ES2 Slapped StratENV setting in MainStage
The target of this setting is the sound of a Stratocaster, with the switch between bridge and middle pickup in the middle position—in phase. It attempts to emulate the noisy twang typical of this sound. This might be a useful template for emulations of fretted instruments, harpsichords, clavinets, and so on.
Take a look at the sound architecture:
Osc 1 and Osc 3 provide the basic wave combination within the Digiwave field. Changing the Digiwaves of both in combination delivers a huge number of basic variations—some also work pretty well for electric piano-type keyboard sounds.
Osc 2 adds harmonics with its synced waveform, so you should only vary its pitch or sync waveform. There are a couple of values that can be changed here to attain a much stronger, more balanced signal.
An old trick, which delivers a punchy attack, was used—to create an effect that the use of a naked wave wouldn’t deliver, even with the best and fastest filters available: You use an envelope (in this case, Env 1) for a quick “push” of a wavetable window—or all wavetables together, where it makes sense.
Set Envelope 1 decay time for this short push by moving the wave selectors for all oscillators. (Although it makes no sense to do this on the synced sawtooth oscillator, Osc 2, use the envelope trick regardless.) This allows you to vary the punchiness of the content between:
Envelope 1 contribution to the overall attack noise and changing decay length—a short decay results in a peak, a long decay results in a growl, as Envelope 1 reads a couple of waves from the wavetable.
Modulation destination—you can always assign this to each of the oscillators separately.
Start point—you vary the wave window start with minimum and maximum control of EG1/Osc. waves modulation: negative values for a start wave before the selected wave, positive values for a start wave from a position behind the selected wave that rolls the table back.
Feel free to experiment with this wavetable-driving trick. The growl effect works well for brass sounds, and some organs absolutely shine with a little click, courtesy of a wavetable push.
Envelope 2, which controls the filter, provides a slight attack when used for “slapped” characteristics. Setting it to the fastest value eliminates the wah-like attack, while retaining the punch.
For playing purposes, you’ll find that LFO 2 is used as a real-time source for vibrato. It is assigned to the mod wheel and aftertouch. Feel free to change the wheel and aftertouch settings.
Velocity is set up to be very responsive, because many synthesizer players don’t strike keys like a piano player would with a weighted-action “punch.” Therefore, you should play this patch softly, or you may find that the slap tends to sweep a little. Alternatively, you can adjust the sensitivity of the filter modulation velocity value to match your personal touch.
If required, increase the Voices value to maximum—six strings should be enough for a guitar, but for held or sustained notes, a few extra voices may come in handy.