Apple MainStage 3 Instruments - MainStage 3 Instruments

Other controls have a variety of functions:
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Envelope 1 also affects the pitch of oscillator 2 against oscillator 3. This results in both pitches
clashing with each other, and also with the stable pitch of oscillator 1 in the attack phase of
the sound.
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The filter envelope’s design closes with a short stab in the attack phase, then reopens for a
slower crescendo phase.
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A further real-time crescendo has been assigned to the mod wheel, which also brings in an
overall pitch modulation, controlled by LFO 2.
••
In addition to all of this, a “contrary” real-time modulation by pressure—which closes the
filters—has been programmed. This allows you to play with an additional decrescendo,
remotely controlled by touch. Try to get a feel for the patch’s response. You’ll find that it offers
quite a few controls for expression—velocity, pressure after note-on, and pressure in advance.
Listen to what happens when you press with the left hand before hitting a new chord with
the right hand and allowing the swell to come in.
ES2 MW-Pad-Creator setting
This is an attempt to create a patch that is able to automatically generate new patches.
Oscillator 2 is used for a pulse width modulation—which creates a strong ensemble component
(for more information, see ES2 Crescendo Brass setting on page 108).
Oscillators 1 and 3 are set to an initial start wave combination within their respective Digiwave
tables. You can modify these, if you wish, and start with a different combination of Digiwaves
from the outset.
Modulation 3 “drives” the wavetables of all three oscillators, via the mod wheel. Stated simply,
you can simultaneously scroll through the oscillator 1 and oscillator 3 wavetables, and change
oscillator 2’s pulse width—by moving the mod wheel.
Try a careful, very slow movement of the mod wheel, and you’ll hear drastic changes within the
wave configuration. Each incremental position of the wheel offers a different digital pad sound.
Avoid rapid movements, or this will sound like an AM radio.
Another potential modification procedure is hidden in the modulation intensity of the
oscillator 1, 2, and 3 wave parameters. The value of this intensity parameter assigns both the
step width and direction through the wavetables. You can try modifications to the amount using
positive or negative values.
An interesting side-effect of FM assignment to Filter 2 (modulation routing 4—Lowpass Filter FM)
occurs when the mod wheel is moved to higher positions: the frequency modulation of the filter
is increased, causing all cyclical beats (vibrating pitches, detunes, pulse width) to be emphasized.
This also adds a rough, “hissing” quality to the overall sound character. FM offers vast scope for
experimentation, and you can decide between:
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An initial FM, using Filter 2’s FM parameter, which you can redraw (set a negative modulation
amount for modulation routing 4’s maximum) by moving the mod wheel to its top position.
••
Permanent FM (and another modulation setup, saved for a different assignment). You can also
switch off FM, if you consider its effect too dirty sounding.
Real-time control is via pressure for a vibrato (modulation routing 10) and also for a slight
opening of the Cutoff to emphasize the modulation (modulation routing 9).
Chapter 3 ES2 109