Apple MainStage - 3 User Manual

0 (0)

MainStage 3 Instruments

For OS X

KKApple Inc.

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14 Chapter 1:  Drum Kit Designer

14Drum Kit Designer overview

15Drum Kit Designer Edit panel

16Use Drum Kit Designer

19Drum Kit Designer extended parameters

20Drum Kit Designer mappings

21Chapter 2:  ES1

21ES1 overview

22ES1 oscillator parameters

22ES1 oscillator parameters overview

23ES1 oscillator waveforms

23Use the ES1 sub-oscillator

24ES1 global parameters

25ES1 filter parameters

25ES1 filter parameters overview

26Drive the ES1 filter to self-oscillate

27ES1 amplifier parameters

28ES1 envelope parameters

28ES1 envelope parameters overview

28ES1 filter cutoff envelope modulation

29ES1 amplifier envelope modulation

30ES1 modulation

30ES1 modulation parameters overview

30Use the ES1 router

31Use the ES1 LFO

32Use the ES1 modulation envelope

33ES1 MIDI controllers

34Chapter 3:  ES2

34ES2 overview

35ES2 interface

37 ES2 sound sources

37ES2 oscillator parameters overview

38ES2 basic oscillator waveforms

39Use pulse width modulation in ES2

40Use frequency modulation in ES2

41Use ring modulation in ES2

42Use ES2 Digiwaves

42Use the ES2 noise generator

43ES2 emulation of detuned analog oscillators

44Stretch tuning in ES2

45Balance ES2 oscillator levels

45ES2 oscillator start points

46Synchronize ES2 oscillators

47ES2 global parameters

47Global parameters overview

48Set the ES2 keyboard mode

48Use unison and voices in ES2

49Set the ES2 glide time

49Set the ES2 pitch bend range

50ES2 filter parameters

50ES2 filter overview

51ES2 filter configuration

51 Cross-fade between ES2 filters

53ES2 Filter 1 modes

53ES2 Filter 2 slopes

54ES2 filter cutoff and resonance

56Overdrive ES2 filters

57Modulate ES2’s Filter 2 Frequency

58ES2 amplifier parameters

58Use ES2’s dynamic stage

58Sine Level enhanced ES2 sounds

59ES2 modulation

59ES2 modulation overview

60ES2 modulation router

64ES2 LFOs

66Use ES2 LFOs

67ES2 envelopes

70Use the Vector Envelope

71Vector Envelope points, times, and loops

77Use the Planar Pad

78ES2 modulation target reference

84ES2 modulation source reference

86ES2 via modulation source reference

88ES2 integrated effects processor

90ES2 macro controls and controller assignments

90ES2 macro and controller assignment overview

90ES2 macro controls

91Make ES2 controller assignments

92ES2 extended parameters

92Create random ES2 sound variations

92Use ES2’s randomization parameters

93Restriction of ES2 randomization

95ES2 tutorials

95Create ES2 sounds from scratch

106Create ES2 sounds with templates

Contents

111 Chapter 4:  EFM1

111 EFM1 overview

113 EFM1 modulator and carrier parameters

113 Modulator and carrier overview

115 Set the EFM1 tuning ratio

115Choose a different EFM1 modulator waveform

116EFM1 modulation parameters

117EFM1 global parameters

118EFM1 output parameters

119Create random EFM1 sounds

119EFM1 extended parameters

120EFM1 MIDI controller assignments

121Chapter 5:  ES E

121ES E overview

122ES E oscillator parameters

123ES E LFO parameters

124ES E filter parameters

125ES E envelope parameters

125ES E output parameters

126Extended ES E parameters

127Chapter 6:  ES M

127ES M overview

128ES M oscillator parameters

129ES M filter and filter envelope

130ES M level envelope and output controls

130Extended ES M parameters

131Chapter 7:  ES P

131ES P overview

132ES P oscillator parameters

133ES P LFO parameters

134ES P filter parameters

135ES P envelope and level controls

136Integrated ES P effects processor

136Extended ES P parameters

Contents

137 Chapter 8:  EVOC 20 PolySynth

137EVOC 20 PolySynth and vocoding

137EVOC 20 PolySynth overview

138Vocoder basics

139EVOC 20 PolySynth interface

140EVOC 20 PolySynth analysis parameters

141EVOC 20 PolySynth (U/V) detection parameters

143EVOC 20 PolySynth synthesis parameters

143EVOC 20 PolySynth synthesis parameters overview

144EVOC 20 PolySynth oscillator parameters

146EVOC 20 PolySynth tuning and pitch parameters

147EVOC 20 PolySynth filter parameters

147EVOC 20 PolySynth envelope parameters

148EVOC 20 PolySynth global parameters

149EVOC 20 PolySynth formant filter

151EVOC 20 PolySynth modulation parameters

152EVOC 20 PolySynth output parameters

153EVOC 20 PolySynth performance tips

153Level and frequency tips

153Tips to avoid sonic artifacts

154Tips to enhance speech intelligibility

155Vocoder history

156EVOC 20 block diagram

157 Chapter 9:  EXS24 mkII

157 EXS24 mkII overview

159 Sampler instruments

159Sampler instruments overview

159Sample storage locations

160Manage sampler instruments

161Use sampler instruments and settings

162Import SoundFont2, DLS, and Gigasampler files

164Convert audio regions to sampler instruments

165Convert ReCycle files to sampler instruments

167EXS24 mkII Parameter window

167EXS24 mkII Parameter window overview

168Sampler Instruments pop-up menu

171EXS24 mkII global parameters

174EXS24 mkII pitch parameters

176EXS24 mkII filter parameters

178EXS24 mkII output parameters

179EXS24 mkII extended parameters

179EXS24 mkII modulation overview

180EXS24 mkII modulation router

184EXS24 mkII LFOs

187EXS24 mkII envelope overview

188EXS24 mkII modulation reference

Contents

192EXS24 mkII Instrument Editor window

192EXS24 mkII Instrument Editor overview

193EXS24 mkII Zones and Groups view

195Create instruments, zones, and groups

199Edit EXS24 mkII zones and groups

211Save, rename, and export EXS24 mkII instruments

212Edit samples in the Logic Pro Audio File Editor

213Use an external instrument editor with EXS24 mkII

214EXS24 mkII preferences

217EXS24 mkII memory management

219 Chapter 10:  External Instrument

219External Instrument overview

220Use the External Instrument

221Chapter 11:  Klopfgeist

221Klopfgeist parameters

223 Chapter 12:  Retro Synth

223Retro Synth overview

224Retro Synth Analog oscillator controls

225Retro Synth Sync oscillator controls

226Retro Synth Table oscillator controls

227Retro Synth FM oscillator controls

229Retro Synth filter controls

231Retro Synth amp and effect controls

232Retro Synth modulation controls

232Use Retro Synth modulation

233Retro Synth Glide and Autobend

234Retro Synth LFO and Vibrato

235Retro Synth envelopes

236Retro Synth global and controller settings

237Retro Synth extended parameters

238 Chapter 13:  Sculpture

238 Sculpture overview

240Sculpture interface

241Sculpture string parameters

241Sculpture string overview

242Sculpture Hide, Keyscale, and Release view

243Sculpture’s basic Material Pad parameters

244Use Sculpture’s Material Pad in Keyscale or Release view

245Use Sculpture’s string parameter sliders

247Sculpture objects parameters

247Sculpture objects overview

248Sculpture excite table (objects 1 and 2)

250 Sculpture disturb and damp table (objects 2 and 3) 252 Sculpture pickups parameters

252Use Sculpture pickup parameters

253Sculpture’s spread controls

254Sculpture global parameters

Contents

255Sculpture amplitude envelope parameters

256Use Sculpture’s Waveshaper

257Sculpture filter parameters

258Sculpture delay effect parameters

258Sculpture delay effect overview

259Sculpture’s Groove Pad (stereo)

260Sculpture Body EQ parameters

260Sculpture Body EQ overview

261Use Sculpture’s Basic EQ model

262Use Sculpture’s Body EQ models

263Sculpture output parameters

263Sculpture modulation controls

263Sculpture modulation overview

264Sculpture LFOs

268Sculpture Vibrato parameters

269Sculpture Jitter generators

270Sculpture note-on random modulators

271Sculpture velocity modulators

272Use Controller A and B in Sculpture

272Sculpture envelope parameters

280Sculpture morph parameters

280Sculpture morph overview

281Use Sculpture’s Morph Pad

284Use Sculpture’s Morph Envelope

289Define Sculpture MIDI controllers

290Sculpture tutorials

290Explore Sculpture

295Create basic sounds in Sculpture

305Advanced Sculpture tutorial: electric bass

323Advanced Sculpture tutorial: synthesizer sounds

328 Chapter 14:  Ultrabeat

328Ultrabeat overview

329Ultrabeat interface

330Ultrabeat Assignment section

330Ultrabeat Assignment section overview

331Play and select Ultrabeat drum sounds

333 Name, swap, and copy Ultrabeat drum sounds

335 Import sounds and EXS instruments into Ultrabeat

337Ultrabeat settings

338Ultrabeat Synthesizer section overview

340Ultrabeat sound sources

340Ultrabeat oscillator overview

341Ultrabeat oscillator 1 phase oscillator mode

342Use Ultrabeat oscillator 1 FM mode

343Use Ultrabeat oscillator 1 side chain mode

344Use Ultrabeat oscillator 2 phase oscillator mode

345Basic waveform characteristics

345Use Ultrabeat oscillator 2 sample mode

Contents

347 Use Ultrabeat oscillator 2 model mode

349 Ultrabeat ring modulator

349 Ultrabeat noise generator

351 Use Ultrabeat’s filter section

354Ultrabeat distortion circuit

355Ultrabeat Output section

355Ultrabeat Output section overview

356Adjust Ultrabeat’s two-band EQ

357Ultrabeat pan and stereo spread

358Ultrabeat voice volume control

359Change Ultrabeat’s trigger mode

360Ultrabeat modulation

360 Ultrabeat modulation overview

360 Mod and via modulations in Ultrabeat

362Create a modulation routing in Ultrabeat

363Assign Ultrabeat MIDI controllers A–D

364Use Ultrabeat LFOs

367Ultrabeat envelope overview

368Ultrabeat envelope parameters

369Use Ultrabeat’s modulation target display

370Ultrabeat step sequencer

370Ultrabeat step sequencer overview

370Step sequencer basics

371Ultrabeat step sequencer interface

371Ultrabeat global sequencer controls

372Ultrabeat pattern controls

373Use Ultrabeat’s swing function

374Ultrabeat Step grid

378 Automate parameters in Ultrabeat’s step sequencer

380Export Ultrabeat patterns as MIDI regions

381MIDI control of Ultrabeat’s step sequencer

382Ultrabeat tutorials

382Ultrabeat sound programming overview

383Create Ultrabeat kick drums

387 Create Ultrabeat snare drums

392Create Ultrabeat tonal percussion

392Create Ultrabeat hi-hats and cymbals

393Create metallic Ultrabeat sounds

393Tips for extreme Ultrabeat sounds

Contents

394 Chapter 15:  Vintage B3

394Vintage B3 overview

395Vintage B3 Main window

395Vintage B3 Main window overview

396Vintage B3 draw bar controls

397Vintage B3 Scanner Vibrato and Chorus

398Vintage B3 Percussion effect

399Use Vintage B3 preset keys

401 Set up Vintage B3 for your MIDI equipment

404 Vintage B3 Rotor Cabinet window

404Vintage B3 Rotor Cabinet window overview

405Advanced Cabinet parameters

406Advanced Motor parameters

407Advanced Brake parameters

408Vintage B3 Microphone types

409Vintage B3 Microphone parameters

410Vintage B3 Options window

410Vintage B3 Options window overview

410Vintage B3 Master and Click controls

411Vintage B3 Morph parameters

412Use Vintage B3 Morph controls

413Vintage B3 Effects window

413Use Vintage B3 effects

414Vintage B3 EQ

414 Vintage B3 Wah effect

416Vintage B3 Distortion effect

416Vintage B3 Reverb effect

417Vintage B3 Expert window

417Vintage B3 Expert window overview

418Vintage B3 Pitch controls

419Vintage B3 Sustain controls

419 Vintage B3 Condition controls

421Vintage B3 Organ Model controls

422Use a MIDI controller with Vintage B3

422 Choose a Vintage B3 MIDI control mode 422 Vintage B3 MIDI mode: Roland VK or Korg CX

424Vintage B3 MIDI mode: Hammond Suzuki

425Vintage B3 MIDI mode: Native Instruments B4D

427Vintage B3 MIDI mode: Nord Electro

428B3 and Leslie information

428Additive synthesis with draw bars

429The residual effect

429Tonewheel sound generation

430A brief Hammond history

431The Leslie cabinet

Contents

432 Chapter 16:  Vintage Clav

432Vintage Clav overview

433Vintage Clav interface

434Vintage Clav Main window

434Vintage Clav Main window overview

435Vintage Clav models

436Vintage Clav model characteristics

437Use Vintage Clav Pickup parameters

438Use Vintage Clav Stereo Spread parameters

439Vintage Clav Effects window

439Vintage Clav Effects window overview

440Vintage Clav Compressor effect

440Vintage Clav Distortion effect

441Vintage Clav Modulation effect

442Vintage Clav Wah effect

443Vintage Clav Details window

443Vintage Clav Details window overview

443Vintage Clav Excite and Click parameters

444Vintage Clav String parameters

445Vintage Clav Pitch parameters

446Vintage Clav Misc parameters

447Vintage Clav extended parameters

448D6 Clavinet information

448D6 Clavinet history

449D6 Clavinet mechanical details

450Chapter 17:  Vintage Electric Piano

450Vintage Electric Piano overview

451Vintage Electric Piano interface

452Vintage Electric Piano Effects window

452Vintage Electric Piano EQ

453Vintage Electric Piano Drive effect

453Vintage Electric Piano Chorus effect

454Vintage Electric Piano Phaser effect

455Vintage Electric Piano Tremolo effect

456Vintage Electric Piano Details window

456Vintage Electric Piano model parameters

457Vintage Electric Piano pitch parameters

458Vintage Electric Piano extended parameters

459Vintage Electric Piano emulations

459Rhodes models

460Hohner and Wurlitzer models

461Vintage Electric Piano MIDI controllers

Contents

462 Appendix A:  Legacy instruments

462 Legacy instruments overview

462 Emulated instruments

462 Bass

462Church Organ

463Drum Kits

463Electric Clav(inet)

463Electric Piano

464Guitar

464 Horns

464 Piano

464 Sound Effects

464Strings

465Tuned Percussion

465	Voice
465	Woodwind

465Tonewheel Organ

466Synthesizers

466Analog Basic

466Analog Mono

467Analog Pad

467Analog Swirl

468Analog Sync

468Digital Basic

469Digital Mono

469Digital Stepper

470Hybrid Basic

471Hybrid Morph

472Appendix B:  Synthesizer Basics

472Synthesizer basics overview

473Sound basics

473Sound basics overview

474Tones, overtones, harmonics, and partials

474The frequency spectrum

475Other waveform properties

476Synthesizer fundamentals

478 Subtractive synthesizers

478How subtractive synthesizers work

479Subtractive synthesizer components

480Oscillators

483	Filters
486	Envelopes in the amplifier
488	Modulation
491	Global controls

Contents

492 Other synthesis methods

492Other synthesis methods overview

492Sample-based synthesis

493Frequency modulation (FM) synthesis

494Component modeling synthesis

495Wavetable,Vector, and Linear Arithmetic synthesis

496Additive synthesis

497Phase distortion synthesis

497Granular synthesis

498A brief synthesizer history

498Precursors to the synthesizer

499Early voltage-controlled synthesizers

500The Minimoog

501Storage and polyphony

502Digital synthesizers

Contents

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 different microphones and rooms to enhance Producer kits. Producer kits are identified 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.

Exchange panel

Edit panel

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 field:Rotate to adjust the pitch.

•• Dampen knob and field:Rotate to adjust the sustain.

•• Gain knob and field: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 off the room emulation.

Chapter 1    Drum Kit Designer

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 different microphones, such as overheads or room mics, on or off.

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 mm Click a drum or percussion piece.

The first 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)

1Click 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

2To adjust settings, do any of the following:

•• To adjust the pitch: Drag the Tune control vertically, or double-click the field and enter a new value.

••

To adjust the sustain: Drag the Dampen control vertically, or double-click the field and enter a new value.

To adjust the volume: Drag the Gain control vertically, or double-click the field and enter a new value.

3To 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.

1Click a drum or percussion piece.

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

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

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

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:

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

This turns microphone bleed on or off, where the sound of a kit piece is picked up by the different mics from other kit pieces.

mm 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 off.

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

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

Chapter 1    Drum Kit Designer

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 different 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 field) 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

Drum Kit Designer mappings

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 different 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.

GM Standard

GM + ModWheel

Shaker

		C3







Ride In

Crash Right
Cowbell
Cowbell

Tambourine
Tambourine
Ride Bell

Ride Edge
Ride Out
Ride Out
High Tom
Crash Left		C2
Crash Left
High Tom
High Mid Tom
Hi-Hat Open Edge
Hi-Hat Open Edge
Low Mid Tom
Hi-Hat Foot
Hi-Hat Foot
Low Tom
Hi-Hat Closed Tip
Hi-Hat Closed Tip
Low Tom

Snare Rimshot
Claps
Claps
Snare Center
Snare Sidestick
Snare Sidestick	Kick	C1
	Kick	C1
	Kick
Snare Edge
Snare Edge
Hi-Hat Foot Close
Rimshot Edge
Rimshot Edge
Hi-Hat Foot Splash


Crash Right Stop

Crash Left Stop

Shaker

Ride In

Crash Right

Cowbell

Tambourine

Ride Bell

Ride Edge

Ride Out

High Tom

Crash Left

High Tom

High Mid Tom

Hi-Hat Edge

Low Mid Tom

Hi-Hat Shank

Low Tom

Hi-Hat Tip

Low Tom

Snare Rimshot

Claps

Snare Center

Snare Sidestick

Kick

Snare Edge

Hi-Hat Foot Close

Rimshot Edge

Hi-Hat Foot Splash

Crash Right Stop

Crash Left Stop

C0	C0

Chapter 1    Drum Kit Designer

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 filter out) portions of these waveforms and reshape them to create new sounds. The ES1’s tone-generation system also provides flexible 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 different synthesis systems and how they work.

Oscillator parameters	Filter parameters	Amplifier parameters
Oscillator parameters	Filter parameters	Amplifier parameters

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 filter is used to contour the waveforms sent from the oscillators. See ES1 filter parameters overview on page 25.

Amplifier parameters:Located in the upper right, the amplifier parameters allow you to finetune the behavior of your sound’s level. See ES1 amplifier parameters on page 27.

Envelope parameters: Located to the right in the dark green/gray area, the ADSR sliders are used to control both filter cutoff and the amplifier 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 off, 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

mm 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

ES1 oscillator waveforms

The table outlines the basic tones of the oscillator waveforms—how they affect your synthesizer sound.

Waveform	Basic tone	Comments
Sawtooth	Warm and even	Useful for strings, pads, bass, and
		brass sounds

Triangle	Sweet sounding, softer than	Useful for flutes, pads
	sawtooth

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

Pulse	“Nasal” sounding	Great for reed instruments, synth
		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 different 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

1Set the Sub knob to EXT.

2Choose the side-chain source channel strip from the Side Chain pop-up menu in the upper-right corner of ES1.

Chapter 2    ES1

ES1 global parameters

The global parameters affect 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 field (see below).

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

Analog field:Drag to slightly, and randomly, change the pitch of each note and the cutoff frequency.This emulates the oscillator detuning and filter fluctuations 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 field: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 field:Drag to set the ES1 master volume.

Voices field: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 fingered 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 effects, without touching your keyboard’s pitch bender, by choosing a high Glide parameter value when using the Legato setting.

•• Chorus field:Click to choose a classic stereo chorus effect, an ensemble effect, or to disable the effects processor.

•• Off disables the built-in chorus circuit.

•• C1 is a typical chorus effect.

•• 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

ES1 filter parameters

ES1 filter parameters overview

This section outlines the filter parameters of the ES1.

Filter parameters

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Cutoffslider:Drag to set the cutoff frequency of the ES1’s lowpass filter.

Resonance slider: Drag to cut or boost the portions of the signal that surround the frequency defined by the Cutoff parameter. Boost can be set so intensively that the filter begins to oscillate by itself (see Drive the ES1 filter to self-oscillate on page 26).

Tip: You can simultaneously adjust the cutoff frequency and resonance parameters by dragging vertically (cutoff) or horizontally (resonance) on the word Filter, found in the center of the black circle.

•• Slope buttons: The lowpass filter offers four different slopes of band rejection above the cutoff 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 filter.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 filter.

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

•• 18 dB: Resembles the filter 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 filter.

•• Key slider: Drag to set the effect that keyboard pitch (the note number) has on filter cutoff frequency modulation.

•• If Key is set to zero, the cutoff 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 filter follows the pitch, resulting in a constant relationship between cutoff 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

••

ADSR via Vel sliders: Drag to determine how note velocity affects modulation of the filter cutoff 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 filter by approximately 10 decibels.The filter 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 filter to self-oscillate. (Click the disclosure triangle at the lower left of the ES1 interface to access the Extended Parameters area.)

Drive the ES1 filter to self-oscillate

If you increase the filter Resonance parameter to higher values, the filter 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 filter output a sine wave by following the steps below.This lets you play the filter-generated sine wave with the keyboard.

Output a sine wave from the filter

1Switch the Sub knob to Off.

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

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

4If 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 filter by approximately 10 decibels, making the selfoscillation signal much louder.

Chapter 2    ES1

ES1 amplifier parameters

The parameters in the ES1 Amplifier section allow you to fine-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.

Amplifier parameters

•• Level via Vel slider: Drag to determine how note velocity affects the synthesizer level.The greater the distance between the arrows (indicated by the blue bar), the more the volume is affected 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.

•• Amplifier envelope selector buttons:Click one of the buttons—AGateR, ADSR, or GateR—to determine the ADSR envelope generator used for control of the amplifier envelope. See ES1 envelope parameters overview on page 28.

Chapter 2    ES1

ES1 envelope parameters

ES1 envelope parameters overview

ES1 provides an attack, decay, sustain, and release (ADSR) envelope that can shape filter cutoff 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 filter cutoffenvelope modulation

The envelope generator modulates the filter cutoff 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 Cutoff 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

ES1 amplifier envelope modulation

The AGateR, ADSR, and GateR buttons in the Amplifier section determine which of the ADSR envelope controls affect the amplifier envelope. All ADSR parameters remain active for the filter.

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 amplifier

(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 amplifier envelope selector buttons have the following effect 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

ES1 modulation

ES1 modulation parameters overview

ES1 offers a number of simple yet flexible 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.


LFO parameters	Router	Modulation Envelope
LFO parameters	Router	Modulation Envelope

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.

Cutoffbuttons:Click to modulate the cutoff frequency of the filter. Resonance buttons: Click to modulate the resonance of the filter.

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 filter cutoff 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 filter (see Drive the ES1 filter to self-oscillate on page 26).

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

Chapter 2    ES1

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