ES2 Crescendo Brass setting in MainStage

The oscillators are used for the following tasks:

Oscillator 1 provides the basic brass wave—sawtooth.
Oscillator 2 provides a not particularly “brassy” pulse wave, which brings in the ensemble. It is pulse-width modulated by LFO 1 (modulation routing 4).

Note: The following critical point should be taken into account for any modulations. There are four parameters that behave in an entirely different fashion when any one of them is changed. Therefore, all four must be changed when making adjustments:

You may adjust the initial pulse width of the oscillator 2 wave parameter. A “fat” position, close to the ideal square wave, has been chosen for this patch—in order to program a full, voluminous synth-brass sound.
Modulation routing 4 adjusts the modulation intensity—how far the range differs from fat to narrow when being pulse-width modulated. Set with the Minimum parameter.
The rate of LFO1 directly controls the speed of the movement of the pulse width modulation. For this patch, both LFOs are used, to achieve a stronger diffusion effect at different modulation speeds.
Tip: You should use LFO1 for all permanent, automatic modulations because you are able to delay its impact with its EG parameter. You can use LFO 2 for all real-time modulations that you intend to access via ModWheel, aftertouch, or other controls while playing.
A keyboard assignment was set up as the source for modulation routing 4. This is because all pitch, or pulse-width, modulations tend to cause a stronger detuning in the lower ranges, while the middle and upper key zones feature the diffusion effect. When using this parameter, you should initially adjust the lower ranges until an acceptable amount of detuning (resulting from the modulation) is reached. When set, check whether or not the modulations in the upper zones work to your satisfaction. Adjust the relationship between intensity (Max) and scaling (Min) values.

Oscillator 3 generates a Digiwave, which is “brassy” enough, within the overall wave mix. As an alternative to the Digiwave, another modulated pulse wave could be used to support the ensemble, or another sawtooth wave—to achieve a “fatter” sound, when detuning it with the oscillator 1 sawtooth wave.

The primary aim, however, is to have a little bit of “growl,” achieved through a short wavetable push, as described in ES2 Slapped StratENV setting. This configuration is set up in modulation routing 3 (oscillator 3 Wave moved by Envelope 1 Decay).

Other controls have a variety of functions:

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.
The filter envelope design closes with a short stab in the attack phase, then reopens for a slower crescendo phase.
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 aftertouch—which closes the filters—has been programmed. This allows you to play with an additional decrescendo, remotely controlled by aftertouch. Get a feel for the way the patch responds. You’ll find that it offers quite a few controls for expression—velocity, aftertouch after note-on, and aftertouch 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.

Download the guides:

MainStage User Guide: Apple Books | PDF

MainStage Instruments: Apple Books | PDF

MainStage Effects: Apple Books | PDF

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