Options window 410 Vintage B3 Options window overview 410 Vintage B3 Master and Click controls 411 Vintage B3 Morph parameters 412 Use Vintage B3 Morph controls 413 Vintage B3 Eects window 413 Use Vintage B3 eects 414 Vintage B3 EQ 414 Vintage B3 Wah eect 416 Vintage B3 Distortion eect 416 Vintage B3 Reverb eect 417 Vintage B3 Expert window 417 Vintage B3 Expert window overview 418 Vintage B3 Pitch controls 419 Vintage B3 Sustain controls 419 Vintage B3 Condition controls 421 Vintage B3 Organ Model controls 422 Use a MIDI controller with Vintage B3 422 Choose a Vintage B3 MIDI control mode 422 Vintage B3 MIDI mode: Roland VK or Korg CX 424 Vintage B3 MIDI mode: Hammond Suzuki 425 Vintage B3 MIDI mode: Native Instruments B4D 427 Vintage B3 MIDI mode: Nord Electro 428 B3 and Leslie information 428 Additive synthesis with draw bars 429 The residual eect 429 Tonewheel sound generation 430 A brief Hammond history 431 The Leslie cabinet

Contents 10

432 Chapter 16: Vintage Clav 432 Vintage Clav overview 433 Vintage Clav interface 434 Vintage Clav Main window 434 Vintage Clav Main window overview 435 Vintage Clav models 436 Vintage Clav model characteristics 437 Use Vintage Clav Pickup parameters 438 Use Vintage Clav Stereo Spread parameters 439 Vintage Clav Eects window 439 Vintage Clav Eects window overview 440 Vintage Clav Compressor eect 440 Vintage Clav Distortion eect 441 Vintage Clav Modulation eect 442 Vintage Clav Wah eect 443 Vintage Clav Details window 443 Vintage Clav Details window overview 443 Vintage Clav Excite and Click parameters 444 Vintage Clav String parameters 445 Vintage Clav Pitch parameters 446 Vintage Clav Misc parameters 447 Vintage Clav extended parameters 448 D6 Clavinet information 448 D6 Clavinet history 449 D6 Clavinet mechanical details

450 Chapter 17: Vintage Electric Piano 450 Vintage Electric Piano overview 451 Vintage Electric Piano interface 452 Vintage Electric Piano Eects window 452 Vintage Electric Piano EQ 453 Vintage Electric Piano Drive eect 453 Vintage Electric Piano Chorus eect 454 Vintage Electric Piano Phaser eect 455 Vintage Electric Piano Tremolo eect 456 Vintage Electric Piano Details window 456 Vintage Electric Piano model parameters 457 Vintage Electric Piano pitch parameters 458 Vintage Electric Piano extended parameters 459 Vintage Electric Piano emulations 459 Rhodes models 460 Hohner and Wurlitzer models 461 Vintage Electric Piano MIDI controllers

Contents 11

462 Appendix A: Legacy instruments 462 Legacy instruments overview 462 Emulated instruments 462 Bass 462 Church Organ 463 Drum Kits 463 Electric Clav(inet) 463 Electric Piano 464 Guitar 464 Horns 464 Piano 464 Sound Eects 464 Strings 465 Tuned Percussion 465 Voice 465 Woodwind 465 Tonewheel Organ 466 Synthesizers 466 Analog Basic 466 Analog Mono 467 Analog Pad 467 Analog Swirl 468 Analog Sync 468 Digital Basic 469 Digital Mono 469 Digital Stepper 470 Hybrid Basic 471 Hybrid Morph

472 Appendix B: Synthesizer Basics 472 Synthesizer basics overview 473 Sound basics 473 Sound basics overview 474 Tones, overtones, harmonics, and partials 474 The frequency spectrum 475 Other waveform properties 476 Synthesizer fundamentals 478 Subtractive synthesizers 478 How subtractive synthesizers work 479 Subtractive synthesizer components 480 Oscillators 483 Filters 486 Envelopes in the amplier 488 Modulation 491 Global controls

Contents 12

492 Other synthesis methods 492 Other synthesis methods overview 492 Sample-based synthesis 493 Frequency modulation (FM) synthesis 494 Component modeling synthesis 495 Wavetable, Vector, and Linear Arithmetic synthesis 496 Additive synthesis 497 Phase distortion synthesis 497 Granular synthesis 498 A brief synthesizer history 498 Precursors to the synthesizer 499 Early voltage-controlled synthesizers 500 The Minimoog 501 Storage and polyphony 502 Digital synthesizers

Contents 13

Edit panelExchange panel

Drum Kit Designer

Drum Kit Designer overview

Drum Kit Designer lets you build custom drum kits from a wide selection of drum and percussion sounds. It also provides controls that change sound characteristics and the level of each piece in your kit.

Further settings allow you to use dierent microphones and rooms to enhance Producer kits. Producer kits are identied in the Library by a “+” at the end of the patch name. See “Add drummers to a project” in Logic Pro Help for information on Producer kits.

Drum kit

Drum Kit Designer’s interface is divided into the following main areas.

•

Drum kit: Click a drum kit piece to preview its sound and to open the Edit panel and the Exchange panel if exchange pieces are available for that drum type.

•

Exchange panel: Shows all drums that are available for exchange (you may need to scroll).

•

Edit panel: Shows settings that change sound characteristics.

Drum Kit Designer Edit panel

The Edit panel is used to change sound characteristics and the level of each piece in your kit.

Edit panel parameters

•

Tune knob and eld: Rotate to adjust the pitch.

•

Dampen knob and eld: Rotate to adjust the sustain.

•

Gain knob and eld: Rotate to adjust the volume.

•

Leak switch (Producer kits only): Drag to On to include the sound in the mic of the other kit pieces.

•

Overheads switch (Producer kits only): Drag to On to include the drum kit’s overhead mic in the sound.

•

Room switch (Producer kits only): Drag to choose between rooms A and B or to turn o the

room emulation.

Chapter 1 Drum Kit Designer 15

Use Drum Kit Designer

Drum Kit Designer shows a 3D representation of the drum kit for the currently loaded patch.

For all kits, you can preview the drums, edit the pitch, sustain, and volume of each drum kit piece, and exchange the kick and snare drums. When working with Producer kits, you can additionally

exchange toms, cymbals, and hi-hat. Producer kits let you turn dierent microphones, such as overheads or room mics, on or o.

Note: Producer kits and some drums are only available after you download additional content.

Drum Kit Designer also has additional parameters for adjusting the gain of other instrument pieces, such as shaker, cowbell, and so on. See Drum Kit Designer extended parameters.

Preview a drum or percussion piece

m Click a drum or percussion piece.

The rst time you click any drum or percussion piece after opening the plug-in, one or two

panes open. You can exchange individual sounds in the Exchange panel to the left and can edit individual drum or percussion piece settings in the Edit panel to the right.

Adjust kit piece settings (all kits)

1 Click a drum or percussion piece.

The Edit panel opens to the right.

•

Toms: Click the tab for the tom you want to edit, or click the All tab to adjust the tone of all toms.

•

Cymbals: Click the tab for the crash cymbal you want to edit, or click the All tab to adjust the tone of both crash cymbals. The ride cymbal can be edited directly.

•

Kicks and snares: There are no tabs, so make your adjustments with the controls.

Chapter 1 Drum Kit Designer 16

2 To adjust settings, do any of the following:

•

To adjust the pitch: Drag the Tune control vertically, or double-click the eld and enter a

new value.

•

To adjust the sustain: Drag the Dampen control vertically, or double-click the eld and enter a

new value.

•

To adjust the volume: Drag the Gain control vertically, or double-click the eld and enter a

new value.

3 To close open panels, click anywhere in the plug-in window background.

Exchange a kit piece

For all kits, you can exchange kick and snare. When working with Producer kits, you can additionally exchange toms, cymbals, and hi-hat.

Note: Producer kits and some drums are only available after you download additional content.

1 Click a drum or percussion piece.

The Exchange panel opens to the left if exchange pieces are available for that kit piece.

2 Click the Info button of a selected piece to view its description.

3 Click the kit piece that you want to exchange in the Exchange panel. You may need to scroll in

order to nd the piece you want to use.

The piece is exchanged and the respective drum sound is loaded.

Note: The toms and the crash cymbals can only be exchanged as a group.

Chapter 1 Drum Kit Designer 17

4 To close the panels, click anywhere in the plug-in window background.

Adjust mic settings (Producer kits only)

In the Edit panel, do any of the following:

m To include the sound in the mic of the other kit pieces: Turn on the Leak switch.

This turns microphone bleed on or o, where the sound of a kit piece is picked up by the dierent mics from other kit pieces.

m To include the kit piece’s overhead mic in the sound: Turn on the Overheads switch.

This turns the overhead mic for the selected kit piece on or o.

m To choose a room emulation to use with the sound: Choose between rooms A and B. You can also

turn o the room microphones.

Rooms A and B determine which room mic setup is used with the kit piece.

Chapter 1 Drum Kit Designer 18

Drum Kit Designer extended parameters

Drum Kit Designer provides additional parameters that are accessed by clicking the disclosure triangle at the lower left.

The Input Mapping pop-up menu lets you choose dierent mappings that provide enhanced

control of HiHats. The maps also change the way Drum Kit Designer sounds are assigned across the MIDI note range. See Drum Kit Designer mappings.

Extended parameters

•

Input Mapping pop-up menu: Choose a keyboard mapping mode.

•

GM: Drums are mapped to the GM standard.

•

GM + ModWheel controls HiHat opening level: The keyboard Mod Wheel is mapped for hi-hat control. Additional sounds are also mapped to keyboard zones above and below the standard GM note mapping range.

•

V-Drum: Drums are mapped to work with V-Drum hi-hat, cymbal, and drum triggers.

•

Gain sliders: Drag the slider (or drag vertically in the eld) to adjust the level of the

corresponding sound (if available in the kit).

•

Shaker Gain

•

Tambourine Gain

•

Claps Gain

•

Cowbell Gain

•

Sticks Gain

Chapter 1 Drum Kit Designer 19

Drum Kit Designer mappings

GM Standard GM + ModWheel

Drum Kit Designer is compatible with the GM standard. You can also choose GM+, which maps

the keyboard ModWheel for hi-hat control. This means that you can use the keyboard ModWheel to adjust the degree to which the hi-hat opens and closes during the drum performance.

Drum Kit Designer is also compatible with the V-Drum standard.

The image shows how drum sounds are remapped when dierent modes are chosen with the

Input Mapping pop-up menu in the extended parameters.

Note: A number of alias drums sounds are included for GM compatibility purposes.

Shaker

Ride In

Cowbell

Tambourine

Ride Out

Crash Left

Hi-Hat Open Edge

Hi-Hat Foot

Hi-Hat Closed Tip

Claps

Snare Sidestick

Snare Edge

Rimshot Edge

Crash Right

Ride Bell

Ride Edge

High Tom

High Mid Tom

Low Mid Tom

Low Tom

Snare Rimshot

Snare Center

Kick

Hi-Hat Foot Close

Hi-Hat Foot Splash

Shaker

Cowbell

Tambourine

Ride Out

Crash Left

Hi-Hat Edge

Hi-Hat Shank

Hi-Hat Tip

Claps

Snare Sidestick

Snare Edge

Rimshot Edge

Ride In

Crash Right

Ride Bell

Ride Edge

High Tom

High Mid Tom

Low Mid Tom

Low Tom

Snare Rimshot

Snare Center

Kick

Hi-Hat Foot Close

Hi-Hat Foot Splash

Crash Right Stop

Crash Left Stop

Crash Right Stop

Crash Left Stop

Chapter 1 Drum Kit Designer 20

Amplifier parameters

Filter parameters

Oscillator parameters

ES1

ES1 overview

ES1 emulates the circuits of analog synthesizers in a simple, streamlined interface.

ES1 produces sounds using subtractive synthesis. It provides an oscillator and sub-oscillator that generate harmonically rich waveforms. You subtract (cut, or lter out) portions of these waveforms and reshape them to create new sounds. The ES1’s tone-generation system also

provides exible modulation options that make it easy to create punchy basses, atmospheric

pads, biting leads, and sharp percussion.

If you’re new to synthesizers, see Synthesizer basics overview on page 472, which will introduce

you to the terminology and give you an overview of dierent synthesis systems and how

they work.

Modulation parameters

Envelope parameters Global parameters

ES1 is divided into six main areas.

•

Oscillator parameters: Located in the upper left, the oscillators generate the basic waveforms

that form the basis of your sound. See ES1 oscillator parameters overview on page 22.

•

Global parameters: Located in the bottom green/gray strip, global sound control parameters

are used to assign and adjust global tuning, activate the in-built chorus, and so on. You can use the chorus to color or thicken the sound. See ES1 global parameters on page 24.

•

Filter parameters: Located in the upper-middle section with the circular Filter area as well as the Drive and Key scaling parameters, the lter is used to contour the waveforms sent from the

oscillators. See ES1 lter parameters overview on page 25.

•

Amplier parameters: Located in the upper right, the amplier parameters allow you to ne-

tune the behavior of your sound’s level. See ES1 amplier parameters on page 27.

•

Envelope parameters: Located to the right in the dark green/gray area, the ADSR sliders are used to control both lter cuto and the amplier level over time. See ES1 envelope

parameters overview on page 28.

•

Modulation parameters: Located to the left and middle in the dark green/gray area, the

modulation sources, modulation router, modulation envelope, and amplitude envelope are used to modulate the sound in a number of ways. See ES1 modulation parameters

overview on page 30.

ES1 oscillator parameters

ES1 oscillator parameters overview

ES1 includes a primary oscillator and a sub-oscillator. The primary oscillator generates a waveform that is sent to other parts of the synthesizer for processing or manipulation. The sub-oscillator generates a secondary waveform one or two octaves below that of the primary oscillator.

Oscillator parameters

•

Wave knob: Rotate to select the waveform of the primary oscillator, which is responsible for the basic color of the tone. See ES1 oscillator waveforms on page 23.

•

Mix slider: Drag to set the level relationship between the primary and sub-oscillator signals.

(When the sub-oscillator is switched o, its output is completely removed from the signal

path.)

•

Sub knob: Rotate to generate square, pulse, and white-noise waveforms with the sub-oscillator. The sub-oscillator also allows you to route a side-chain signal through the ES1 synthesizer engine. See Use the ES1 sub-oscillator on page 23.

•

2’, 4’, 8’, 16’, and 32’ buttons: Click to transpose the pitch of the oscillators up or down by octaves. The lowest setting is 32 feet and the highest is 2 feet. The use of the term feet to determine octaves comes from the measurements of organ pipe lengths. The longer and wider the pipe, the deeper the tone.

Modulate ES1 pulse width

m Rotate the Wave knob to a position between the square wave and pulse wave symbols.

The pulse width can also be automatically modulated in the modulation section (see Use the ES1

router on page 30). Modulating the pulse width with a slowly cycling LFO, for example, allows

periodically mutating, fat bass sounds.

Chapter 2 ES1 22

ES1 oscillator waveforms

The table outlines the basic tones of the oscillator waveforms—how they aect your

synthesizer sound.

Waveform Basic tone Comments

Sawtooth Warm and even Useful for strings, pads, bass, and

brass sounds

Triangle Sweet sounding, softer than

sawtooth

Square Hollow and “woody” sounding Useful for basses, clarinets, and

Pulse “Nasal” sounding Great for reed instruments, synth

Useful for utes, pads

oboes

blips, basses

Use the ES1 sub-oscillator

The ES1 sub-oscillator is used to make your sound richer. Its pitch matches the frequency of the main oscillator. You can choose from the following sub-oscillator waveform options:

•

A square wave that plays one or two octaves below the frequency of the primary oscillator

•

A pulse wave that plays two octaves below the frequency of the primary oscillator

•

Variations of these waveforms, with dierent mixes and phase relationships, resulting in

various sounds

•

White noise, which is useful for creating percussion sounds as well as wind, surf, and rain sounds

•

OFF, which allows you to disable the sub-oscillator

•

EXT, which allows you to run an external channel strip signal through the ES1 synthesizer engine, by using a side chain

Process a channel strip signal through the ES1 synthesizer engine

1 Set the Sub knob to EXT.

2 Choose the side-chain source channel strip from the Side Chain pop-up menu in the upper-right

corner of ES1.

Chapter 2 ES1 23

ES1 global parameters

The global parameters aect the overall sound, or behavior, of the ES1 and are found primarily in

the strip that spans the lower edge of the ES1 interface. The Glide slider is displayed above the left end of the strip.

Global parameters

•

Glide slider: Drag to set the amount of time it takes to slide between the pitches of each

triggered note. The Glide trigger behavior depends on the value set in the Voices eld (see

below).

•

Tune eld: Drag to tune the instrument in cents. One cent is 1/100th of a semitone.

•

Analog eld: Drag to slightly, and randomly, change the pitch of each note and the cuto frequency. This emulates the oscillator detuning and lter uctuations of polyphonic analog

synthesizers, due to heat and age.

If you set the Analog parameter to 0%, the oscillator cycle start points of all triggered voices are synchronized. This can be useful for percussive sounds, when you want to achieve a sharper attack characteristic.

If you set the Analog parameter higher than 0%, the oscillators of all triggered voices can cycle freely. Use higher values if you want a warm, analog type of sound—where subtle sonic variations occur for each triggered voice.

•

Bender Range eld: Drag to set the sensitivity of the pitch bender, in semitone steps.

•

Neg Bender Range slider (Extended Parameters area): Drag to set the negative (downward) pitch bend range in semitone steps. The default value is Pos PB (positive pitch bend), which essentially means that there is no downward pitch bend available. (Click the disclosure triangle at the lower left of the ES1 interface to access the Extended Parameters area.)

•

Out Level eld: Drag to set the ES1 master volume.

•

Voices eld: Drag to set the maximum number of notes that can be played simultaneously—up to 16 voices.

When Voices is set to Legato, the ES1 behaves like a monophonic synthesizer—with single trigger and ngered portamento engaged. This means that if you play legato, a portamento—

glide from one note to the next—will happen. If you release each key before pressing a new one, the envelope is not triggered by the new note, and there is no portamento. Use

this feature to create pitch bend eects, without touching your keyboard’s pitch bender, by choosing a high Glide parameter value when using the Legato setting.

•

Chorus eld: Click to choose a classic stereo chorus eect, an ensemble eect, or to disable the eects processor.

•

O disables the built-in chorus circuit.

•

C1 is a typical chorus eect.

•

C2 is a variation of C1 and is characterized by a stronger modulation.

•

Ens(emble) uses a more complex modulation routing, creating a fuller and richer sound.

Chapter 2 ES1 24

ES1 lter parameters

ES1 lter parameters overview

This section outlines the lter parameters of the ES1.

Filter parameters

•

Cuto slider: Drag to set the cuto frequency of the ES1’s lowpass lter.

•

Resonance slider: Drag to cut or boost the portions of the signal that surround the frequency

dened by the Cuto parameter. Boost can be set so intensively that the lter begins to

oscillate by itself (see Drive the ES1 lter to self-oscillate on page 26).

Tip: You can simultaneously adjust the cuto frequency and resonance parameters by dragging vertically (cuto) or horizontally (resonance) on the word Filter, found in the center

of the black circle.

•

Slope buttons: The lowpass lter oers four dierent slopes of band rejection above the cuto

frequency. Click one of the buttons to choose a slope (amount of rejection, expressed in decibels (dB) per octave):

•

24 dB classic: Mimics the behavior of a Moog lter. Turning up the resonance results in a

reduction of the low end of the signal.

•

24 dB fat: Compensates for the reduction of low frequency content caused by high

Resonance values. This resembles the behavior of an Oberheim lter.

•

12 dB: Provides a soft, smooth sound that is reminiscent of the early Oberheim SEM synthesizer.

•

18 dB: Resembles the lter sound of Roland’s TB-303.

•

Drive slider: Drag to change the behavior of the Resonance parameter, which eventually distorts the sound of the waveform. Drive is actually an input level control, which allows you

to overdrive the lter.

•

Key slider: Drag to set the eect that keyboard pitch (the note number) has on lter cuto

frequency modulation.

•

If Key is set to zero, the cuto frequency does not change, no matter which key you strike.

This makes the lower notes sound comparatively brighter than higher notes.

•

If Key is set to maximum, the lter follows the pitch, resulting in a constant relationship between cuto frequency and pitch. This mirrors the properties of many acoustic

instruments, where higher notes sound both brighter in tone and higher in pitch.

Chapter 2 ES1 25

•

ADSR via Vel sliders: Drag to determine how note velocity aects modulation of the lter cuto

frequency with the envelope generator. See ES1 envelope parameters overview on page 28.

•

Filter Boost button (Extended Parameters area): Turn on to increase the output of the lter by approximately 10 decibels. The lter input has a corresponding decrease of approximately 10

decibels, maintaining the overall level. This parameter is particularly useful when applying high Resonance values. See Drive the ES1 lter to self-oscillate. (Click the disclosure triangle at the lower left of the ES1 interface to access the Extended Parameters area.)

Drive the ES1 lter to self-oscillate

If you increase the lter Resonance parameter to higher values, the lter begins to internally

feed back and, as a consequence, begins to self-oscillate. This results in a sine oscillation—a sine wave—that is actually audible.

You can make the ES1 lter output a sine wave by following the steps below. This lets you play the lter-generated sine wave with the keyboard.

Output a sine wave from the lter

1 Switch the Sub knob to O.

2 Drag the Mix slider to the very bottom (Sub).

3 Drag the Resonance slider to the maximum position (full).

4 If you want, click the disclosure triangle at the lower left to open the extended parameters, then

click the Filter Boost button.

Filter Boost increases the output of the lter by approximately 10 decibels, making the self-

oscillation signal much louder.

Chapter 2 ES1 26

ES1 amplier parameters

The parameters in the ES1 Amplier section allow you to ne-tune the behavior of your sound’s level. These are separate from the global Out Level parameter, which acts as the ES1’s master

volume control. See ES1 global parameters on page 24.

Amplier parameters

•

Level via Vel slider: Drag to determine how note velocity aects the synthesizer level. The

greater the distance between the arrows (indicated by the blue bar), the more the volume is

aected by incoming velocity messages.

•

Drag the upper arrow to set the level when you play hard (velocity=127).

•

Drag the lower arrow to set the level when you play softly (velocity=1).

•

To simultaneously adjust the modulation range and intensity, drag the blue bar—between the arrows—and move both arrows at once.

•

Amplier envelope selector buttons: Click one of the buttons—AGateR, ADSR, or GateR—to

determine the ADSR envelope generator used for control of the amplier envelope. See ES1

envelope parameters overview on page 28.

Chapter 2 ES1 27

ES1 envelope parameters

ES1 envelope parameters overview

ES1 provides an attack, decay, sustain, and release (ADSR) envelope that can shape lter cuto

and the level of the sound over time.

Envelope Parameters

•

A(ttack) slider: Drag to set the time it takes for the envelope to reach the initial desired level.

•

D(ecay) slider: Drag to set the time it takes for the envelope to fall to the sustain level, following the initial attack time.

•

S(ustain) slider: Drag to set the sustain level, which is held until the key is released.

•

R(elease) slider: Drag to set the time it takes the envelope to fall from the sustain level to a level of 0.

ES1 lter cuto envelope modulation

The envelope generator modulates the lter cuto frequency over the course of a note’s

duration. The modulation intensity—and response to velocity information—is set by the arrows on the ADSR via Vel slider in the Filter section.

ADSR via Vel slider

The modulation range is determined by the two arrows.

•

The lower arrow indicates the minimum amount of modulation.

•

The upper arrow indicates the maximum amount of modulation.

•

The blue bar between the arrows shows the dynamic range of this modulation. You can simultaneously adjust the modulation range and intensity by dragging the blue bar.

Tip: If you’re unfamiliar with these parameters, set the Cuto parameter to a low value,

Resonance to a high value, and move both ADSR via Vel arrows upward. Constantly strike a note on the keyboard while changing the arrows to learn how these parameters work.

Chapter 2 ES1 28

ES1 amplier envelope modulation

The AGateR, ADSR, and GateR buttons in the Amplier section determine which of the ADSR envelope controls aect the amplier envelope. All ADSR parameters remain active for the lter.

The letters A, D, S, and R refer to the attack, decay, sustain, and release phases of the envelope (see ES1 envelope parameters overview on page 28).

Gate refers to a control signal used in analog synthesizers that is sent to an envelope generator when a key is pressed. As long as an analog synthesizer key is pressed, the gate signal maintains

a constant voltage. When Gate is used as a modulation source in the voltage-controlled amplier

(instead of the envelope), it creates an organ-type envelope without any attack, decay, or release phase—in other words, an even, sustained sound.

Amplifier Envelope Selector buttons

The ES1 amplier envelope selector buttons have the following eect on played notes:

•

AGateR: The Attack and Release sliders of the ADSR envelope control the attack and release phases of the sound. In-between these phases, the Gate control signal is used to maintain a constant level while a note is held. As soon as you release the key, the release phase begins. The Decay and Sustain sliders of the ADSR Envelope have no impact on the sound’s level.

•

ADSR: The standard operating mode of most synthesizers, where the level of the sound over time is controlled by the ADSR Envelope.

•

GateR: The Gate control signal is used to maintain a constant level while a note is held. As soon as you release the key, the release phase begins. The Attack, Decay, and Sustain sliders of the ADSR Envelope have no impact on the sound’s level.

Chapter 2 ES1 29

ES1 modulation

ES1 modulation parameters overview

ES1 oers a number of simple yet exible modulation routing options. You use modulation to

add animation to your sound over time, making it more interesting, lively, or realistic. A good example of this type of sonic animation is the vibrato used by orchestral string players.

Modulation EnvelopeRouterLFO parameters

Modulation parameters

•

LFO parameters: Used to modulate other ES1 parameters. See Use the ES1 LFO on page 31.

•

Router: Enables you to choose the ES1 parameters that are modulated. See Use the ES1

router on page 30.

•

Modulation Envelope: A dedicated modulation control source that can be used to control

various ES1 parameters, or it can be used to control the LFO level. See Use the ES1 modulation

envelope on page 32.

Use the ES1 router

The router determines the ES1 parameters (targets) that are modulated by the LFO and by the modulation envelope. The buttons in the left column set the target for LFO modulation. The

buttons in the right column set the target for the modulation envelope.

Parameter target buttons

Router parameters

•

Pitch buttons: Click to modulate the pitch—the frequency—of the oscillators.

•

Pulse Width buttons: Click to modulate the pulse width of the pulse wave.

•

Mix buttons: Click to modulate the mix between the primary oscillator and the sub-oscillator.

•

Cuto buttons: Click to modulate the cuto frequency of the lter.

•

Resonance buttons: Click to modulate the resonance of the lter.

•

Volume buttons: Click to modulate the main volume.

•

Filter FM button (modulation envelope only): Click to use the triangle wave of the oscillator

to modulate lter cuto frequency. This modulation can result in a pseudo-distortion of the

sound, or it can create metallic, FM-style sounds. The latter occurs when the only signal you

can hear is the self-oscillation of the resonating lter (see Drive the ES1 lter to self-oscillate on

page 26).

•

LFO Amp (modulation envelope only): Click to modulate the overall amount of LFO modulation.

Chapter 2 ES1 30

Use the ES1 LFO

The LFO (low frequency oscillator) generates an adjustable, cyclic waveform that you can use to

modulate other ES1 parameters.

LFO parameters

•

Wave knob: Rotate to set the LFO waveform. Each waveform has its own shape, providing dierent types of modulation.

•

You can choose the following waveforms: triangle; ascending and descending sawtooth; square wave; sample & hold (random); and a lagged, smoothly changing random wave.

•

You can also choose EXT to assign a side-chain signal as a modulation source. Choose the side-chain source channel strip from the Side Chain pop-up menu in the upper-right corner of ES1.

•

Rate slider and eld: Drag to set the speed—the frequency—of the LFO waveform cycles.

•

If you set values to the right of 0, the LFO phase runs freely.

•

If you set values to the left of 0, the LFO phase is synchronized with the tempo of the host

application—with phase lengths adjustable between 1/96 bar and 32 bars.

•

When set to 0, the LFO outputs at a constant, full level, which allows you to manually control the LFO speed with your keyboard’s modulation wheel. This can be useful, for example, if

you want to change the pulse width by moving your keyboard’s modulation wheel. You

would choose the pulse width as the LFO modulation target, using a button in the left

router column, and set the modulation intensity range using the Int via Whl slider.

•

Int via Whl slider: The upper arrow denes the intensity of LFO modulation if the modulation wheel is set to maximum. The lower arrow denes the amount of LFO modulation if the

modulation wheel is set to 0. The distance between the arrows—shown as a green bar— indicates the range of your keyboard’s modulation wheel.

You can simultaneously adjust the modulation range and intensity by dragging the green bar, thus moving both arrows at once. Note that as you do so, the arrows retain their relative distance from each other.

Chapter 2 ES1 31

Use the ES1 modulation envelope

The modulation envelope can directly modulate the parameter chosen in the router. It determines the time it takes for the modulation to fade in or fade out. At its center position (click Full), modulation intensity is static—no fade-in or fade-out occurs. When set to its full value, modulation intensity is at a constant level.

The modulation envelope allows you to set either a percussive type of decay envelope by choosing low values or an attack type of envelope by choosing high values.

Modulation envelope parameters

•

Form slider and eld: Drag to set a fade-in (attack) or fade-out (decay) time for the modulation.

When set to the full position, the modulation envelope is turned o.

•

Int via Vel sliders: The top arrow sets the upper limit for the modulation envelope—for the hardest keystrike (velocity = 127). The bottom arrow sets the lower limit—for the softest keystrike (velocity = 1). The green bar between the arrows displays the impact of velocity sensitivity on the intensity of the modulation envelope.

Modulate a parameter with velocity

1 Select a modulation target, such as Pulse Width, from the right column of the router.

2 Set the Form slider to full, and adjust the Int via Vel parameter as needed.

This results in a velocity-sensitive modulation of the oscillator pulse width.

More interestingly, you can directly control the LFO level if you click the LFO Amp(litude) button

in the right column of the router.

Fade the LFO modulation in or out

m To fade in the LFO modulation: drag the Form slider to a positive value—toward attack. The higher

the value, the longer it takes for you to hear the modulation.

m To fade out the LFO modulation: drag the Form slider to a negative value—toward decay. The

lower the value—closer to decay—the shorter the fade-out time is.

LFO control with envelopes is most often used for delayed vibrato, a technique many

instrumentalists and singers employ to intonate longer notes.

Set up a delayed vibrato

1 Drag the Form slider to the right—toward attack.

2 Select Pitch as the LFO target in the left column of the router.

3 Use the Wave knob to select the triangular wave as the LFO waveform.

4 Drag the Rate eld to an LFO rate of about 5 Hz.

5 Drag the upper Int via Wheel arrow to a low value, and the lower arrow to 0.

Chapter 2 ES1 32

ES1 MIDI controllers

ES1 responds to the following MIDI continuous controller numbers (CC).

Controller number Parameter name

12 Oscillator pitch buttons

13 Oscillator waveform

14 Mix slider

15 Waveform of sub-oscillator

16 Drive slider

17 Cuto slider

18 Resonance slider

19 Slope buttons

20 ADSR via Vel (lower slider)

21 ADSR via Vel (upper slider)

22 Attack slider

23 Decay slider

24 Sustain slider

25 Release slider

26 Key slider

27 Amplier Envelope Selector buttons

28 Level via Velocity (lower slider)

29 Level via Velocity (upper slider)

30 Chorus parameter

31 Modulation envelope target

102 Modulation envelope form slider

103 Modulation envelope: Int via Vel parameter

(lower slider)

104 Modulation envelope: Int via Vel parameter

(upper slider)

105 LFO rate

106 LFO waveform

107 LFO modulation target

108 LFO: Int via Whl (lower slider)

109 LFO: Int via Whl (upper slider)

110 Glide slider

111 Tune parameter

112 Analog parameter

113 Bender Range parameter

114 Out Level parameter

115 Voices parameter

Chapter 2 ES1 33

ES2

ES2 overview

ES2 combines subtractive synthesis with elements of FM and wavetable synthesis to help you generate an extraordinary variety of sounds. This makes it the perfect choice for creating powerful pads, evolving textures, rich basses, or synthetic brass.

If you’re new to synthesizers, see Synthesizer basics overview on page 472, which introduces you

to the fundamentals and terminology of dierent synthesis systems.

The three oscillators of the ES2 provide classic analog synthesizer waveforms (including noise) and 100 single-cycle waveforms, known as Digiwaves. This raw material forms the basis for sounds that range from fat analog to harsh digital sounds, or hybrids of the two. You can also cross-modulate oscillators, making it easy to create FM-style sounds. Further options include the ability to synchronize and ring-modulate the oscillators or to mix a sine wave directly into the output stage, to thicken the sound.

ES2 features a exible modulation router that oers up to ten simultaneous (user-dened)

modulation routings. Further modulation options include the unique Planar Pad—which provides control of two parameters on a two-dimensional grid. The Planar Pad itself can be controlled by the sophisticated Vector Envelope. This is a multipoint, loop-capable envelope that makes it easy to create complex, evolving sounds.

Lastly, Distortion, Chorus, Phaser, and Flanger eects are built into the ES2.

If you want to begin experimenting right away, there are a number of settings to try. There are also two tutorials that provide tips and information, and invite you to explore the ES2. See

ES2 sound design from scratch overview on page 95 and ES2 sound design with templates on

page 106.

Note: You will nd tasks that cover the use of parameters as modulation targets or sources

throughout these pages. This underlines one of ES2’s greatest strengths—namely, the vast

modulation possibilities it oers. Follow the steps in these tasks to create expressive, evolving

sounds. See ES2 modulation overview on page 59.

ES2 interface

Modulation router

ES2’s graphical interface is divided into the following main areas.

Global parameters

Modulation controls and parameters

•

Oscillator section: The oscillator parameters are shown in the upper-left area of the

Oscillator section

Global parameters

Effect section

Filter section

Planar Pad

Amplifier parameters

Click here to display the Vector Envelope.

Random parameters

Macro Sound parameters

ES2 interface. The Triangle is used to set the mix relationships between the three oscillators. See ES2 oscillator parameters overview on page 37.

•

Global parameters: A number of related global parameters that directly inuence the overall output of the ES2, such as Tune, are found to the left of the oscillators, and above the amplier and lter parameters. See Global parameters overview on page 47.

•

Filter section: The circular area houses the lter section, including the Drive and Filter

FM parameters. See ES2 lter overview on page 50.

•

Amplier parameters: The area at the top right contains the output parameters, where you can set the overall volume of the ES2, and add a sine signal at the output stage. See Use ES2’s

dynamic stage on page 58.

•

Modulation router or Vector Envelope: The dark strip across the center of the ES2 interface is shared by the modulation router and the Vector Envelope. Use the buttons at the right end of this section to switch between the two.

•

The router links modulation sources, such as the envelopes and other parameters shown in

the lower portion of the interface, to modulation targets, such as the oscillators and lters.

See Use the modulation router on page 60.

•

The Vector Envelope is a exible, powerful envelope generator that provides extensive

control over your sound. See Use the Vector Envelope on page 70.

Chapter 3 ES2 35

•

Modulation controls and parameters: The area immediately below the router is where you can

assign and adjust the modulation generator parameters (such as LFO and envelope controls).

See ES2 modulation overview on page 59.

•

Planar Pad: The square area at the top right is a two-dimensional controller known as the Planar Pad. The Planar Pad facilitates the simultaneous manipulation of two assignable parameters, and can be controlled with the mouse, another controller, or the Vector Envelope. See Use the Planar Pad on page 77.

•

Eect section: The built-in eect-processing options are found to the right of the output

parameters. See ES2 integrated eects processor on page 88.

•

Macro and MIDI controller parameters: The area shown on the thin, gray strip at the bottom can display either Macro parameters or MIDI controller assignments. The preassigned macro sound parameters are perfect for quick tweaks to the ES2’s sound (and that of ES2-based GarageBand instruments). You can reassign MIDI control numbers for these parameters. See ES2 macro and

controller assignment overview on page 90.

Chapter 3 ES2 36

ES2 sound sources

(Coarse) Frequency knob

ES2 oscillator parameters overview

ES2 oscillators are used to generate one or more waveforms. This signal is then sent to other portions of the synthesizer engine for shaping, processing, or manipulation.

•

Oscillators 2 and 3 are almost identical to each other, but they dier from oscillator 1.

•

Oscillator 1 can be frequency modulated by oscillator 2, for FM synthesis sounds.

•

Oscillators 2 and 3 can be synchronized to, or ring modulated with, oscillator 1. They also have

rectangular waves with either user-dened xed pulse widths or pulse width modulation

(PWM) features.

•

You can use the modulation router to simultaneously change the pulse widths of rectangular waves generated by oscillator 1 and the synchronized and ring-modulated rectangular waves of oscillators 2 and 3.

Oscillator on/off button

Oscillator Mix (Triangle)

Oscillator parameters

•

Oscillator on/o buttons: The number to the right of each oscillator activates or deactivates each oscillator independently. A green numeric button indicates an active oscillator. A gray numeric button denotes an inactive oscillator. Deactivating an oscillator saves computer processing power.

•

Wave knobs: Rotate to choose the waveform that an oscillator generates. The waveform is responsible for the basic tonal color. See ES2 basic oscillator waveforms on page 38.

•

(Coarse) Frequency knobs: Rotate to set the oscillator’s pitch, in semitone steps, over a range of ±3 octaves. Because an octave consists of 12 semitones, the ±12, 24, and 36 settings represent octaves.

•

(Fine) Frequency value elds: Fine-tune the oscillator frequency (pitch). The left numbers show the semitone s setting, and the right numbers show the cent c setting (1 cent = 1/100th semitone). For example, an oscillator with the value 12 s 30 c sounds an octave (12 semitones) and 30 cents higher than an oscillator with the value 0 s 0 c. Drag vertically to adjust each value.

•

Oscillator Mix (Triangle): Move the pointer in the Triangle to cross-fade (set the level relationships) between the three oscillators. See Balance ES2 oscillator levels on page 45.

Wave knob

(Fine) Frequency value field

Chapter 3 ES2 37

ES2 basic oscillator waveforms

All ES2 oscillators output a number of standard waveforms—sine, pulse, rectangular, sawtooth, and triangular waves—or, alternately, any of 100 Digiwaves (see Use ES2 Digiwaves on page 42). The following table covers the basic waveforms:

Waveform Basic tone Comments

Pulse/Rectangular Nasal sounding Great for reed instruments, synth

blips, and basses

Square Hollow and woody sounding Useful for basses, clarinets,

and oboes. The pulse width of (oscillator 2 and 3) square waveforms can be smoothly scaled between 50% and the thinnest of pulses.

Sawtooth Warm and even Useful for strings, pads, bass, and

brass sounds

Triangle Sweet sounding, softer than

sawtooth

Sine A pure tone

Useful for utes and pad sounds

The sine wave of oscillator 1 can be frequency modulated by oscillator 2. This kind of modulation forms the basis of FM synthesis (see Use frequency

modulation in ES2

on page 40).

Oscillators 2 and 3 also oer the selection of:

•

A rectangular wave, synchronized to oscillator 1

•

A sawtooth wave, synchronized to oscillator 1

•

A ring modulator, which is fed by the output of oscillator 1 and a square wave from oscillator 2

•

Colored noise for oscillator 3. See Use the ES2 noise generator on page 42.

Oscillator synchronization and ring modulation allow for the creation of very complex and

exible harmonic spectra. The principles behind oscillator synchronization are described in

Synchronize ES2 oscillators on page 46. Ring modulation principles are described in Use ring modulation in ES2 on page 41.

Chapter 3 ES2 38

Use pulse width modulation in ES2

You can alter the tonal color of rectangular waveforms by scaling the width of waveform pulses to any value. This is known as pulse width modulation.

ES2 pulse width modulation features are extensive. For example, if rectangular waves are chosen for all oscillators, you can simultaneously modulate the pulse width of oscillator 1 and the synchronized pulse waves of oscillator 2 (or the square wave of oscillator 2’s ring modulator) and oscillator 3.

Set a basic pulse width in oscillator 2 or 3

m Drag the waveform rotary control that surrounds the Wave knob (see the highlighted area in the

image above).

Only oscillators 2 and 3 allow you to dene a base (default) pulse width, prior to any pulse

width modulation.

Set up a pulse width modulation (of oscillator 1) in the router

1 Choose a rectangle wave for oscillator 1.

2 In the router, choose Osc1Wave as the target, and LFO1 as the source.

3 Adjust the modulation amount slider (try a value of 0.12).

4 Choose a sine wave for LFO 1.

5 Adjust the LFO 1 Rate (around 0.160 Hz for a slow sweep).

Chapter 3 ES2 39

Use frequency modulation in ES2

The principle of frequency modulation (FM) synthesis was developed in the late 1960s and early 1970s by John Chowning. It was popularized by Yamaha’s range of DX synthesizers in the 1980s. Although the ES2 can’t be compared with the DX series in the discipline of pure FM synthesis, it can achieve some of the signature sounds of these instruments.

In pure FM synthesis, the frequency of one signal generator, or oscillator, is altered (modulated) by another signal generator. Positive values from the second generator increase the frequency

of the rst generator. Negative values decrease the frequency. In a synthesizer, this type of

modulation takes place in the audible range. Depending on the design of the instrument, you

can hear the signals of either the rst oscillator alone (being modulated by the other oscillator),

or both oscillators. The interaction between the two generators alters the waveform signal of the

rst oscillator and introduces a number of new harmonics. This harmonic spectrum can then be used as the source signal for further sound processing, such as ltering, envelope control, and so

on. See Frequency modulation (FM) synthesis on page 493 for further information.

In ES2, the frequency of oscillator 1 (with a sine wave chosen—11 o’clock position for the Wave knob) can be modulated by the output signal of oscillator 2.

•

When oscillator 2 outputs a positive signal, the frequency of oscillator 1 increases.

•

When oscillator 2 outputs a negative signal, the frequency of oscillator 1 decreases.

The net eect of speeding up or slowing down the frequency of oscillator 1 in each waveform cycle is a distortion of the basic wave shape. This waveform distortion also has the side benet of

introducing a number of new, audible harmonics.

Important: The impact of any frequency modulations you perform depends on both the

frequency ratio and the modulation intensity of the two oscillators.

The “pure” FM synthesis method uses a sine wave for both the rst and second signal generator

(both oscillator 1 and 2 would be limited to generating a sine wave in ES2 if you stuck with this approach). ES2, however, provides 100 Digiwaves and countless combinations of modulation intensities and frequency ratios that can be used for either oscillator. This provides a vast pool of harmonic spectra and tonal colors for you to experiment with.

Tip: The type of modulation that occurs can vary signicantly when dierent waveforms are

chosen for oscillator 2—the modulating oscillator—in particular.

Set the frequency ratio and adjust the modulation intensity

1 Adjust the Frequency (coarse and ne tune) parameter values of one, or both, oscillators.

2 Click (or drag) in the control range between the Sine and FM icons around the oscillator 1 Wave

knob.

This determines the amount, or intensity, of frequency modulation.

Chapter 3 ES2 40

Use ring modulation in ES2

Ring modulation is a powerful tool for the creation of inharmonic, metallic, bell-like sounds. The spectra resulting from its use are inharmonic at almost every frequency ratio. The ring modulator is a device that dates back to the early days of the synthesizer.

A ring modulator has two inputs. At the output you hear both the sum and dierence

frequencies of the input signals. If you ring modulate a sine oscillation of 200 Hz with a sine oscillation of 500 Hz, the output signal of the ring modulator consists of a 700 Hz (sum) and a

300 Hz (dierence) signal. Negative frequencies result in a change to the phase polarity of output

signals.

Tip: Use sawtooth and rectangular (pulse width modulated) input signals from oscillators 1 and 2, respectively, to create a much more complex output signal. The use of these harmonically rich waveforms results in a number of extra sidebands becoming audible.

Create a ring-modulated sound

1 Set the oscillator 2 Wave knob to the Ring setting.

2 Experiment with dierent Frequency (main and ne tune) values for one, or both, oscillators.

The oscillator 2 ring modulator is fed with the output signal of oscillator 1 and a square wave, generated by oscillator 2 itself. The pulse width of this square wave can be modulated (see Use

pulse width modulation in ES2 on page 39).

Chapter 3 ES2 41

Use ES2 Digiwaves

In addition to the basic synthesizer waveforms, all ES2 oscillators provide 100 additional waveforms, called Digiwaves. These are very short samples of the attack transients of various sounds and instruments.

Choose a Digiwave

m Set the Wave knob to Sine (6 o’clock position), then do one of the following:

•

Control-click or right-click the Sine label, then choose a waveform from the pop-up menu.

•

Drag the Sine label vertically.

•

To select the Digiwave numerically, Shift-click the Sine label, then type a value.

Use the ES2 noise generator

The sonic palette of oscillator 3 is bolstered by the inclusion of a noise generator, which can be activated by choosing the noise waveform. By default, oscillator 3’s noise generator generates white noise.

White noise is dened as a signal that consists of all frequencies (an innite number) sounding

simultaneously, at the same intensity, in a given frequency band. The width of the frequency band is measured in Hertz. Sonically, white noise falls between the sound of the consonant “F” and breaking waves (surf). White noise is useful for synthesizing wind and seashore noises, or electronic snare drum sounds.

You can also modulate the tonal color of the noise signal in real time—without using the main

lters of the ES2—by modulating the waveform of oscillator 3.

Change the noise color

1 Set up a modulation routing as follows: modulation target Osc3Wave, source ModWhl. The

modulation amount slider behaves somewhat dierently with this routing, essentially acting like a lter.

2 Use negative modulation amount values (not −1.000) to set a descending lter slope that

roughly equates to 6 dB/octave. The sound becomes darker (red noise) as you adjust the mod wheel downwards.

3 To tune this pseudo lter down to 18 Hz, set the modulation amount to −1.000. When Osc3Wave

is modulated positively, the noise becomes brighter (blue noise).

4 If you choose a modulation amount value of +1.000 for the Osc3Wave modulation target, the

lter cuto frequency is set to 18 kHz.

Chapter 3 ES2 42

ES2 emulation of detuned analog oscillators

The Analog parameter randomly alters the pitch of each note and the lter cuto frequency.

•

Low Analog values can add a subtle richness to the sound.

•

Medium Analog values simulate the tuning instabilities of analog synthesizer circuitry, which can be useful in achieving that much sought-after “warmth” of analog hardware synthesizers.

•

High Analog values result in signicant pitch instability, which can sound truly out of tune—

but this may be perfect for your needs.

Rotate the Analog knob to randomly alter the pitch of each note, and the lter cuto frequency.

Much like polyphonic analog synthesizers, all three oscillators maintain their specic frequency

deviation from each other, but the pitches of all three oscillators are randomly detuned by the same Analog amount. For example, if the Analog detuning is set to around 20%, all three oscillators (if used) randomly drifts by 20%.

Note: If ES2 is set to Mono or Legato keyboard mode, the Analog parameter is eective only

when Unison is turned on. In this situation, Analog sets the amount of detuning between the stacked (unison) voices. If the Voices parameter is set to 1 and/or Unison is not active, the Analog

parameter has no eect. For more information about these parameters, see Set the ES2 keyboard

mode on page 48.

Chapter 3 ES2 43

Stretch tuning in ES2

The (coarse) Frequency knob of each oscillator enables you to tune oscillators 1, 2, and 3 in

semitones or octaves. The (ne tune) Frequency parameter enables you to ne-tune each

oscillator in cents (1/100th of a semitone). Precise detuning between oscillators can result in beats, or phasing, between the oscillator frequencies. The higher the played frequency/pitch, the faster the phasing beats. High notes, therefore, may seem to be somewhat out of tune in comparison with lower notes.

CBD (Constant Beat Detuning) can be used as a corrective tool to even out the beating between oscillators, or it can be used as a creative tool to emulate stretch tuning. The latter can be particularly important when you use an ES2 sound alongside an acoustic piano recording. This is because acoustic pianos are intentionally tuned “out-of-tune” (from equal temperament). This is known as stretch tuning, and results in the upper and lower keyboard ranges being slightly out of tune with the center octaves but harmonically “in-tune” with each other.

Choose a CBD value to detune the harmonics of low note frequencies in a ratio proportionate with the fundamental tone of the upper note frequencies.

CBD oers ve values: o, 25%, 50%, 75%, and 100%. If you choose 100%, the phasing beats are

almost constant across the entire keyboard range. This value may, however, be too high, because the lower notes might be overly detuned at the point where the phasing of the higher notes feels right. Try lower CBD values in cases where the bass notes are a little too far out of tune with the upper keyboard range.

The reference pitch for CBD is C3 (middle C): its (de)tuning is constant, regardless of the chosen CBD value.

Chapter 3 ES2 44

Balance ES2 oscillator levels

The position of the pointer in the Triangle is described by two parameters—x and y coordinates—which are used when automating the oscillator mix. These parameters, called

OscLevelX and OscLevelY, are available as targets in the router.

Drag the pointer in the Triangle to cross-fade—set the level relationships—between the three oscillators. This is self-evident in use. If you move the pointer along one of the Triangle’s sides, it cross-fades between the two closest oscillators, and the third oscillator is muted.

Click or drag in the Triangle to change the level balance between the oscillators.

The position of the pointer (x and y coordinates) in the Triangle can also be controlled with the Vector Envelope. Because the Vector Envelope features a loop function, it can be used as a

pseudo-LFO with a programmable waveform. For more information about this feature, see Use

the Vector Envelope on page 70.

Modulate triangle coordinates with the modulation wheel

1 Set up a modulation routing as follows: modulation target OscLevelX, source ModWhl. Adjust

the intensity.

2 Set up a second modulation routing as follows: modulation target OscLevelY, source ModWhl.

Adjust the intensity. You can choose other sources for these targets.

ES2 oscillator start points

The oscillators can run freely or can begin at the same phase position of their respective waveform cycles each time a note is struck.

Choose free, soft, or hard from the Osc(illator) Start pop-up menu.

•

Free: The initial oscillator phase start point is random for each played note. This adds life to the

sound. The downside is that the output level may dier each time a note is played, making

the attack phase sound less punchy—even if the performance is identical each time—such as when the note is triggered by a MIDI region. This setting is useful when you are emulating sounds typical of hardware analog synthesizers.

•

Soft: The initial oscillator phase starts at a zero crossing for each played note. This mimics the sonic character (and precision) typical of digital synthesizers.

•

Hard: The initial oscillator phase starts at the highest level in the waveform cycle for each played note. The extra punch that this setting can provide is audible only if the ENV3 Attack Time parameter is set to a low value—a very fast attack, in other words. This setting is highly recommended for electronic percussion and hard basses.

Note: Osc Start soft and hard result in a constant output level of the initial oscillator phase every time the sound is played back.

Chapter 3 ES2 45

Synchronize ES2 oscillators

Typical oscillator sync sounds tend toward the aggressive, screaming leads that synthesizer manufacturers like to talk about. The rectangular and sawtooth waveforms of oscillators 2 and 3 feature a Sync option. When this parameter is turned on, the phase of oscillator 2 or 3 is synchronized with oscillator 1.

Every time oscillator 1 starts a new oscillation phase, the synchronized oscillator (oscillator 2 or 3) is also forced to restart its phase from the beginning. Between the waveform cycles of oscillator 1, the waveform cycles of the synchronized oscillators run freely.

You can achieve interesting synchronized oscillator sounds by modulating the frequency of the synchronized oscillator with an envelope generator. This constantly changes the number of phases within a section of the synchronization cycle, resulting in corresponding changes to the frequency spectrum.

Modulate the synchronized oscillator frequency with an envelope

1 Set the oscillator 2 Wave knob to Sync.

2 Set up a modulation routing as follows: modulation target Pitch2, source Env2.

3 Adjust the settings of Envelope 2.

Chapter 3 ES2 46

ES2 global parameters

Global parameters

Global parameters overview

The ES2 global parameters aect the overall instrument sound produced by ES2. You can nd global parameters to the left of the oscillators and above the lter and output sections.

Global parameters

•

Keyboard Mode buttons: Switch ES2 between polyphonic, monophonic, and legato behaviors. See Set the ES2 keyboard mode on page 48.

•

Unison button: Click to turn unison mode on or o. See Use unison and voices in ES2 on

page 48.

•

Voices eld: Drag to set the maximum number of notes that can be played simultaneously.

•

Glide knob: Rotate to set the time it takes for the pitch of a played note to slide to the pitch of the following played note. See Set the ES2 glide time on page 49.

•

Bend Range elds: Drag to dene the upward and downward pitch bend range. See Set the ES2

pitch bend range on page 49.

•

Tune eld: Drag to set the overall instrument pitch in cents. 100 cents equals a semitone step. At a value of 0 c (zero cents), the central A key is tuned to 440 Hz, or concert pitch.

•

Analog knob: Rotate to randomly alter the pitch of each note and the lter cuto frequency.

See ES2 emulation of detuned analog oscillators on page 43).

•

Constant Beat Detuning (CBD) pop-up menu: Choose a CBD value to detune the harmonics of low note frequencies in a ratio proportionate with the fundamental tone of the upper note frequencies. See Stretch tuning in ES2 on page 44.

•

Osc(illator) Start pop-up menu: Choose free, soft, or hard from the Osc(illator) Start pop-up menu. See ES2 oscillator start points on page 45.

Chapter 3 ES2 47

Set the ES2 keyboard mode

A polyphonic instrument, such as an organ or a piano, allows several notes to be played simultaneously. Many older analog synthesizers are monophonic, which means that only one note can be played at a time, much like a brass or reed instrument. This shouldn’t be viewed as a disadvantage; instead, it allows playing styles that are not possible with polyphonic instruments.

Change the keyboard mode

m Click the Poly, Mono, or Legato button.

•

In Mono mode, staccato playing retriggers the envelope generators every time a new note is played. If you play in a legato style (play a new key while holding another), the envelope

generators are triggered only for the rst note you play legato, then they continue their curve

until you release the last legato played key.

•

Legato mode is also monophonic, but with one dierence: the envelope generators are

retriggered only if you play staccato—releasing each key before playing a new key. If you play in a legato style, envelopes are not retriggered.

Note: On several monophonic synthesizers, the behavior in Legato mode is referred to as single trigger, while Mono mode is referred to as multi trigger.

Use unison and voices in ES2

Unison mode in polyphonic analog synthesizers is typically monophonic, with all voices playing simultaneously when a single note is struck. Because the voices of an analog synthesizer are

never perfectly in tune, the result is an extremely fat chorus eect with great sonic depth.

Use monophonic unison mode

1 Click the Mono or Legato button, depending on the keyboard mode you want to use. See Set the

ES2 keyboard mode.

2 Click the Unison button.

•

The intensity of the unison eect depends on the number chosen in the Voices parameter eld. Increase the Voices value for a fatter sound. See Global parameters overview.

•

The intensity of detuning (voice deviation) is set with the Analog parameter. See ES2

emulation of detuned analog oscillators.

Use polyphonic unison mode

m Click the Poly and Unison buttons.

In poly/unison mode, each played note is eectively doubled—or, more correctly, the polyphony

value chosen with the Voices parameter is halved. These two voices are heard when you trigger

the note. Poly/unison has the same eect as setting the ES2 to mono/unison (Voices = 2), but

you can play polyphonically.

Chapter 3 ES2 48

Set the ES2 glide time

The Glide parameter (also known as portamento) sets the time it takes for the pitch of one played note to travel to the pitch of another played note.

Make portamento active

m Rotate the Glide knob.

Glide behavior is dependent on the chosen keyboard mode. See Set the ES2 keyboard mode.

•

If the keyboard mode is set to Poly or Mono, and Glide is set to a value other than 0, portamento is active.

•

If Legato is chosen, and Glide is set to a value other than 0, you need to play legato (press a

new key while holding the old one) to activate portamento. If you don’t play in a legato style, portamento won’t work. This behavior is also known as ngered portamento.

Set the ES2 pitch bend range

The Bend range elds determine the range for pitch bend modulation, typically performed with

your keyboard’s pitch bend wheel.

Set independent upward and downward bend ranges

m Drag in either eld to set a bend range.

Set an identical upward and downward bend range

1 Set the upward Bend range eld to Link mode.

This locks the upward and downward bend ranges, making them identical.

2 Set a downward Bend range value.

This is mirrored in the upward Bend range eld.

Note: A downward bend of 4 semitones results in a combined bend range of 8 semitones—9 if you include the standard pitch, or “no bend” position.

Chapter 3 ES2 49

Filter 1 Resonance

ES2 lter parameters

ES2 lter overview

ES2 features two discrete, and dierent, lters.

•

Filter 1 can operate as a lowpass, highpass, bandpass, band reject, or peak lter.

•

Filter 2 is a lowpass lter that oers variable slopes (measured in dB/octave).

Filter 1 Cutoff

Filter Blend

Filter 2 Cutoff

Filter 2 Resonance

Filter 2 Slope

Filter FM

Click here to choose a parallel or series filter

Filter Drive

Filter 1 Mode

Filter button

Filter parameters

•

Filter button: Turns the entire lter section on or o. Deactivating the lter section makes it easier to hear adjustments to other sound parameters, because the lters always heavily aect the sound. Disabling the lters also reduces processor load.

•

Filter Conguration button: Switches between a parallel or series lter conguration. See ES2

lter conguration on page 51.

•

Filter Blend slider: Sets the balance between Filter 1 and Filter 2. See Cross-fade between ES2

lters on page 51.

•

Filter 1 Mode buttons: Switch Filter 1 between lowpass, highpass, bandpass, band reject, or peak

lter types. See ES2 Filter 1 modes on page 53.

•

Filter 2 Slope buttons: Switch Filter 2 between dierent slopes. See ES2 Filter 2 slopes on

page 53.

•

Cuto and Resonance: Rotate the Cuto and Resonance knobs to determine the cuto frequency and resonance behavior of each lter. See Filter cuto and resonance overview on

page 54.

•

Filter Drive knob: Rotate to overdrive the lter, which aects each voice independently. See

Overdrive ES2 lters on page 56.

•

Filter FM knob: Rotate to set the amount of Filter 2 cuto frequency modulation with the

oscillator 1 frequency. See Modulate ES2’s Filter 2 Frequency on page 57.

configuration.

Chapter 3 ES2 50

ES2 lter conguration

The Filter Conguration button lets you switch between a parallel and series lter routing. When either is chosen, the entire circular lter element rotates, and the positions and direction of the lter controls clearly indicate the signal ow. The button name also changes in each mode.

Series filter signal flow

Parallel filter signal flow

In the gure to the left, the lters are cabled in series. This means that the signal of all oscillators (combined at the Oscillator Mix Triangle) passes through the rst lter, then this ltered signal

passes through Filter 2, if Filter Blend is set to 0, the middle position. The output signal of Filter 2

is then sent to the input of the dynamic stage (Amplier section).

In the gure to the right, the lters are cabled in parallel. If Filter Blend is set to 0, you’ll hear a 50/50 mix of the source signal, routed via Filter 1 and Filter 2. The output signals of the two lters

are then sent to the input of the dynamic stage. See Cross-fade between ES2 lters.

Cross-fade between ES2 lters

Filter Blend can have a signicant eect on the ES2 signal ow. Regardless of whether parallel or series lter congurations are chosen, a Filter Blend setting of −1 results in only Filter 1 being audible. A Filter Blend setting of +1 limits audibility to Filter 2. The gures illustrate the signal ow between the Oscillator Mix stage (the Triangle) and the dynamic stage (the Amplier). The signal ow through the lters and the lter overdrive circuit (the Drive parameter) are dependent

on the Filter Blend setting.

•

Filter Blend: Series lter conguration information

•

Use positive values for Filter Blend to partially bypass Filter 1.

•

Use negative values for Filter Blend to partially bypass Filter 2.

•

When zero or positive Filter Blend values are used, there is only one overdrive circuit for

both lters.

•

Use of negative Filter Blend values introduces another overdrive circuit, which distorts the

output signal of the oscillator mix stage before it is fed into the rst lter.

•

If Drive is set to 0, no distortion occurs.

+1:

+0,5:

–0,5:

–1:

Filter 1

Drive

Filter 1

Filter 2

Drive

Filter 2

Chapter 3 ES2 51

•

Filter Blend: Parallel lter conguration information

In a parallel conguration, the overdrive/distortion circuit—the Drive parameter—is always wired after the oscillator mix stage—the Triangle—and before the lters. The lters receive a mono input signal from the output of the overdrive circuit. The outputs of both lters are

mixed to mono via Filter Blend.

Filter 1

Mix

Drive

Filter 2

The Filter Blend parameter is available as a modulation target in the router. You can use manual

control sources, such as the modulation wheel, to change the lter blend; but the Filter Blend target can also be used creatively, to rapidly switch or smoothly fade between the two lters.

You can also use velocity, or a combination of the Vector Envelope and Planar Pad as sources.

The latter allows for interesting lter control possibilities that evolve independently, or alongside

oscillator parameters that are also being controlled with the Vector Envelope.

Cross-fade between lters

m Drag the Filter Blend slider to cross-fade between the two lters when cabled in parallel.

•

If Filter Blend is set to the top position, you only hear the eect of Filter 1.

•

If Filter Blend is set to its lowest position, you only hear the eect of Filter 2.

•

In between these positions, the lters are cross-faded. You hear the eect of both lters.

You can also cross-fade the lters when they are cabled in series. In this situation, the

distortion—controlled by the Drive parameter—also needs to be considered, as this can be

positioned either before or in between the lters, depending on the Filter Blend setting you

choose.

Modulate Filter Blend with an LFO

1 Set up a modulation routing as follows: modulation target FltBlend, source LFO2.

2 Adjust the settings of LFO 2.

Chapter 3 ES2 52

ES2 Filter 1 modes

Filter 1 can operate in several modes, allowing specic frequency bands to be ltered (cut away)

or emphasized.

Click one of the following lter mode buttons for Filter 1:

•

Lo (lowpass): Allows frequencies that fall below the cuto frequency to pass. The slope of Filter 1 is xed at 12 dB/octave.

•

Hi (highpass): Allows frequencies above the cuto frequency to pass. The slope of Filter 1 is xed at 12 dB/octave.

•

Peak: Filter 1 works as a peak lter. This allows the level in a frequency band to be increased. The center of the frequency band is determined by the Cuto parameter. The width of the

band is controlled by the Resonance parameter.

•

BR (band reject): The frequency band directly surrounding the cuto frequency is rejected, but

frequencies outside this band can pass. The Resonance parameter controls the width of the rejected frequency band.

•

BP (bandpass): The frequency band directly surrounding the cuto frequency is allowed

to pass. All other frequencies are cut. The Resonance parameter controls the width of the

frequency band. The bandpass lter is a two-pole lter with a slope of 6 dB/octave on each

side of the band’s center frequency.

ES2 Filter 2 slopes

Most lters do not completely suppress the portion of the signal that falls outside the frequency range dened by the Cuto parameter. The slope, or curve, chosen for Filter 2 expresses the amount of rejection below the cuto frequency in decibels per octave.

Slope buttons: Click any button to choose a Filter 2 slope: 12 dB, 18 dB, and 24 dB. The steeper the

slope, the more severe the eect on signal levels below the cuto frequency.

Fat button: Click the Fat button for 24 dB per octave of rejection. Fat mode has a built-in compensation circuit that retains the sound’s bottom end. By comparison, the standard 24 dB setting tends to make lower end sounds less rich.

Chapter 3 ES2 53

ES2 lter cuto and resonance

Filter cuto and resonance overview

In every lowpass lter (ES2: Lo mode for Filter 1; Filter 2 is a lowpass lter), all frequency portions above the cuto frequency are suppressed, or cut o, hence the name. If you’re new to synthesizers and the concepts behind lters, see Synthesizer basics overview on page 472.

Cuto and resonance parameters

•

Cuto Frequency knob: Rotate to control the brilliance of the signal.

•

In a lowpass lter, the higher the cuto frequency is set, the higher the frequencies of signals

that are allowed to pass.

•

In a highpass lter, the cuto frequency determines the point where lower frequencies are

suppressed and only upper frequencies are allowed to pass.

•

In a bandpass/band rejection lter, the cuto frequency determines the center frequency for the bandpass or band rejection lter.

•

Resonance knob: Rotate to emphasize or suppress portions of the signal above or below the

dened cuto frequency.

•

In a lowpass lter, Resonance emphasizes or suppresses signals below the cuto frequency.

•

In a highpass lter, Resonance emphasizes or suppresses signals above the cuto frequency.

•

In bandpass/band rejection lters, resonance emphasizes or suppresses the portions of the signal—the frequency band—that surround the dened frequency, set with the Cuto

Frequency parameter.

Chapter 3 ES2 54

Control two lter parameters simultaneously

Click here to

The ability to change the Cuto and Resonance controls at the same time is essential for creating

expressive synthesizer sounds.

m Drag one of the three chain symbols in the ES2 lter section.

simultaneously adjust the cutoff and resonance of Filter 1.

Click here to simultaneously adjust the cutoff of both Filter 1 and Filter 2.

Click here to simultaneously adjust the cutoff and resonance of Filter 2.

•

The chain between Cut and Res of Filter 1 controls both the resonance (drag horizontally) and

cuto frequency (drag vertically) simultaneously.

•

The chain between Cut and Res of Filter 2 controls both the resonance (drag horizontally) and

cuto frequency (drag vertically) simultaneously.

•

The chain between Filter 1 Cut and Filter 2 Cut controls the cuto frequency of Filter 1 (drag

vertically) and Filter 2 (drag horizontally) simultaneously.

Force ES2 lters to self-oscillate

If you increase the lter Resonance parameter to higher values, the lter begins to internally

feed back and, as a consequence, begins to self-oscillate. This results in a sine oscillation—a sine wave—that is actually audible.

To start this type of oscillation, the lter requires a trigger. In an analog synthesizer, this trigger can be the noise oor or the oscillator output. In the digital domain of the ES2, noise is all but eliminated. Therefore, when the oscillators are muted there is no input signal routed to the lter. Filter Reset provides a trigger signal that can be used to drive the lter to self-oscillate.

Use Filter Reset to drive the ES2 lters to self-oscillate

m Click the Filter Reset button to turn on.

When this button is engaged, each note starts with a trigger that makes the lter resonate/

self-oscillate immediately.

Chapter 3 ES2 55

Compensate for high resonance values with the Fat(ness) parameter

m Click to turn on the Fat(ness) button—below the other lter slope buttons.

An increase of the resonance value results in a rejection of bass—low frequency energy—when

using lowpass lters. Use the Fatness button to compensate for this side eect and to obtain a

richer sound.

Overdrive ES2 lters

The lters are equipped with discrete overdrive modules. You can set the overdrive intensity by

rotating the Drive parameter.

Drive aects each voice independently. When every voice is overdriven individually—like having

six fuzz boxes for a guitar, one for each string—you can play extremely complex harmonies over

the entire keyboard range. Each voice sounds clean, without unwanted intermodulation eects

spoiling the overall sound.

Certain Drive settings can lead to a dierent tonal character for the following reason: the way analog lters behave when overdriven forms an essential part of a synthesizer’s sonic character. Each synthesizer model is unique in the way its lters behave when overdriven. ES2 is very exible in this area, allowing tonal colors that range from the most subtle fuzz to the hardest

of distortions.

•

If the lters are connected in parallel, the overdrive circuit is placed before the lters.

•

If the lters are connected in series, the position of the overdrive circuits is dependent on the

Filter Blend parameter. See Cross-fade between ES2 lters.

Tip: Because Filter 2 can cut away the overtones introduced by the distortion, Drive can be used as another tool for deforming oscillator waveforms.

Polyphonic distortions in the real world

ES2 provides a dedicated distortion eect in the Eects section. Given this inclusion, you may wonder what benet the lter’s Drive function oers.

The Distortion circuit in the Eects section aects the entire polyphonic output of the ES2. Every rock guitarist knows that more complex chords—other than major chords, parallel fths, and octaves—sound “rough” when using distortion. Therefore, distorted guitar playing generally involves few voices or parallel fths and octaves. Because the lter Drive parameter aects each voice individually, you can play complex chords without introducing the unpleasant intermodulations that the Distortion eect can add to your sound.

Chapter 3 ES2 56

Modulate ES2’s Filter 2 Frequency

Filter 2 cuto frequency can be modulated by the sine wave of oscillator 1, which is always generated, even when the oscillator is switched o. The level of this sine signal can be mixed in at the output stage with the Sine Level parameter (see Sine Level enhanced ES2 sounds on

page 58).

The eect of such lter modulations in the audio spectrum is unpredictable, but the results tend

to remain harmonic if you avoid high modulation intensity values. The FM parameter is used to

dene the intensity of this lter frequency modulation.

Note: Don’t confuse this lter frequency modulation with the oscillator FM feature (oscillator 1

is modulated by oscillator 2). If oscillator 1 is frequency-modulated by oscillator 2, it does not

inuence the sine wave signal used to modulate the cuto frequencies. See Use frequency

modulation in ES2.

Filter 2 can also be driven to self-oscillation. If you set a very high resonance value, it produces a sine wave. This self-oscillating sine wave distorts at the maximum resonance value. If you mute

all oscillators, you’ll only hear this sine oscillation. By modulating the cuto frequency, you can produce eects similar to those produced by modulating the frequency of oscillator 1 with

oscillator 2.

Modulate lter FM

1 Set up a modulation routing as follows: modulation target LPF FM.

A sine wave, at the frequency of oscillator 1, is always used as the modulation source. Given this

default assignment and the direct relationship between the lter FM intensity and oscillator 1’s

frequency, you can set up a second routing to modulate Oscillator 1’s pitch.

2 Set up a modulation routing as follows: modulation target Pitch 1, source LFO1.

3 Adjust LFO settings.

Chapter 3 ES2 57

ES2 amplier parameters

Use ES2’s dynamic stage

The dynamic stage of a synthesizer denes the level, or perceived volume, of a played note. The

change in level over time is controlled by an envelope generator. For more information about envelope generators, see Synthesizer basics overview on page 472.

ENV 3 is hard wired to the dynamic stage of the ES2—it is always used to control the level of each note. See ES2 envelopes overview.

The dynamic stage can be modulated by any router modulation source.

Modulate the dynamic stage (Amp)

1 Set up a modulation routing as follows: modulation target AMP, source LFO1.

2 Make sure that via is set to O.

3 Adjust LFO settings.

A tremolo eect is created, with the level changing periodically, based on the current LFO 1

Rate value.

Sine Level enhanced ES2 sounds

The Sine Level knob mixes a sine wave (at the frequency of oscillator 1) directly into the dynamic stage, independent of the lters. Even if you have ltered away the basic partial tone of oscillator 1 with a highpass lter, you can reconstitute it with this parameter.

•

In cases where oscillator 1 is frequency-modulated by oscillator 2 (if you have turned up FM with the waveform selector), only the pure sine wave is mixed into the dynamic section, not the distorted FM waveform.

•

Any modulation of oscillator 1’s pitch, set in the router, aects the frequency of the sine wave

mixed in at this stage.

Note: The Sine Level knob is useful for adding warmth and a fat bass quality to the sound. Extra

body can be added to thin sounds with this parameter, given that oscillator 1 actually plays the basic pitch.

Chapter 3 ES2 58

ES2 modulation

Modulation router

ES2 modulation overview

ES2 is equipped with a huge number of modulation sources and targets, making it a synthesizer that can generate extraordinary sounds that constantly evolve, sound like audio loops, or are just plain expressive to play.

Planar Pad

Click here to display the Vector Envelope.

Modulation sources

•

Modulation router: The modulation router—or router, for short—links modulation sources, such

as the envelope, to modulation targets, such as the oscillators and lters. The router features

ten modulation routings, arranged into columns. See Use the modulation router on page 60.

•

Modulation sources: The modulation sources include the LFOs and envelopes. See ES2 LFO

overview on page 64 and ES2 envelopes overview on page 67.

•

Vector Envelope: The Vector Envelope is an extremely sophisticated, loop-capable, multipoint envelope that can control the Planar Pad and Triangle (oscillator mix parameter). The Vector Envelope shares the space occupied by the modulation router and can be viewed by clicking the Vector Envelope button to the right of the router. See Use the Vector Envelope on page 70.

•

Planar Pad: The Planar Pad is a two-dimensional controller that facilitates the simultaneous manipulation of two, freely assignable, parameters. It can be controlled with the Vector Envelope. See Use the Planar Pad on page 77.

Chapter 3 ES2 59

ES2 modulation router

Via sources are shown

Use the modulation router

The modulation router—or router—spans the center of the ES2 interface. Click the Router button to view it if the Vector Envelope is displayed (these components share the same section of the interface). You can hide or show the router/Vector Envelope by clicking the disclosure triangle at the lower left of the section. If you are new to synthesizer modulation routings, see Modulation

overview on page 488.

in the middle of each modulation routing.

Modulation targets are shown at the top of each modulation routing.

The modulation intensity slider is not divided when there is no active via source.

The modulation intensity slider divides into two halves when a via source is active.

Modulation sources are shown at the bottom of each modulation routing.

Any modulation source can be connected to any modulation target, much like an old-fashioned telephone exchange or a studio patch bay.

The modulation intensity—how strongly the target is inuenced by the source—is set with the

vertical slider to the right of the modulation routing.

The intensity of the modulation can itself be modulated: the via parameter denes a further

modulation source, which is used to control the modulation intensity. When via is active, you can specify upper and lower limits for the modulation intensity.

Ten such modulation routings of source, via, and target can take place simultaneously. It doesn’t matter which of the ten modulation routings you use. You can even select the same target in several parallel modulation routings. You can also use the same sources and the same via controllers in multiple modulation routings.

Chapter 3 ES2 60

Create a basic modulation routing

1 Choose the parameter you want to modulate from the Target pop-up menu.

2 Choose the parameter you want to use for modulation of the target from the Source

pop-up menu.

3 Vertically drag the Intensity slider to set a xed modulation intensity. When via is active, this

slider sets the minimum modulation intensity.

Bypass a modulation routing

m Click the “b/p” button at the top right of the modulation routing next to the Target parameter.

The Bypass (b/p) parameter enables or disables individual modulation routings, without losing settings.

Chapter 3 ES2 61

Control ES2 modulation intensity with via sources

In a basic modulation routing comprised of a target and source, you can set a xed modulation

intensity by vertically dragging the Intensity slider to the right of the routing. The slider value

always denes a constant modulation intensity.

You can choose a further modulation source from the via pop-up menu, which controls modulation intensity.

Choosing a value other than o for via divides the Intensity slider into two halves. Each half has

its own arrowhead.

•

The upper half of the slider denes the maximum modulation intensity when the via

controller is set to its maximum value.

•

The lower half of the slider denes the minimum modulation intensity when the via

controller—the modulation wheel, for example—is set to its minimum value.

•

The area between the two slider halves denes the modulation range of the via controller.

Create a modulation routing that includes a via source

1 Choose a modulation target from the Target pop-up menu.

2 Choose a modulation source from the Source pop-up menu.

3 Choose the modulation source that you want to use for control of modulation intensity from the

via pop-up menu.

4 Vertically drag the upper arrowhead of the Intensity slider (to the right of the modulation

routing) to set the maximum modulation intensity.

Chapter 3 ES2 62

5 Vertically drag the lower arrowhead of the Intensity slider to set the minimum

modulation intensity.

Move the entire via range

m Vertically drag the range (the area between the two slider halves).

Both arrowheads move simultaneously.

If this area is too small to drag, drag an unused section of the Intensity slider “track” to move the area.

Set the modulation intensity to zero

m Click the zero symbol beside the via parameter.

Invert the eect of the via modulation source

m Click the via invert (inv) parameter to the right of the via parameter.

Chapter 3 ES2 63

ES2 LFOs

ES2 LFO overview

ES2 features two multi-waveform LFOs. Both are available as sources in the router.

LFO 1 is polyphonic, which means that if used for any modulation of multiple voices, they will not be phase-locked. LFO 1 is also key-synced: each time you play a key, LFO 1 modulation of this

voice is started from zero.

To understand the non phase-locked characteristic more fully, imagine a scenario where a chord

is played on the keyboard. If LFO 1 is used to modulate pitch, for example, the pitch of one

voice may rise, the pitch of another voice might fall, and the pitch of a third voice may reach its minimum value. As you can see, the modulation is independent for each voice, or note.

The key-sync feature ensures that the LFO waveform cycle always starts from zero, which results in consistent modulation of each voice. If the LFO waveform cycles were not synchronized in this

way, individual note modulations would be uneven.

•

LFO 1 is precongured to control the pitch of all three oscillators. It can be simultaneously

used for modulation of other parameters.

•

LFO 1 can also be faded in or out automatically, courtesy of a built-in envelope generator.

•

LFO 2 is monophonic, which means that the modulation is identical for all voices. For example, imagine a chord is played on the keyboard. If LFO 2 is used to modulate pitch, the pitch of all voices in the played chord rises and falls synchronously. LFO 2 is ideally suited for creating rhythmic modulation eects that retain perfect synchronicity, even during project

tempo changes.

LFO parameters

•

LFO 1 EG slider: Move to set the time it takes for the LFO modulation to fade in or fade out. The value is displayed in milliseconds beneath the slider. Click the zero to turn the LFO 1 envelope generator o.

•

LFO 1 Rate slider: Move to set the frequency (speed) of LFO 1 modulation. The value is

displayed in Hertz (Hz) beneath the slider.

•

LFO 1 Wave buttons: Choose the waveform used by LFO 1. See ES2 LFO waveforms on page 65.

•

LFO 2 Rate slider: Move to set the frequency of LFO 2 modulation. LFO 2 can be synchronized

with the host application tempo.

Chapter 3 ES2 64

ES2 LFO waveforms

Choose a waveform for LFO 1 or LFO 2 with the LFO Wave buttons. The table outlines how these waveforms can aect your sounds.

Tip: Try using the waveforms while a modulation routing of Pitch123 (the pitch of all three oscillators) is engaged and running

Waveform Comments

Triangle Suitable for vibrato eects

Sawtooth Suitable for helicopter and space gun sounds. Intense

modulations of oscillator frequencies with a negative (inverse) sawtooth wave lead to “bubbling” sounds.

Intense sawtooth modulations of lowpass lter cuto and resonance creates rhythmic eects. The inverted sawtooth waveform provides a dierent start point for

the modulation cycle.

Rectangle Rectangular waves periodically switch the LFO

between two values. The upper rectangular wave switches between a positive value and zero. The lower wave switches between a positive and a negative value set to the same amount above/below zero. An

interesting eect can be achieved by modulating

Pitch123 with a suitable modulation intensity that

leads to an interval of a fth. Choose the upper

rectangular wave to do so.

Sample & Hold The bottom two LFO waveforms output random

values. A random value is selected at regular intervals,

dened by the LFO rate. The upper random wave

steps between randomized values—rapid switches between values. The lower random wave is smoothed

out, resulting in uid changes to values. The term

Sample & Hold (S & H) refers to the procedure of taking samples from a noise signal at regular intervals. The values of these samples are then held until the next sample is taken.

Tip: A random modulation of Pitch123 leads to an

eect commonly referred to as a random pitch

pattern generator or sample and hold. Try using very high notes, at very high rates and high intensities—

you’ll recognize this well-known eect from hundreds of science ction movies.

Chapter 3 ES2 65

Use ES2 LFOs

The ES2 LFO’s can be used to create delayed modulations, free modulations, and modulations

that are synchronized with your host application.

Set the LFO 1 modulation fade time

m To fade in the modulation: Set a positive LFO 1 EG value.

The higher the value, the longer the delay time.

m To fade out the modulation: Set a negative LFO 1 EG value.

The lower the slider is positioned onscreen, the shorter the fade out time.

Set up a delayed vibrato

LFO envelopes are most often used for delayed vibrato—many instrumentalists and singers

intonate longer notes this way.

1 Place the LFO 1 EG slider at a position in the upper half (Delay) and modulate the Pitch123 target

with the LFO1 source in the router.

2 Set a slight modulation intensity.

3 Set an LFO 1 Rate of about 5 Hz.

4 Choose the triangular wave as the LFO 1 waveform.

Set a free rate for LFO 2

m Choose a value in the upper half of the LFO 2 Rate slider range to run LFO 2 freely.

The rate is displayed in hertz.

Synchronize the LFO 2 rate with the song tempo

m Choose a value in the lower half of the LFO 2 Rate slider range to synchronize LFO 2 with the

host application tempo.

The rate is displayed in rhythmic values (when project tempo synchronization is active).

Synchronized rates range from speeds of 1/64-notes to a periodic duration of 32 bars. Triplet and punctuated values are also available.

Chapter 3 ES2 66

ES2 envelopes

Trigger Modes menu

ES2 envelopes overview

ES2 features three envelope generators per voice. They are abbreviated as ENV 1, ENV 2, and ENV 3 in the interface and router. In addition, ES2 features the sophisticated Vector Envelope. See Use

the Vector Envelope.

To learn more about the roots of the term “envelope generator” and its basic function, see

Amplier envelope overview on page 486.

The parameters of ENV 2 and ENV 3 are identical. ENV 3 denes the changes in level over time

for each note played. You can think of ENV 3 as being hardwired to the router’s AMP modulation

target. ENV 2 controls the cuto frequency of both ES2 lters.

Note: All envelopes can be used to control multiple parameters simultaneously.

ES2 Envelope 1

Although Envelope 1 (ENV 1) appears to be simplistic, it is useful for a range of synthesizer functions.

Decay/Release Mode button

Attack via Velocity slider

Envelope 1 parameters

•

Trigger Modes pop-up menu: Choose a mode to dene the trigger behavior of ENV 1.

•

Poly: The envelope generator behaves as you would expect on any polyphonic synthesizer: every voice has its own envelope.

•

Mono: A single envelope generator modulates all voices in the same way. All notes must be released before the envelope can be retriggered. If you play legato, or any key remains depressed, the envelope does not restart its attack phase.

•

Retrig: A single envelope generator modulates all voices in the same way. The envelope is triggered by any key you strike, even when other notes are sustained. All sustained notes are

identically aected by the retriggered envelope.

•

Attack via Velocity slider: The Attack time slider is divided into two halves. The lower slider sets the attack time when keys are struck at maximum velocity. The top slider sets the attack time at minimum velocity. Drag the area between the two slider halves to move both simultaneously. If this area is too small to drag, click an unused portion of the slider, and drag vertically.

Chapter 3 ES2 67

•

Attack Time slider is

Decay/Release mode button: Switches ENV 1 between an Attack/Decay or an Attack/Release

envelope. The button label changes to reect the mode that is activated (D=Decay, R=Release).

•

In Attack/Decay mode: The level falls to zero after the attack phase has completed, whether or not the note is sustained. It decays at the same speed, even if you release the key. The decay time is set with the D (Decay time) slider.

•

In Attack/Release mode: The envelope level remains at its maximum after the attack phase is over, while the key remains depressed. Following the release of the key, the level decreases

over the time period dened by the R (Release time) slider.

ES2 Envelopes 2 and 3

The feature sets of ENV 2 and ENV 3 are identical, but it is always the task of ENV 3 to dene the level of each note—to modulate the dynamic stage, in other words. ENV2 is precongured to control the Cuto frequency of both lters.

Both ENV 2 and ENV 3 can also be used simultaneously as sources in the router. The envelope time parameters can be used as modulation targets in the router.

divided into two halves that determine the attack time at maximum and minimum velocities.

Click the center symbol to set the Sustain Time slider to its center value.

Sustain Time and Sustain Level are set independently in the ES2.

Envelope 2 and 3 Parameters

•

Attack slider: Denes the time it takes for the level of a note to rise from a level (amplitude)

of zero to the set amplitude. The Attack time sliders of ENV 2 and ENV 3 are divided into two halves.

•

The lower half denes the attack time when the keys are struck hard, at maximum velocity. The upper half denes the attack time at minimum velocity.

Drag the area between the two slider halves to move both simultaneously. If this area is too small to drag, drag an unused portion of the slider vertically.

•

Decay slider: Sets the time it takes for the level of a held note to fall to the sustain level, after the attack phase has completed.

•

If the Sustain level parameter is set to its maximum value, the Decay parameter has no eect.

•

When the Sustain level is set to its minimum value, the Decay parameter denes the

duration or fade-out time of the note.

Chapter 3 ES2 68

•

Sustain and Sustain Time sliders: The two sustain parameters interact with each other. One controls the sustain level, and the other controls the sustain time. See Use ES2 Envelope 2 and

3 sustain controls on page 69.

•

(R) Release Time slider: Denes the time required for the (sustain) level to decay to zero, after

the key is released.

•

Vel (Velocity Sensitivity) slider: Determines the velocity sensitivity of the entire envelope. If set to maximum, the envelope outputs its maximum level only when the keys are struck at maximum velocity. Softer velocities result in a corresponding change to the envelope levels, with a 50% velocity resulting in half-levels for each envelope-level parameter.

Use ES2 Envelope 2 and 3 sustain controls

When the Sustain Time (rise) slider is set to its center value, the Sustain (S) Level slider behaves

like the sustain parameter of any synthesizer ADSR envelope.

In this position, the Sustain (Level) slider denes the level that is sustained while the key remains

depressed, following completion of the Attack time and Decay time phases.

The Sustain Time slider denes the time it takes for the level to rise from the Sustain level back to

its maximum level—or to fall to zero:

•

Settings in the lower half of the Sustain Time slider range (fall) determine the time required for the level to decay from the sustain level to zero. The lower the slider position, the faster the sound level decays.

•

Settings in the upper half of its range (rise) determine the time required for the level to rise from the sustain level to its maximum value. The higher the slider position, the faster the sound level rises.

Emulate instrument behaviors with envelope decay modulation

1 Set up a modulation routing as follows: modulation target Env3Dec, source Kybd.

2 Make sure the Intensity slider is set to a negative value.

3 Adjust Env3 settings.

This routing simulates the behavior of pianos and plucked instruments, where high notes decay faster than low notes.

Chapter 3 ES2 69

Use the Vector Envelope

Planar PadTriangle

Curve

Vector Envelope

The Vector Envelope is a multipoint, loop-capable control source. Its sole purpose is to provide real-time control of pointer movements in the Triangle and the Planar Pad. The Vector Envelope shares the space occupied by the modulation router.

Each played voice has an independent Vector Envelope, which is triggered from its start point with every new keystrike (MIDI note-on message).

Conceptually, the Vector Envelope—and Planar Pad and Triangle—may be dicult to grasp,

but some experimentation will reveal how easy these features are to use. Combining these facilities with other synthesis options enables you to create truly unique sounds that are—quite literally—moving.

Time ScalingLoop RateLoop ModeEnv Mode

Solo Point

Planar Pad

Targets

Vector Mode

Display the Vector Envelope

m Click the Vector Envelope button to the right of the router to display the Vector Envelope.

Turn the Vector Envelope on or o

m To make the Vector Envelope active: Turn o the Solo Point button.

m To deactivate the Vector Envelope: Turn on the Solo Point button.

When Solo Point is turned on, only the currently selected Triangle and Planar Pad positions of the currently selected point are active.

Control the Planar Pad and Triangle with the Vector Envelope

m Choose the target for the Vector Envelope—the Planar Pad, Triangle, or both—from the Vector

Mode pop-up menu.

•

O: The Vector Envelope does not control the Triangle or the Planar Pad. It is completely

turned o. You can manually set and control the pointers of the Triangle and the Planar Pad.

•

Mix: The Vector Envelope controls the Triangle but not the Planar Pad.

•

XY: The Vector Envelope controls the Planar Pad but not the Triangle.

•

Mix+XY: The Vector Envelope controls both the Planar Pad and the Triangle.

Use the Vector Envelope shortcut menu

1 Right-click or Control-click anywhere in the Vector Envelope to open a shortcut menu of

commands and functions.

2 Choose any item in the menu to perform the operation.

Chapter 3 ES2 70

Vector Envelope points, times, and loops

Vector Envelope

Use Vector Envelope points

The Vector Envelope time axis runs from left to right.

time axis

Sustain point is shown on row above time axis.

Point 1

Loop point is shown on

row below time axis.

Point time value shown in milliseconds (ms).

Up to 16 points can be displayed on the time axis (10 are shown in the gure above). Each point

can control the pointer positions of the Triangle and the Planar Pad.

The points are numbered sequentially, from left to right, along the time axis.

There are always at least three points: point 1 is the start point, point 2 is dened as the Sustain

point, and point 3 is the end point.

Any point can be declared the Sustain point. If a played note is held for a sucient length of

time and there’s no loop engaged, any envelope movement stops when the Sustain point is reached. The Sustain point value is maintained until the key is released—until the MIDI

note-o command.

Any point can be declared the Loop point. The looped area spans the time between the Sustain point and Loop point. In between these points you can create additional points that describe the

movements of the pointers in the Planar Pad and Triangle.

The more points you set, the more complex the movements that can be performed.

Select a point

m Click the point to select it.

Once selected, you can edit the point.

Create a new point

m Shift-click between two existing points.

The segment that previously existed between the two old points is divided at the clicked position. The sum of the two new segment times is equal to the time of the original undivided segment. This ensures that any points that follow retain their absolute time positions. Existing

pointer positions in the Triangle and Planar Pad are xed, thus ensuring that newly created points don’t aect any previously dened movements.

Chapter 3 ES2 71

Delete a point

m Control-click the point.

Revert to the default value for a point

Do one of the following:

m Option-click the Triangle.

The pointer is set to the center position of the Triangle, and all oscillators are set to output the same level.

m Option-click the Planar Pad.

The pointer is set to the center position of the Planar Pad. Both axis values are set to zero.

Use Vector Envelope solo and sustain points

You use the Solo Point button to turn the Vector Envelope on or o. If the Solo Point button is

on, no dynamic modulations are generated by the Vector Envelope. In this scenario, the currently

visible pointer positions of the Triangle and Planar Pad are permanently in eect. These pointer

positions match the currently selected Vector Envelope point.

If you select another Vector Envelope point by clicking it, the pointer positions in the Triangle

and Planar Pad update to reect your selection. If the Solo Point button is on, the newly selected

point becomes the Solo point.

Note: You can independently turn o Vector Envelope modulation of the Planar Pad by setting Vector Mode to o. See Use the Vector Envelope.

Any point can be declared the Sustain point. Assuming that the played note is held long enough and there’s no loop engaged, any envelope movement stops when this Sustain point is reached. The Sustain point value is maintained until the key is released—until the MIDI

note-o command.

Dene a point as the Sustain point

m Click in the turquoise strip above the chosen point.

The Sustain point is indicated by an S between the point and its number shown on the turquoise strip.

Chapter 3 ES2 72

Set up Vector Envelope loops

The Vector Envelope can run in one-shot mode, as long as the note is sustained; it can be set to

repeat a specic number of times or it can repeat indenitely, much like an LFO modulation. You

achieve repetitions by using the loop functions.

Although the loop parameters seem similar to the loop parameters available for samples, there

are signicant dierences between them. The Vector Envelope only supplies control signals that

are used to move the pointer positions of the Triangle and Planar Pad. The audio output of the ES2 is not looped in any way.

Any point can be declared the Loop point. Provided that the note is held for a suitable length of

time, portions of the envelope can be repeated, or looped.

The looped area spans the time between the Sustain point and the Loop point. In between these points you can dene several points that describe pointer movements in the Triangle and the

Planar Pad.

Dene a point as the Loop point

m Click in the turquoise strip below the chosen point.

A Loop point is indicated by an L in the strip below.

Set a Vector Envelope Loop mode

m Choose one of the following Vector Envelope Loop modes: O, Forward, Backward, and Alternate.

•

O: When Loop mode is set to O, the Vector Envelope runs in one-shot mode from beginning

to end, if the note is held long enough to complete all envelope phases. The other loop parameters are disabled.

•

Forward: When Loop mode is set to Forward, the Vector Envelope runs from the beginning

to the Sustain point, and then begins to periodically repeat the section between the Sustain

point and the Loop point in a forward direction.

•

Backward: When Loop mode is set to Backward, the Vector Envelope runs from the beginning

to the Sustain point, and then begins to periodically repeat the section between the Sustain

point and the Loop point in a backward direction.

•

Alternate: When Loop mode is set to Alternate, the Vector Envelope runs from the beginning to the Sustain point and then periodically switches to the Loop point, then back to the Sustain

point, alternating between backward and forward directions.

Click here to choose a Loop mode.

Chapter 3 ES2 73

Set the Vector Envelope Loop Rate

Do one of the following:

m Drag the green indicator in the center of the Loop Rate bar to the left or right.

m Drag vertically in the value eld “as set” (shown in the gure below).

The Vector Envelope loop can cycle at a dened speed. It can also be synchronized with the host

application tempo.

•

As set: If you switch the Loop Rate to “as set,” the loop cycle length equals the sum of the times between the sustain and Loop points. Click the eld labeled “as set” below the Rate slider to

select it.

•

Rhythmic: If you set the Loop Rate to one of the rhythmic values (sync) by dragging the Loop

Rate indicator toward the left half of the slider, the loop rate follows the project tempo. You can choose from 32 bars up to a 64th triplet note value.

•

Free: You can also set a free Loop Rate by dragging the Loop Rate indicator toward the right

half of the slider (free). The value indicates the number of cycles per second.

Note: If Loop Rate is not switched to “as set,” and Loop mode (Forward, Backward, or Alternate) is active, the times of points between the Loop and Sustain points and the Loop Smooth value

are shown as a percentage of the loop duration, rather than in milliseconds.

Make smooth Vector Envelope loop transitions

m When Loop mode is set to Forward or Backward, there is a transition from the Sustain

point to the Loop point. Turn on Loop Smooth to even out this transition, avoiding abrupt

position changes.

•

If the Loop Rate parameter is set to Sync or Free, the loop-smoothing time is displayed as a

percentage of the loop cycle duration.

•

If the Loop Rate parameter is “as set,” the loop-smoothing time is displayed in milliseconds

(ms).

Specify a Vector Envelope loop count

m The Vector Envelope loop cycle can be repeated a specied number of times. Following the

dened number of repetitions, the Vector Envelope runs from the Sustain point onward. Possible values are 1 to 10 and “innite.”

Chapter 3 ES2 74

Vector Envelope release phase behavior

There are two release phase options in the Env Mode menu: Normal and Finish.

In Normal mode, the release phase—the phase after the Sustain point—begins as soon as you

release the key (note o). In other words, the release phase starts from the Vector Envelope point

where you released the key. The following behaviors apply:

•

If looping is turned o and the Vector Envelope reaches the Sustain point, the Sustain point

value is retained for as long as you hold a key.

•

If looping is turned on and the Loop point is positioned before the Sustain point, the loop

cycles for as long as you hold a key.

•

If looping is turned on and the Loop point is positioned after the Sustain point, the Vector

Envelope loop continues to cycle until the overall release phase of the sound, as determined by the ENV 3 Release parameter, has completed.

If the Env Mode menu is set to Finish, the Vector Envelope does not immediately begin the release phase when you release the key. Rather, it plays all points for their full duration until the end point is reached, regardless of whether you hold the key or release it. The following behaviors apply:

•

If looping is turned o, the Sustain point is ignored. The Vector Envelope completes all points

up to the end point, regardless of whether you hold the key or release it.

•

If looping is turned on, the Vector Envelope plays all points until it reaches the Loop point, and then plays loop until the end point is reached. It does not matter if the Loop point is

positioned before or after the Sustain point.

•

If looping is turned on, and Loop Count is set to a value other than “innite,” the Vector Envelope continues on to the subsequent points—following completion of the specied number of loop repetitions. If Loop Count is set to “innite,” the points after the loop

are irrelevant.

Vector Envelope point transition shapes

Curve denes the shape of the transition from point to point. Choose from nine convex and nine concave shapes, plus “hold+step” and “step+hold,” which allow stepped modulations.

•

step+hold: This curve jumps at the beginning of the transition.

•

hold+step: This curve jumps at the end of the transition.

Note: You can use “hold+step” to create stepped vector grooves—with up to 15 steps.

Chapter 3 ES2 75

Set Vector Envelope times

With the exception of the rst point, which is tied to the beginning of each played note, every point has a Time parameter. This parameter denes the period of time required for the

position indicator to travel from the point that preceded it. The times are normally displayed in milliseconds (ms).

Set a time value

m Drag the numerical value vertically.

Note: Changing a time value alters the absolute time positions of all subsequent points.

Set a time value without aecting the absolute time positions of later points

m Control-drag the Time parameter to increase or decrease the time required to reach the

following point.

The time setting of the ensuing point is simultaneously adjusted by a corresponding amount. This ensures that the adjacent and all following points retain their absolute time positions.

Use Vector Envelope time scaling

You can stretch and compress the entire Vector Envelope. To double the Vector Envelope’s speed, for example, set Time Scaling to 50%, rather than halving the time values of every point.

Click here to change the time scale.

•

The Time Scaling parameter ranges from 10% to 1000%. It is scaled logarithmically.

•

If the Loop Rate is “as set,” scaling also aects the loop.

•

If the Loop Rate is set to a free or synced value, the setting is not aected by the Time

Scaling parameter.

Normalize time scaling and the loop rate with Fix Timing

m Click Fix Timing to multiply the Time Scaling value by all time parameters. Time Scaling is reset to

100%.

There is no audible dierence. This is simply a normalizing procedure.

In cases where Loop Rate is set to a synced value, clicking Fix Timing switches the Loop Rate to

“as set,” thus preserving the absolute rate.

Chapter 3 ES2 76

Use the Planar Pad

The Planar Pad has two axes—X (horizontal) and Y (vertical). Two user-dened parameters can be

modulated with the X and Y values, allowing you to use the mouse like a joystick.

The X and Y axes have positive and negative value ranges. When you drag the pointer (the square icon), the values of both axes are continuously transmitted.

Planar Pad

Vector Target menus

Vector Intensity parameters

Vector Mode menu

The Vector X and Vector Y Target menus determine which parameter is modulated by pointer movements in the Planar Pad. These modulation targets are identical to those in the router. See ES2 oscillator modulation targets on page 78, ES2 lter modulation targets, and Other ES2

modulation targets.

The position (coordinates) of the Planar Pad pointer is also available in the router, as the Pad-X and Pad-Y source and via options. See ES2 modulation source reference on page 84 and Control

ES2 modulation intensity with via sources on page 62.

The maximum intensity, sensitivity, and polarity of the modulation is set with the Vector X Int and Vector Y Int parameters.

Set the modulation intensity

m Drag vertically in the Vector X and Y Int elds.

Use a negative value to invert the modulation polarity.

Chapter 3 ES2 77

ES2 modulation target reference

ES2 oscillator modulation targets

The table below shows all oscillator-related modulation targets.

Target Comments

Pitch123 Modulates the frequencies (pitch) of all three

oscillators. If you select an LFO as the source, this

target leads to siren or vibrato sounds. Select one of the envelope generators with zero attack, short decay, zero sustain, and short release as the source for tom and kick drum sounds.

Pitch 1

Pitch 2

Pitch 3 Modulates the frequency (pitch) of oscillator 3.

Detune Controls the amount of detuning between all three

Modulates the frequency (pitch) of oscillator 1. Slight envelope modulations can make the amount of detuning change over time, when oscillator 1 is sounding in unison with another (unmodulated) oscillator. This also applies to the other Pitch targets and is particularly useful for synthesizer brass sounds.

Modulates the frequency (pitch) of oscillator 2.

oscillators. The sensitivity of all pitch modulation targets is determined by the modulation intensity. This is scaled as per the lists below, allowing you to create very delicate vibrati in the cent range (1/100 semitone), and huge pitch jumps by octaves.

•

Modulation intensity from 0 to 8: steps are 1.25 cents.

•

Modulation intensity from 8 to 20: steps are 3.33 cents.

•

Modulation intensity from 20 to 28: steps are 6.25 cents.

•

Modulation intensity from 28 to 36: steps are 12.5 cents.

•

Modulation intensity from 36 to 76: steps are 25 cents.

•

Modulation intensity from 76 to 100: steps are 100 cents.

This leads to the following rules of thumb for modulation intensity values.

•

Intensity of 8 equals a pitch shift of 10 cents.

•

Intensity of 20 equals a pitch shift of 50 cents (one quarter tone).

•

Intensity of 28 equals a pitch shift of 100 cents (one semitone).

•

Intensity of 36 equals a pitch shift of 200 cents (two semitones).

•

Intensity of 76 equals a pitch shift of 1,200 cents (one octave).

•

Intensity of 100 equals a pitch shift of 3,600 cents (three octaves).

Chapter 3 ES2 78

Target Comments

OscWaves Depending on the waveforms set in the three

oscillators, this target can be used to modulate:

•

The pulse width of rectangular and pulse waves

•

The amount of frequency modulation (oscillator 1 only)

•

Noise color (oscillator 3 only)

•

The position of the Digiwaves

OscWaves aects all oscillators simultaneously.

For further information about the eects of these

modulations, see Use pulse width modulation in

ES2

on page 39, Use frequency modulation in ES2 on

page 40, Use the ES2 noise generator on page 42, and

Osc1Wave

Use ES2 Digiwaves

Depending on the waveform selected for oscillator 1,

on page 42.

you can control the pulse width of rectangular and pulse waves, the amount of frequency modulation, or the position of the Digiwave. In classic FM synthesizers the amount of FM is controlled in real time by velocity-sensitive envelope generators. Select one of the ENVs as the source for such sounds.

Osc2Wave

The same as Osc1Wave, except that oscillator 2 does not feature FM. Note that pulse width modulation also works with both the synchronized rectangular and ring-modulated rectangular waves.

Osc3Wave

Oscillator 3 is the same as Osc1Wave and Osc2Wave except that it does not feature FM or ring modulation. Oscillator 3 features noise, the color of which can be modulated with this parameter.

OscWaveB The transitions between Digiwaves during a

wavetable modulation (where you switch between

dierent Digiwaves) are always smooth. You can use

the OscWaveB target to continuously modulate the shape of the transitions from smooth to hard. This target applies to all oscillators.

Osc1WaveB If wavetable modulation is active for a Digiwave

(using the Osc1Wav target), you can use this target to modulate the shape of the transition. When you are frequency-modulating oscillator 1, the Osc1WaveB

target oers much higher FM intensities than either

the Osc1 FM or the Osc1Wave targets.

Osc2WaveB The same as above for a Digiwave using the Osc2Wav

target.

Osc3WaveB The same as above for a Digiwave using the Osc3Wav

target.

SineLev1 SineLevl (Sine Level) allows the sine wave level of

oscillator 1 to be modulated. The parameter denes the level of the rst partial tone of oscillator 1. See

Sine Level enhanced ES2 sounds on page 58.

Chapter 3 ES2 79

Target Comments

OscLScle OscLScle (Osc Level Scale) modulates the levels of all

three oscillators simultaneously. A modulation value

of 0 mutes all oscillators, whereas a value of 1 raises the gain of the entire mix by 12 dB. The modulation is applied before the overdrive stage, allowing for dynamic distortions.

Osc1Levl

Osc2Levl (Osc 2 Level) allows modulation of oscillator 2’s level.

Osc3Levl (Osc 3 Level) allows modulation of oscillator 3’s level.

(Osc 1 Level) allows modulation of oscillator 1’s level.

Chapter 3 ES2 80

ES2 lter modulation targets

The table below includes all lter-related modulation targets.

Target Comments

Cuto 1

Resonance 1 (Reso 1) Modulates the Resonance parameter of

Cuto 2 Modulates the Cuto Frequency parameter of Filter 2.

Resonance 2 (Reso 2) Modulates the Resonance parameter of

LPF FM Determines the intensity of the lowpass lter

Cut 1+2 Modulates the cuto frequency of both lters in

Cut1inv2 Cut1inv2 (Cuto 1 normal and Cuto 2 inverse)

Filter Blend (FltBlend) modulates the Filter Blend parameter. See

Modulates the Cuto Frequency parameter of Filter 1.

See Filter cuto and resonance overview on page 54.

Filter 1.

Filter 2.

frequency modulation (LPF FM) of Filter 2—with a

sine wave (at the same frequency as oscillator 1). This parameter is described in Modulate ES2’s Filter 2

Frequency on page 57.

parallel. This is like applying the same modulation to

Cuto 1 and Cuto 2 in two modulation routings.

simultaneously modulates the cuto frequencies of the rst and second lters inversely (in opposite directions). Put another way, when the rst lter’s cuto frequency is rising, the cuto of the second lter falls, and vice versa.

In cases where you have combined Filter 1, dened as a highpass lter, and Filter 2 in serial mode, both act as a bandpass lter. Modulating the Cut1 inv 2 target results in a modulation of the bandpass lter’s

bandwidth in this scenario.

Cross-fade between ES2 lters

on page 51.

Chapter 3 ES2 81

Other ES2 modulation targets

The table below includes all other modulation targets.

Target Comments

Amp This target modulates the dynamic stage, or level of

voices. If you select Amp as the target and modulate

it with an LFO as the source, the level changes

periodically, and you hear a tremolo.

Pan This target modulates the panorama position of the

sound in the stereo spectrum. Modulating Pan with

an LFO results in a stereo tremolo (auto panning).

In unison mode, the panorama positions of all voices are spread across the entire stereo spectrum. Nevertheless, pan can still be modulated, with positions being moved in parallel.

LFO1Asym (LFO1 Asymmetry) can modulate the selected

waveform of LFO 1. If a square wave, it changes pulse

width. If a triangle wave, it sweeps between triangle and sawtooth. If a sawtooth wave, it shifts its zero crossing.

LFO1Curve This target modulates the waveform smoothing of the

square and random wave. If the LFO is using a triangle

or sawtooth wave, it changes between convex, linear, and concave curves.

Chapter 3 ES2 82

Scaled ES2 modulation targets

All of the following modulation targets result in a scaled modulation, which means that the target parameter value is multiplied by the modulation value. This works as follows: a modulation

value of 0.0 results in no change, a modulation value of +1.0 equals a 10x multiplication, and a modulation value of −1.0 equals a multiplication by 0.04.

Target Comments

LFO1Rate

Env2Atck

Env2Dec

Env2Rel

Env2Time

Env3Atck

Env3Dec

Env3Rel

Env3Time

Glide This target modulates the duration of the Glide

This target modulates the frequency (rate) of LFO 1. You can automatically accelerate or slow down LFO 1’s rate by modulating the LFO1Rate target with one of the envelope generators (ENV) or with LFO2.

(Envelope 2 Attack) modulates the Attack time of the second envelope generator.

(Envelope 2 Decay) modulates the Decay time of the second envelope generator. In cases where you’ve selected Env2Dec as the target and Velocity as the source, the duration of the decaying note is dependent on how hard you strike the key. Selecting Keyboard as the source results in higher notes decaying more quickly (or slowly).

Env2Rel (Envelope 2 Release) modulates the Release time of the second envelope generator.

Env2Time (Envelope 2 All Times) modulates all of ENV2’s time parameters: Attack, Decay, Sustain, and Release times.

Env3Atck (Envelope 3 Attack) modulates the Attack time of ENV3.

Env3Dec (Envelope 3 Decay) modulates the Decay time of ENV3.

Env3Rel (Envelope 3 Release) modulates the Release time of ENV3.

Env3Time (Envelope 3 All Times) modulates all ENV3 time parameters: Attack, Decay, Sustain, and Release times.

(portamento) eect. If you modulate Glide, with

Velocity selected as the source, the speed of the keystrike determines the time it takes for the played notes to reach the target pitch.

Chapter 3 ES2 83

ES2 modulation source reference

The following modulation sources are available:

Source Comment

LFO1

LFO2 LFO 2 is used as a source.

ENV1 Envelope Generator 1 is used as a source.

ENV2 Envelope Generator 2 is used as a source.

ENV3 Envelope Generator 3 is used as a source. Envelope

Pad-X, Pad-Y Dene the axes of the Planar Pad as modulation

Max Max sets the value of this source to +1. This oers

Kybd Kybd (Keyboard) outputs the keyboard position (the

Velo Velocity sensitivity serves as a modulation source.

Bender The pitch bend wheel serves as a bipolar modulation

ModWhl The modulation wheel serves as a modulation source.

Touch Aftertouch serves as a modulation source. ES2 reacts

Whl+To Both the modulation wheel and aftertouch serve as

MIDI Controllers A-F MIDI controllers available in the router are named

LFO 1 is used as a source.

Generator 3 always controls the level of the overall sound.

sources for the selected modulation target. See

Use the Planar Pad Envelope

interesting options for controlling the modulation intensity with all possible via values.

MIDI note number). The center point is C3 (an output value of 0). Five octaves below and above, an output

value of −1 or +1, respectively, is sent. Modulate the Cut 1+2 target with the Kybd source to control the cuto frequencies of the lters with the keyboard

position—as you play up and down the keyboard,

the cuto frequencies change. A modulation intensity of 0.5 proportionately scales cuto frequencies with

keyboard note pitches.

source. This is also true when the Bend Range parameter of the oscillators is set to 0.

For most standard applications, you’ll probably use the wheel as the via controller. Traditionally, it is used

to control the intensity of periodic LFO modulations.

Used here, it can be employed for direct, static

modulations, such as controlling both lter cuto frequencies (Target = Cut 1+2).

to poly pressure (polyphonic aftertouch). If you set

the Target to Cut 1+2, the cuto frequencies rise and fall, depending on how rmly you press a key on

your touch-sensitive MIDI keyboard—after the initial keystrike.

modulation sources.

Ctrl A–F and can be assigned to arbitrary controller numbers. See ES2 macro and controller assignment

overview

on page 70.

on page 90.

on page 77 and Use the Vector

Chapter 3 ES2 84

Source Comment

RndN01 RndNO1 (Note On Random1) outputs a random

modulation value between −1.0 and 1.0, that changes

when a note is triggered or retriggered. The (random) note-on modulation remains constant throughout the note duration, until the next note-on trigger. There is no value change when playing legato while in legato mode.

RndN02 RndNO2 (Note On Random 2) behaves like Note

On Random1, but it glides, rather than steps, to the new random value, using the Glide time (inclusive of

modulation). It also diers from Note On Random 1

in that the random modulation value changes when playing legato while in legato mode.

SideCh SideCh (Side Chain modulation) uses a side chain

signal as a modulation (trigger) signal. The side chain source can be chosen from the Side Chain pop-up menu in the upper gray area of the plug-in window. It is fed to the internal envelope follower, which creates a modulation value based on the current side chain input signal level.

Chapter 3 ES2 85

ES2 via modulation source reference

The following sources may be used to control the modulation intensity.

Via source Comment

LFO1 The modulation undulates at the speed and waveform

of LFO 1, which controls the modulation intensity.

LFO2 The modulation undulates at the speed and waveform

of LFO 2, which controls the modulation intensity.

ENV1 ENV1 controls the modulation intensity.

ENV2 ENV2 controls the modulation intensity.

ENV3 ENV3 controls the modulation intensity.

Pad-X, Pad-Y Both axes of the Planar Pad are also available as

via sources, allowing you to control modulation intensities with them.

Kybd Kybd (Keyboard) outputs the keyboard position

(the MIDI note number). The center point is C3 (an output value of 0). Five octaves below and above,

an output value of −1 or +1, respectively, is sent. If

you select Pitch123 as the target, modulate it with

the LFO1 source, and select Keyboard as the via

value, the vibrato depth changes, depending on the key position. Put another way, the vibrato depth is

dierent for notes higher or lower than the dened

Keyboard position.

Velo If you select Velo (Velocity) as the via value,

the modulation intensity is velocity sensitive— modulation is more or less intense depending on how quickly (how hard) you strike the key.

Bender The pitch bend wheel controls the modulation

intensity.

ModWhl If you select ModWhl (Modulation Wheel) as the via

value, the modulation intensity is controlled by your MIDI keyboard’s modulation wheel.

Touch If you select Touch (Aftertouch) as the via value, the

modulation intensity is touch sensitive—modulation

is more or less intense depending on how rmly you

press the key of your touch-sensitive MIDI keyboard after the initial keystrike (aftertouch is also known as pressure sensitivity).

Whl+To Both the modulation wheel and aftertouch control

the modulation intensity.

MIDI Controllers A-F MIDI controllers available in the router are named

Ctrl A–F, rather than Expression, Breath, and General Purpose 1–4 (MIDI Control Change Messages 16 to 19 are also known as General Purpose Slider 1/2/3/4). These can be assigned to arbitrary controller numbers with the Controller Assignments pop-up menus.

Chapter 3 ES2 86

Via source Comment

RndN01 RndNO1 (Note On Random1) outputs a random

modulation intensity value between −1.0 and

1.0, which changes when a note is triggered or retriggered. The random note-on modulation remains constant throughout the note duration, until the next note-on trigger. playing legato while in legato mode.

RndN02 RndNO2 (Note On Random 2) behaves like Note On

Random1, but it glides, rather than steps, to the new random intensity value, using the Glide time (inclusive

of modulation). It also diers from Note On Random 1

in that the random modulation value changes when playing legato while in legato mode.

SideCh SideCh (Side Chain modulation) uses a side chain

signal as a modulation intensity (trigger) signal. The side chain source can be chosen from the Side Chain pop-up menu in the upper gray area of the plug-in window. It is fed to the internal envelope follower, which creates a modulation value based on the current side chain input signal level.

Note: There is no value change when

Chapter 3 ES2 87

ES2 integrated eects processor

Click to choose a hard

ES2 is equipped with an integrated eects processor. Any changes to the parameters of these eects are saved with each sound setting.

or soft type of Distortion effect.

Use the Tone parameter to alter the tonal color of the Distortion effect.

Adjust to set the level of Distortion.

Click to choose Chorus, Flanger, or Phaser effect.

Intensity and Speed parameters are shared by the Chorus, Flanger, and Phaser effects.

You can activate only two eects at the same time.

•

Distortion

•

Choose the Chorus, the Flanger, or the Phaser eect. These eects share the same control

knobs—Intensity and Speed.

A chorus eect is based on a delay line, the output of which is mixed with the original,

dry signal. The short delay time is modulated periodically, resulting in pitch deviations. The modulated deviations, in conjunction with the original signal’s pitch, produce the

chorus eect.

A anger works in a similar fashion to a chorus, but with even shorter delay times. The

output signal is fed back into the input of the delay line. This feedback results in the creation of harmonic resonances that wander cyclically through the spectrum, giving the signal a “metallic” sound.

A phaser mixes a delayed and an original signal. The delayed element is derived from an

allpass lter, which applies a frequency-dependent delay to the signal. This is expressed as a phase angle. The eect is based on a comb lter, which is basically an array of inharmonic notches—rather than resonances, as with the anger—that also wanders through the

frequency spectrum.

Chapter 3 ES2 88

Distortion parameters

•

Soft button: Activates the Distortion eect Soft mode. The distortion circuit sounds somewhat

like a tube overdrive.

•

Hard button: Activates the Distortion eect Hard mode. The distortion eect sounds like a fully

transistorized fuzz box.

•

Distortion knob: Rotate to set the amount of distortion. Turn this knob to zero to disable

the eect.

•

Tone knob: Rotate to control the treble portion of the distortion signal.

Chorus, Flanger, or Phaser parameters

•

When Chorus is on:

•

Intensity knob: Rotate to set the depth of the eect—how “rich” the modulation is. Turn this knob to zero to turn o the eect.

•

Speed knob: Rotate to set the modulation rate.

•

When Flanger is on:

•

Intensity knob: Rotate to set the depth of the eect—how “cutting” the modulation is. Turn this knob to zero to turn o the eect.

•

Speed knob: Rotate to set the modulation rate.

•

When Phaser is on:

•

Intensity knob: Rotate to set the depth of the “sweeping” eect—the width of the modulation. Turn this knob to zero to turn o the eect.

•

Speed knob: Rotate to set the modulation rate.

Chapter 3 ES2 89

ES2 macro controls and controller assignments

Click here to

ES2 macro and controller assignment overview

The section at the bottom of the ES2 interface provides three views:

choose a view.

Macro control parameters

•

Macro: Click to show a number of macro controls that aect groups of other parameters.

•

MIDI: Click to assign MIDI controllers to particular modulation routings. See ES2 via modulation

source reference on page 86.

•

Macro only: Click to replace the ES2 interface with a smaller view that is limited to the macro controls.

ES2 macro controls

The macro knobs give you quick access to several linked, related parameters.

As you rotate any of the macro controls, one or more parameters in the ES2 interface update. For

example, adjusting the Detune macro control simultaneously aects the Analog parameter and the coarse and ne oscillator Frequency parameters.

The macro parameters are settings-compatible with ES2-based GarageBand instruments. In other words, you can use the ES2 and some GarageBand synthesizer settings interchangeably.

Important: The impact of each macro control is completely dependent on the parameter values

of the current setting. In some patches, a number of macro controls may have no eect.

Chapter 3 ES2 90

Make ES2 controller assignments

The Controller Assignments area enables you to assign your MIDi keyboard’s knobs, sliders, and other controls to act as control sources for ES2 parameters. There are six menus, for Ctrl A to Ctrl F. You can use any MIDI controller shown in the menus for these control sources.

These parameters are saved with each setting. They are updated only if the default setting that is loaded on instantiating the plug-in is used or if the setting was saved with a project. This approach helps you to adapt all MIDI controllers to the keyboard, without having to edit and save each setting separately.

Controllers 0 and 32 are reserved for Bank Select messages, controller 1 is used as modulation

source in the router, controllers 33 to 63 work as LSB for controllers 1 to 31, controllers 64 to 69

are reserved for pedal messages, controllers 120 to 127 are reserved for channel mode messages.

In the MIDI specication, all controllers from 0 to 31 are known as Most Signicant Byte (MSB) controller denitions. Each of these controllers (0 to 31) also contains a Least Signicant Byte (LSB) controller denition (32 to 63). Use of this secondary LSB controller in conjunction with the

MSB controller allows for a resolution of 14 bits instead of 7 bits. The ES2 recognizes these control change messages—the breath or expression controllers, for example.

To explain:

•

14-bit controllers are pairs of normal Control Change (CC) messages, where the number of the

second CC message (the LSB) is 32 higher than the rst CC message (the MSB). Examples of

valid 14-bit pairs are: CC1/33, CC7/39, and CC10/42.

•

14-bit controllers have a resolution of 16,384 steps, allowing very precise control of plug-in

parameters. The rst CC message of a 14-bit pair (the MSB) has a coarse resolution of 128 steps.

Each of these steps can be divided into a further 128 substeps using the second CC message

(the LSB). This results in 128 x 128 = 16,384 steps.

•

You don’t need to create new, or special, data types to use 14-bit controllers. The ner resolution is achieved by complementing the assigned CC message (the MSB) with its LSB. The

CC message assigned in the ES2 can always be used alone if your MIDI controller isn’t capable of sending 14-bit messages, thus limiting the resolution to 7-bit = 128 steps.

The 14-bit capability is the reason why CC numbers 33–63 can’t be assigned in the Ctrl A–F

menus. Using these (LSB) CC numbers would result in changing 1/128th of the parameter

range—or put another way, 128 continuous steps out of 16,384.

Assign a MIDI controller

1 Click the MIDI button in the lower-left corner to display the Controller Assignments.

2 Click any Ctrl A to Ctrl F menu, then choose the controller name/number that you want to use

from the list.

Learn a MIDI controller assignment

1 Click the MIDI button in the lower-left corner to display the Controller Assignments.

2 Choose the Learn item from a control menu (Ctrl A to Ctrl F).

3 Move the selected controller on your MIDI keyboard or controller.

Note: If no suitable MIDI message is received within 20 seconds, the selected control reverts to the previous value/assignment.

Chapter 3 ES2 91

ES2 extended parameters

ES2 provides additional parameters that can be accessed by clicking the disclosure triangle at the lower left of the interface.

Extended parameters

•

MIDI Mono Mode pop-up menu: Choose O, On (with common base channel 1), or On (with

common base channel 16).

In either mode, each voice receives on a dierent MIDI channel. Controllers and MIDI messages sent on the base channel aect all voices.

•

Mono Mode Pitch Range pop-up menu: Choose 0, 24, or 48.

The chosen pitch bend range aects individual note pitch bend messages received on

all but the common base channel. The default is 48 semitones, which is compatible with Mobile GarageBand's keyboard in pitch mode. When using a MIDI guitar, 24 semitones is the preferable setting because most guitar to MIDI converters use this range by default.

Create random ES2 sound variations

Use ES2’s randomization parameters

ES2 oers a powerful feature that enables you to randomly vary sound parameters. You can dene the amount of random variation and restrict variations to specic sonic elements. The

random sound variation feature will inspire and aid you when creating new sounds.

You can set the amount of random parameter alteration with the Random Intensity slider.

The random sound variation feature always alters parameters as they are currently set, not based

on the original setting le. Therefore, clicking RND repeatedly results in a sound that increasingly diers from the original setting.

Randomly alter a sound

m Click the Randomize button.

The randomize process is triggered by a single click and can be repeated as often as you like.

Increase the amount of random variation

m Move the Random Intensity slider farther to the right.

Create several slight variations of the current setting

m Reload the original setting after each random alteration, saving each with a new name.

Chapter 3 ES2 92

Restriction of ES2 randomization

You can restrict randomization to particular groups of parameters using the Randomize Section pop-up menu.

Some aspects of your sound may already be ideal for the sound you had in mind. For example, your sound setting has a nice percussiveness, and you’d like to try a few sonic color variations while retaining this percussive feel. To avoid the random variation of any attack times, you can

restrict the variation to oscillator or lter parameters. You do this by setting the RND Destination

to Waves or Filters, thus excluding the envelope parameters from the variation process.

Note: The Master Level, Filter Bypass, and oscillator on/o parameters are never randomized. Also, randomizations of the Vector Envelope turn the Solo Point parameter o.

You can restrict random sound variations to the parameter groups outlined below:

Randomize section Comments

All All parameters, with the exception of those

mentioned above, are randomized.

All except router and Pitch All parameters, with the exception of router

parameters and the basic pitch (semitone settings of

the oscillators), are altered. Oscillator ne-tuning is,

however, randomized.

All except Vector Env All parameters, with the exception of Vector Envelope

parameters, are altered. This maintains the rhythmic feel of a given setting.

Waves Only the oscillator Wave and Digiwave parameters are

altered. Other oscillator parameters (tuning, mix, and modulation routings in the router) are excluded.

Digiwaves New Digiwaves are selected for all oscillators. Other

oscillator parameters (tuning, mix, and modulation routings in the router) are excluded.

Filters

Envs All parameters of all three envelopes (ENV 1, ENV 2,

LFOs All parameters of both LFOs are varied.

Router All router parameters—in all modulation routings—

FX All eects parameters are randomized.

Vector Envelope All Vector Envelope parameters are varied, including

Vector Env Mix Pad The oscillator mix levels of the Vector Envelope points

The following lter parameters are varied: Filter

Structure (series or parallel), Filter Blend, Filter Mode,

Cuto Frequency, and Resonance for Filters 1 and 2.

The Fatness and Filter FM parameters of Filter 2 are also randomized.

and ENV 3) are randomized. The Vector Envelope is excluded.

are varied (all intensities, target, via, and source parameters are changed).

the X/Y routing of the Planar Pad.

are altered. The rhythm and tempo of the modulation (the time parameters of the points) are not changed.

Chapter 3 ES2 93

Randomize section Comments

Vector Env XY Pad Options The Planar Pad pointer positions (the Vector Envelope

points) are randomized. The X/Y routing, however, is not changed. The rhythm and tempo of the modulation (the time parameters of the points) are also left unaltered.

You can specify a single direction for randomization by choosing either:

•

Vector Env XY Pad X only

•

Vector Env XY Pad Y only

Vec Env Times Only the time parameters of the Vector Envelope

points are altered.

Vec Env Structure The Vector Envelope structure is altered. This

includes: All times, the Sustain point, the number of points, and all loop parameters.

Vec Env Shue Times The Vector Envelope shue times (within loops) are

altered. This includes the Loop Smooth value, if Loop

Mode is set to Forward or Backward.

Chapter 3 ES2 94

ES2 tutorials

Create ES2 sounds from scratch

ES2 sound design from scratch overview

The “Create ES2 sounds from scratch” tutorials guide you—from the ground up (from scratch)— through the creation of commonly used sounds. The ES2 sound design with templates on page 106 tutorials also guide you through the sound creation process, but you use a number of templates as your starting point.

To see the settings for these tutorials in the ES2 window, choose Tutorial Settings from the Settings pop-up menu.

The Analog Saw Init tutorial setting is designed to be used as a starting point when you are programming new sounds from scratch. When programming entirely new sounds, professional

sound designers like to use this type of setting, which has an unltered sawtooth wave sound

without envelopes, modulations, or any gimmicks. This type of setting is also useful when you are getting to know a new synthesizer. It allows you to access all parameters without having to consider any preset values.

•

Start with the lters, the heart of any subtractive synthesizer. Check out the four lowpass lter types—12 dB, 18 dB, 24 dB, and fat (Filter 2)—with dierent values for Cut (Cuto Frequency) and Res (Resonance). Dene Env 2 as the lter envelope. This modulation wiring is preset in

the Router.

•

Set Filter Blend to its leftmost position, which allows you to listen to Filter 1 in isolation. In many circumstances, you’ll probably prefer Filter 1, but Filter 2 has its advantages. In addition

to the lowpass lter with 12 dB/octave slope (Lo), Filter 1 also oers a highpass, peak, bandpass

(BP), and band rejection (BR) mode. Filter 2’s lowpass sounds “softer” when compared with

Filter 1. It is best-suited to sounds where the lter eect is or should be less audible, such as

with Strings and FM sounds. Distorted TB-303-style sounds are more easily achieved with Filter 2.

•

This setting is also ideal for experimenting with dierent oscillator waveforms.

Chapter 3 ES2 95

Create fat ES2 sounds

“Fat” synthesizer sounds have always been popular and are likely to remain so, given their use in modern trance, techno, R & B, and other styles.

Create fat ES2 sounds with oscillator detuning and unison mode

The Analog Saw 3 Osc setting features three detuned oscillators, and sounds fat as it is. The following introduces you to some additional tools to fatten the sound even more.

In many factory settings, the Unison mode is active. This demands a lot of processing power. If

your computer isn’t fast enough, you can switch o the Unison mode and insert an Ensemble eect in a bus, for use with several plug-ins. This saves processing power. You can also save CPU

resources by freezing or bouncing several software instrument tracks.

Do the following:

m Check out the three-oscillator basic sound with dierent lter and envelope settings.

m Check out the chorus eect at dierent Intensities and speeds.

m Engage Unison mode and select a higher setting for Analog. Because the sound is polyphonic,

each note is doubled. The number of notes that can be played simultaneously is reduced from 10 to 5. This makes the sound rich and broad. Combining Unison and higher values for Analog spreads the sound across the stereo or surround spectrum.

In many factory settings, the Unison mode is active. This demands a lot of processing power. If

your computer isn’t fast enough, you can switch o the Unison mode and insert an Ensemble eect in a bus, for use with several plug-ins. This saves processing power. You can also save CPU

resources by freezing or bouncing several software instrument tracks.

Create detuned ES2 monophonic sounds and eects

The Analog Saw Unison setting is a fat, heavily detuned, unltered basic sound. Three sawtooth

oscillators are used, but they are further detuned. The combination of Unison and Analog (set to a high value) is essential—but this time monophonic mode is used to stack ten voices. Without

further eects, the result is a huge lead sound, much like those used in countless dance and trance productions. With appropriate lter and envelope settings, electro sounds that are ideal

for arpeggiation and sequencing can easily be set up.

Do the following:

m Set the Cuto Frequency of Filter 2 to 0. This activates the preset lter envelope. Feel free to

check out dierent envelope settings.

m Switch Osc 1 to sound one or two octaves lower.

m Increase Drive or Distortion.

m Set Env 2 to be velocity sensitive. This allows for velocity-sensitive lter modulations.

m Insert a delay eect in the instrument channel strip of the ES2 (or a bus target).

Chapter 3 ES2 96

Create ES2 bass sounds

Not every sound needs to consist of several oscillators. There are numerous simple, eective,

sounds that make use of a single oscillator. This is especially true of synthesizer bass sounds, which can be created quickly and easily with the Analog Bass Clean setting.

Create clean single-oscillator bass sounds

In the Analog Bass Clean setting, the basic sound is a rectangular wave that is transposed down

by one octave. The sound is ltered by Filter 2. What’s special about this sound is its combination of Legato and Glide (portamento). When you play staccato, no glide eect occurs. When you play

legato, the pitch smoothly glides from one note to another. All keys must be released before you strike a new key, in order to retrigger the envelopes.

Do the following:

m Check out dierent lter and envelope settings.

m Replace the rectangular wave with a sawtooth.

m Vary the Glide settings.

Tip: It’s best to make your edits while a bass line is playing. Create or play a monophonic bass line, with most notes played staccato, but some legato. This can provide some interesting results with very long Glide values.

Create distorted analog basses

In the Analog Bass Distorted setting, Filter 1 is engaged, with high settings for Drive and

Distortion. This lter is better suited to the creation of distorted analog sounds than Filter 2.

Do the following:

m Check out Filter 2 by setting Filter Blend to its rightmost position. Notice that Filter 1 works

better with distorted sounds.

m To control the lter modulation, move the green sliders of the rst modulation routing in the

router. This controls the modulation intensity.

Chapter 3 ES2 97

Create ES2 FM sounds

In the ES2, oscillator 1 is always the carrier, and oscillator 2 the modulator. In other words, oscillator 2 modulates oscillator 1.

The FM Start setting is great for familiarizing yourself with linear frequency modulation (FM) synthesis.

Use FM Intensity and Frequency to create new sounds

Load the FM Start setting to hear an unmodulated sine sound, generated by oscillator 1.

Oscillator 2 is switched on and set to produce a sine oscillation as well, but its level is set to 0: Drag the small square in the uppermost corner of the Triangle to change the settings.

Do the following:

m Adjust the intensity of the frequency modulation by slowly moving the wave selector from

Sine to FM. You will hear a typical FM spectrum, with the carrier and modulator set to the same frequency.

m Alter the modulator frequency (oscillator 2) by adjusting Fine Tune from 0 c to 50 c. You’ll hear a

very slow frequency modulation, which can be compared to the eect of an LFO. The frequency

modulation, however, takes place in the audio spectrum. It is adjusted in semitone steps by the

frequency selector. Check out the entire range from −36 s to +36 s for oscillator 2. You’ll hear a

broad spectrum of FM sounds. Some settings will remind you of classic FM synthesizer sounds.

m Select other waveforms for oscillator 2. Sine is the classic, standard FM waveform, but other

waveforms lead to interesting results as well, especially the Digiwaves.

m You will achieve further interesting results by altering the carrier (oscillator 1) frequency.

Check out the entire range, from −36 s to +36 s here, as well. The odd intervals are especially

fascinating. Note that the basic pitch changes when you do this.

Control ES2 FM intensity with an envelope and FM scaling

In the FM Envelope setting, you can control the FM intensity with an envelope, generated by Envelope 2. The modulation target is the range that falls between Sine and FM in the oscillator

wave selector. The rst Router channel is used for this modulation routing. You can control a

wider range by using additional modulation routings, which have been pre-prepared for you. All you need to do is set their values. Because these modulations work without velocity sensitivity, you can set them in the Editor view by moving both the lower and upper fader halves to their topmost positions.

Do the following:

m Set the second modulation routing to 1.0. You’ll hear how the modulation now “wanders”

through a broader sound range.

m Set modulation routings 3 and 4 to a value of 1.0 as well, and listen to the increase in the

sound range.

m After these drastic augmentations to the modulation range, the sound becomes uneven across

the keyboard. In the lower and middle ranges it sounds nice, but in the upper key range the

FM intensity appears to be too severe. You can compensate for this eect by modulating the

Osc 1 Wave target by keyboard position (kybd) in modulation routings 5 and 6. This results in a keyboard scaling of the FM intensity.

m Because the sound range is so vast (due to the four modulations), two modulation routings

are required to compensate for this. Set the lower slider halves to their lowest positions. Good keyboard scaling is essential for any FM sound.

Chapter 3 ES2 98

Use FM Drive and Filter FM to change the tonal color

The FM Drive setting illustrates how dramatically the character of FM sounds can be altered when you apply Drive and Filter FM. The results are reminiscent of the feedback circuits of classic FM synthesizers.

Do the following:

m Check out dierent Drive and Filter FM settings.

m Lower the Cuto Frequency of Filter 2 to 0. Envelope 2 modulates Filter 2. This modulation

routing is already present in the setting.

Create FM sounds with Digiwaves

In the FM Digiwave setting, a Digiwave is used as an FM modulator. This results in bell-like spectra from only two operators. With traditional FM synthesis, this type of timbre could normally be produced only with a larger number of sine oscillators.

To create a fatter, undulating, and atmospheric quality to the sound, the polyphonic Unison mode has been engaged. Filter and amplitude envelopes have been preset to shape the sound.

Do the following:

m Check out the variety of Digiwaves as FM modulation sources.

m Check out dierent Analog parameter values.

Create FM sounds with wavetables

You can program the most vivid FM sounds when the modulation source morphs between

dierent Digiwaves. The morphing in the FM Digiwave setting is controlled by LFO 2. The tempo of LFO 2, and therefore the morph, depends on the host application tempo—here, two bars.

Do the following:

m Set LFO 2 to dierent waveforms. Lag S/H (smooth random), in particular, should be fun.

m Check out dierent FM intensities and oscillator frequencies.

m Alter the modulation intensity of the rst modulation routing (LFO2 modulates Osc2 Wave) and

the LFO 2 rate.

Create distorted FM sounds with monophonic unison

The FM Megafat setting is well-suited for distorted basses and guitar-like sounds. This sound gets rather “rude” in the upper key range. This cannot be compensated for with key scaling, but not every sound has to be “nice” across the entire keyboard range!

Do the following:

m Check out extreme detunings by adjusting the Analog parameter.

m Check out the Flanger with this sound.

m Engage the lter envelope by lowering the Cuto Frequency of Filter 2 down to 0.

m Add some Glide to lead sounds.

m As always when it comes to FM, you can dramatically alter the sound by varying the frequencies

of the oscillators. Make sure you check out the odd intervals, as well.

Create FM sounds with unusual spectra

Chapter 3 ES2 99

If you’re unconcerned with the pitch of your sound, you can get the weirdest spectra out of odd frequency ratios—oscillator intervals.

The FM Out of Tune setting oers a bell-like sound, reminiscent of a ring modulator. It was

achieved through a setting of 30 s 0 c, with the modulator set to a value of 0 s 0 c. Sounds like this were commonly used in the electronic music of the eighties and have had a resurgence in popularity in ambient and trance music styles.

You can further develop the sound by applying ltering, envelope modulations, and eects.

There is, however, one small problem—the sound is out of tune.

Do the following:

m Use oscillator 3 as a reference for the tuning of the FM sound by dragging the pointer in

the Triangle.

m You’ll notice that the sound is ve semitones too high (or seven semitones too low, conversely).

m Transpose both oscillators 1 and 2 ve semitones (500 ct) lower. Transposing them upward is not

practical, as you’d need to select 37 s 0 c for oscillator 1, which has a maximum value of 36 s 0 c.

m It’s important to maintain the frequency ratio (interval) between oscillators 1 and 2. This means

that oscillator 1 sounds at 25 s O c and oscillator 2 at −5 s 0 c.

Chapter 3 ES2 100

Apple MainStage - 3 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

MainStage 3 Instruments

Contents

Drum Kit Designer overview

Drum Kit Designer Edit panel

Use Drum Kit Designer

Drum Kit Designer extended parameters

Drum Kit Designer mappings

ES1 overview

ES1 oscillator parameters

ES1 oscillator parameters overview

ES1 oscillator waveforms

Use the ES1 sub-oscillator

ES1 global parameters

ES1 envelope parameters

ES1 envelope parameters overview

ES1 modulation

ES1 modulation parameters overview

Use the ES1 router

Use the ES1 LFO

Use the ES1 modulation envelope

ES1 MIDI controllers

ES2 overview

ES2 interface

ES2 sound sources

ES2 oscillator parameters overview

ES2 basic oscillator waveforms

Use pulse width modulation in ES2

Use frequency modulation in ES2

Use ring modulation in ES2

Use ES2 Digiwaves

Use the ES2 noise generator

ES2 emulation of detuned analog oscillators

Stretch tuning in ES2

Balance ES2 oscillator levels

ES2 oscillator start points

Synchronize ES2 oscillators

ES2 global parameters

Global parameters overview

Set the ES2 keyboard mode

Use unison and voices in ES2

Set the ES2 glide time

Set the ES2 pitch bend range

ES2 Filter 1 modes

ES2 Filter 2 slopes

Modulate ES2’s Filter 2 Frequency

Use ES2’s dynamic stage

Sine Level enhanced ES2 sounds

ES2 modulation

ES2 modulation overview

ES2 modulation router

ES2 LFOs

Use ES2 LFOs

ES2 envelopes

Use the Vector Envelope

Vector Envelope points, times, and loops

Use the Planar Pad

ES2 modulation target reference

ES2 modulation source reference

ES2 via modulation source reference

ES2 macro controls and controller assignments

ES2 macro and controller assignment overview

ES2 macro controls

Make ES2 controller assignments

ES2 extended parameters

Create random ES2 sound variations

Use ES2’s randomization parameters

Restriction of ES2 randomization

ES2 tutorials

Create ES2 sounds from scratch