Working with Modulation in the ES2

Getting to Know the ES2’s 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). If you are new to synthesizer modulation routings, refer to the Synth Basics Modulation section.

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 influenced 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 defines 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, in addition to routings that are hard-wired outside of the router. It does not 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.

Creating and Bypassing ES2 Modulation Routings

The following information applies to all ten modulation routings.

Using Via Sources to Control ES2 Modulation Intensity

In a basic modulation routing comprised of a target and source, you can set a fixed modulation intensity by vertically dragging the arrowhead of the Intensity slider to the right of the routing. The slider value always defines a constant modulation intensity.

The intensity of the modulation can itself be modulated:  The via parameter defines a further modulation source, which is used to control the modulation intensity. As soon as you choose a value other than off for “via,” the Intensity slider is divided into two halves. Each half has its own arrowhead.

• The lower half defines the minimum modulation intensity, when the via controller—the modulation wheel, for example—is set to its minimum value.

• The upper half defines the maximum modulation intensity when the via controller is set to its maximum value.

• The area between the two slider halves defines the modulation range of the via controller.

An ES2 Modulation Example

Imagine an ES2 sound with these settings:

• Target: Pitch123
• via: ModWheel
• Source: LFO1
• Modulation intensity: Slider position, set as desired

Pitch123 is the modulation target in this example.

The modulation source—LFO1—is used to modulate the frequency, or pitch, of all three oscillators (Pitch123).

You’ll hear a vibrato—a modulation of the pitch—at a speed determined by LFO 1’s Rate parameter.

The modulation intensity is controlled by the modulation wheel, the range of which is determined by the via parameter. This provides you with control over the depth of vibrato—pitch modulation—via the modulation wheel of your keyboard. This type of configuration is used in countless sound settings.

Getting to Know the ES2 LFOs

The ES2 features two multiwaveform LFOs. Both are available as sources in the router.

LFO 1 is polyphonic, which means that if it is used for any modulation of multiple voices, they will not be phase-locked. Furthermore, LFO 1 is key-synced:  Each time you play a key, the LFO 1 modulation of this voice is started from zero.

• To understand the nonphase-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 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 scenario where a chord is played on the keyboard. If LFO 2 is used to modulate pitch, the pitch of all voices in the played chord will rise and fall synchronously.

Using ES2 LFO Waveforms

The LFO 1 Wave buttons allow you to choose different waveforms for LFO 1. The table below outlines how these can affect your sounds.

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

Using LFO 1’s Envelope Generator in the ES2

LFO 1 features a simple envelope generator, which is used to control the time it takes for the LFO modulation to fade in or fade out. At its center position, which can be accessed by clicking the middle mark, the modulation intensity is static—that is, no fade in or fade out will occur.

LFO envelopes are most often used for delayed vibrato—many instrumentalists and singers intonate longer notes this way.

Setting LFO 2’s Rate in the ES2

LFO 2 is ideally suited for creating rhythmic modulation effects—that retain perfect synchronicity, even during project tempo changes.

The LFO 2 Rate parameter allows LFO 2 to run freely (in the upper half of the Rate slider range), or to be synchronized with the project tempo (in the lower half of the Rate slider range).

The rate is displayed in Hertz or rhythmic values (the latter when project tempo synchronization is active). Rates range from speeds of 1/64-notes to a periodic duration of 32 bars. Triplet and punctuated values are also available.

Getting to Know the ES2 Envelopes (ENV 1 to ENV 3)

The ES2 features three envelope generators per voice. They are abbreviated as ENV 1, ENV 2, and ENV 3, respectively, in the interface and router. In addition, the ES2 features the sophisticated Vector Envelope (see Getting to Know the ES2’s Vector Envelope).

Note: To learn more about the roots of the term “envelope generator” and its basic functionality, see Synthesizer Basics.

The parameters of ENV 2 and ENV 3 are identical. ENV 3 defines the changes in level over time for each note played. You can regard ENV 3 as being hard-wired to the router’s AMP modulation target.

Envelope Modulation of ES2 Filter Cutoff

Unlike many other synthesizers, the ES2 has no hard-wired connection between any of the envelope generators and the filter cutoff frequencies.

Set up a modulation routing as follows, in order to establish this type of modulation:  Set target to Cutoff 1, Cutoff 2, or Cut 1+2. Set source to ENV 2, for example. After it is set as described, the slider to the right of the modulation routing will function as the filter’s EG Depth parameter.

Note: Both ENV 2 and ENV 3 are velocity sensitive, making it unnecessary to set via to Velo in the modulation routing; you can leave via off.

Getting to Know ENV 1 in the ES2

Although ENV 1 might appear to be rather poorly equipped at first glance, its handful of parameters are useful for a vast range of synthesizer functions.

Setting Envelope 1 Decay or Release in the ES2

ENV 1 can be set to act as an envelope generator with either of the following:  an Attack time and Decay time parameter or an Attack time and Release time parameter.

Getting to Know ENV 2 and ENV 3 in the ES2

The feature sets of ENV 2 and ENV 3 are identical, but it is always the task of ENV 3 to define the level of each note—to modulate the dynamic stage, in other words.

ENV 3 is, however, also available for simultaneous use as a source in the router. The envelope time parameters can also be used as modulation targets in the router.

Using the Envelope 2 and 3 Sustain Parameters in the ES2

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 defines the level that is sustained while the key remains depressed, following completion of the Attack time and Decay time phases.

The Sustain Time slider defines 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.

Getting to Know the ES2’s Vector Envelope

The Vector Envelope is a multipoint, loop-capable control source. Its sole purpose is to provide real-time control of square icon movements in the Triangle and the Planar Pad. The Vector Envelope shares the space occupied by the modulation router, and it can be viewed by clicking the Vector Envelope button to the right of the router.

Each voice is equipped with 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 seem somewhat strange, and perhaps a little intimidating, but a little experimentation on your part will reveal how easy these features are to use. Combining these facilities with other ES2 synthesis options enables you to create some truly unique sounds that are—quite literally—moving.

Vector Envelope Control of the ES2’s Planar Pad and Triangle

The Vector Mode pop-up menu below the Vector Envelope button allows you to specify the target for the Vector Envelope—the Planar Pad and/or the Triangle.

• Off: The Vector Envelope does not control the Triangle or the Planar Pad. It is completely turned off. This allows you to manually set and control the square icons 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.

An Overview of ES2 Vector Envelope Points, Times, and Loops

The Vector Envelope time axis runs from left to right.

Up to 16 points can be displayed on the time axis (10 are shown in the figure above). Each point can control the square icon positions of the Triangle and the Planar Pad (as described in Vector Envelope Control of the ES2’s Planar Pad and Triangle).

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 defined as the Sustain point, and point three is the end point.

Any point can be declared the Sustain point. If a played note is held for a sufficient length of time and there’s no loop engaged, any envelope movement will stop when the Sustain point is reached. The Sustain point value is maintained until the key is released—until the MIDI note-off 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 further points that describe the movements of the square icons in the Planar Pad and Triangle.

Selecting, Creating, and Deleting ES2 Vector Envelope Points

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

Reverting to Default ES2 Vector Envelope Point Values

On occasion you may want to revert to the default values of a point. This is done directly in the Triangle or the Planar Pad:

Setting the ES2 Vector Envelope Solo Point

The Solo Point button basically turns off the Vector Envelope. If the Solo Point button is activated, no dynamic modulations are generated by the Vector Envelope. In this scenario, the currently visible square icon positions of the Triangle and Planar Pad are permanently in effect. These square icon positions match the currently selected Vector Envelope point.

If you select another Vector Envelope point by clicking it, the square icon positions in the Triangle and Planar Pad will update to reflect your selection. If the Solo Point button is turned on, the newly selected point will become the Solo point.

Note: You can independently switch off Vector Envelope modulation of the Planar Pad by setting Vector Mode to off, as described in Vector Envelope Control of the ES2’s Planar Pad and Triangle.

Setting the ES2 Vector Envelope Sustain Point

As mentioned earlier, 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 will stop when this Sustain point is reached. The Sustain point value is maintained until the key is released—until the MIDI note-off command.

Setting Up ES2 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 specific number of times; or it can repeat indefinitely—much like an LFO modulation. You can achieve repetitions by using the loop functions.

Although the loop parameters may remind you of the loop parameters available for samples, there are significant differences between them. The Vector Envelope only supplies control signals that are used to move the square icon positions of the Triangle and Planar Pad. The audio output of the ES2 is not looped in any way.

Setting the ES2 Vector Envelope Loop Mode

You can choose from the following Vector Envelope Loop modes:  Off, Forward, Backward, and Alternate.

• Off: When Loop Mode is set to Off, 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—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—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—then periodically switches to the Loop point, then back to the Sustain point—alternating between backward and forward directions.

Setting the ES2 Vector Envelope Release Phase Behavior

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

Choosing ES2 Vector Envelope Point Transition Shapes

The Curve parameter defines the shape of the transition from point to point. You can choose from nine convex and nine concave shapes. There are also two unusual curve forms, “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.

Setting ES2 Vector Envelope Times

With the exception of the first point, which is tied to the beginning of each played note, every point has a Time parameter. This parameter defines 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).

Time Scaling the ES2’s Vector Envelope

You can stretch and compress the entire Vector Envelope. This is extremely useful if you want to double the Vector Envelope’s speed, for example. Rather than halving the time values of every point, you can set the Time Scaling parameter above the ENV3 Attack slider to 50%.

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

• If the Loop Rate is “as set,” scaling also affects the loop.

• If the Loop Rate is set to a free or synced value, the setting is not affected by the Time Scaling parameter.

Using the ES2 Vector Envelope Shortcut Menu

A number of Vector Envelope commands and functions can be accessed by right-clicking anywhere in the Vector Envelope. This will launch the pop-up menu shown below.

Choose any item in the menu to perform the command or function.

Using the ES2’s Planar Pad

The Planar Pad has two axes—X and Y. The X axis is on the horizontal plane and the Y axis is on the vertical plane.

You can modulate one user-defined parameter with the X value and another user-defined parameter with the Y value, allowing you to use the mouse like a joystick.

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

ES2 Modulation Target Reference

The following targets are available for real-time modulation.

ES2 Modulation Source Reference

The following modulation sources are available:

ES2 Modulation Via Source Reference

The following sources may be used to control the modulation intensity.