Apple MainStage - 3 User Manual
MainStage 3 Instruments
For OS X
K Apple Inc.
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Contents
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 amplier parameters
28 ES1 envelope parameters
28 ES1 envelope parameters overview
28 ES1 lter cuto envelope modulation
29 ES1 amplier 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
3
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 conguration
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 amplier 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 eects 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 dierent 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 eects 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 eect 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 eect parameters
258 Sculpture delay eect 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 Dene 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 eect
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 Eects window
413 Use Vintage B3 eects
414 Vintage B3 EQ
414 Vintage B3 Wah eect
416 Vintage B3 Distortion eect
416 Vintage B3 Reverb eect
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 eect
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 Eects window
439 Vintage Clav Eects window overview
440 Vintage Clav Compressor eect
440 Vintage Clav Distortion eect
441 Vintage Clav Modulation eect
442 Vintage Clav Wah eect
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 Eects window
452 Vintage Electric Piano EQ
453 Vintage Electric Piano Drive eect
453 Vintage Electric Piano Chorus eect
454 Vintage Electric Piano Phaser eect
455 Vintage Electric Piano Tremolo eect
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 Eects
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 amplier
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
1
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 dierent microphones and rooms to enhance Producer kits.
Producer kits are identied 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.
14
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 dierent 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
dierent 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 dierent 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
C1
C0
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 dierent 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
C3
Ride In
Cowbell
Tambourine
Ride Out
Crash Left
C2
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 Tom
High Mid Tom
Low Mid Tom
Low Tom
Low Tom
Snare Rimshot
Snare Center
Kick
Kick
Hi-Hat Foot Close
Hi-Hat Foot Splash
Shaker
C3
Cowbell
Tambourine
Ride Out
Crash Left
C2
Hi-Hat Edge
Hi-Hat Shank
Hi-Hat Tip
Claps
Snare Sidestick
C1
Snare Edge
Rimshot Edge
Ride In
Crash Right
Ride Bell
Ride Edge
High Tom
High Tom
High Mid Tom
Low Mid Tom
Low Tom
Low Tom
Snare Rimshot
Snare Center
Kick
Kick
Hi-Hat Foot Close
Hi-Hat Foot Splash
Crash Right Stop
Crash Left Stop
C0
Crash Right Stop
Crash Left Stop
Chapter 1 Drum Kit Designer 20
Amplifier parameters
Filter parameters
Oscillator parameters
ES1
2
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 dierent 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.
•
Amplier parameters: Located in the upper right, the amplier parameters allow you to ne-
tune the behavior of your sound’s level. See ES1 amplier 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 amplier level over time. See ES1 envelope
parameters overview on page 28.
21
•
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 aect 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 dierent 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 aect 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 eects, 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 eect, an ensemble eect, or to disable the
eects processor.
•
O disables the built-in chorus circuit.
•
C1 is a typical chorus eect.
•
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
dened 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 oers four dierent 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 eect 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 aects 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 amplier parameters
The parameters in the ES1 Amplier 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.
Amplier parameters
•
Level via Vel slider: Drag to determine how note velocity aects the synthesizer level. The
greater the distance between the arrows (indicated by the blue bar), the more the volume is
aected 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.
•
Amplier envelope selector buttons: Click one of the buttons—AGateR, ADSR, or GateR—to
determine the ADSR envelope generator used for control of the amplier 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 amplier envelope modulation
The AGateR, ADSR, and GateR buttons in the Amplier section determine which of the ADSR
envelope controls aect the amplier 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 amplier
(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 amplier envelope selector buttons have the following eect 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 oers 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
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