ES1 Synthesizer

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 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, which will introduce you to
the terminology and give you an overview of different synthesis systems and how they
work.

If you are new to synthesizers, this appendix will help you understand the basics of sound
itself and how this applies to synthesizers.

Important facts about synthesizers are discussed and explained, including the differences
between analog, digital, and virtual analog synthesizers. You will also be introduced to the
major synthesizer terms as you learn about the basic workings of these hardware- or
software-based devices.

This appendix is not a detailed, scientific treatise on the inner workings and mathematical
theories of synthesis. It is a basic guide to what you need to know, including some extras
that are useful to know.

Experiment with the ES1, ES2, and other instruments while you read. Seeing and using
the parameters and other elements that are discussed will help you understand the
conceptual and practical aspects of synthesizers.

Sample-based instruments include Alchemy and EXS24 mkII. These enable you to create
and play back recordings of acoustic instruments. Alchemy provides extensive sample
manipulation and resynthesis options that can result in sounds that bear little
resemblance to the source. Also included are sampled string and horn plug-ins that offer
a variety of individual and grouped instruments with multiple articulations. See Studio
instruments.

Specialized percussion synthesizers and instruments include Ultrabeat, Drum Kit

Designer, and Drum Machine Designer. Ultrabeat combines several percussion-oriented
synthesis engines and a step sequencer, making it a powerful tool for the creation of new
sounds and beats.

Four vintage instruments emulate the classic B3 organ, Rhodes, Wurlitzer, and Hohner
electric pianos, the Hohner Clavinet, and the Mellotron. See Vintage B3, Vintage Electric
Piano, Vintage Clav, and Vintage Mellotron.

When it comes to synthesizers, you have a huge range to choose from. These include
simple plug-ins such as ES P, ES M, ES E, and EFM1. More advanced options include
Retro Synth, ES1, and ES2, up to the extremely sophisticated Alchemy and Sculpture
instruments.

Alchemy provides several synthesis engines that you can use alone or with each other to
produce a staggering variety of sounds. It features extensive modulation options, built-in
arpeggiation, and sequencing.

Sculpture is a modeling synth that allows the recreation of physical instruments or the
creation of instruments that don’t exist. It has a number of unique modulation facilities
and can generate a huge array of sound types.

Rounding out the collection are the External Instrument and Klopfgeist Utility instruments
plug-ins, and the EVOC 20 PolySynth vocoder. This instrument tracks incoming MIDI
notes and processes audio signals to create classic robotic voices and choirs that follow
played note and chord pitches.

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.

▪ 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.

▪ 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.

▪ Amplifier parameters: Located in the upper right, the amplifier parameters allow
you to fine-tune sound level behavior. See ES1 amplifier parameters.

▪ 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.

▪ 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.

ES1 Oscillator Parameters

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: Select the waveform of the primary oscillator, which is responsible for
the basic color of the tone. See ES1 oscillator waveforms.

▪ Mix slider: 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: 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.

▪ 2’, 4’, 8’, 16’, and 32’ buttons: 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

▪ 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). Modulating the pulse width with a slowly cycling LFO, for
example, allows periodically mutating, fat bass sounds.

Oscillator Waveforms

Waveform Basic tone Comments

Useful for strings, pads, bass, and brass

Sawtooth Warm and even
sounds
Sweet sounding, softer than
Triangle Useful for flutes, and pads
sawtooth
Square Hollow and “woody” sounding Useful for basses, clarinets, and oboes
Great for reed instruments, synth blips, and
Pulse “Nasal” sounding
basses
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
1. Set the Sub knob to EXT.
2. Choose the side-chain source channel strip from the Side Chain pop-up menu in
the upper-right corner of ES1.

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.

Router parameters

▪ Pitch buttons: Modulate the pitch—the frequency—of the oscillators.

▪ Pulse Width buttons: Modulate the pulse width of the pulse wave.
▪ Mix buttons: Modulate the mix between the primary oscillator and the sub-oscillator.
▪ Cutoff buttons: Modulate the cutoff frequency of the filter.
▪ Resonance buttons: Modulate the resonance of the filter.
▪ Volume buttons: Modulate the main volume.
▪ Filter FM button (mod env only): Use the triangle waveform 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).
▪ LFO Amp (mod env only): Modulate the overall amount of LFO modulation.
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

1. Switch the Sub knob to Off.
2. Drag the Mix slider to the very bottom (Sub).
3. Drag the Resonance slider to the maximum position (full).
4. If 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 self-oscillation signal much louder.

ES1 Global Parameters

The global parameters affect the overall sound, or behavior, of 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: 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: Tune the instrument in cents. One cent is 1/100th of a semitone.
▪ Analog field: Change the pitch of each note and the cutoff frequency slightly and
randomly. 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: Set the sensitivity of the pitch bender, in semitone steps.
▪ Neg Bender Range slider (Extended Parameters area): Set the pitch bend range
independently for upward and downward bends. Click the disclosure triangle at the
lower left of the ES1 interface to access the Extended Parameters area.
▪ Linked: The negative pitch band uses the value set in the global Bender
Range field. Positive and negative bend ranges are the same.
 ▪ 0: No negative bend range at all, but the global value for positive bends is
retained.
▪ 1-24: Independent amount of negative bend range to allow for different
ranges. For example, +2 and -12.
▪ Out Level field: Set the ES1 master volume.
▪ Voices field: Set the maximum number of notes that can be played simultaneously.

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 pitch bender, by choosing a high Glide parameter value
when using the Legato setting.

When set to full (polyphony), each played note has its own synth voice and an
automatic release cutoff comes into effect. If you have set a long release time and
play a non-legato chord progression, the chords won’t smear into each other, which
is useful for classic string synthesizer emulations.
▪ Chorus field: Choose a classic stereo chorus effect, an ensemble effect, or 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.
▪ Midi Mode pop-up menu (Extended Parameters area): Determine how ES1
responds to MIDI controllers. Choose either Off or Full Remote.

ES1 Filter Parameters

Filter parameters

▪ Cutoff slider: Set the cutoff frequency of the lowpass filter.

▪ Resonance slider: 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). 

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. Increase the Resonance
parameter value to reduce 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 the Roland TB-303.
▪ Drive slider: 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: 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.
▪ 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.
▪ Filter Boost button (Extended Parameters area): 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.

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
1. Switch the Sub knob to Off.
2. Drag the Mix slider to the very bottom (Sub).
3. Drag the Resonance slider to the maximum position (full).
4. If 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 self-oscillation signal much louder.
ES1 Amplifier Parameters
The parameters in the ES1 Amplifier section allow you to fine-tune sound level behavior.
These are separate from the global Out Level parameter, which acts as the ES1 master
volume control. See ES1 global parameters.

Amplifier parameters

▪ Level via Vel slider: 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: Determine the ADSR envelope generator used
for control of the amplifier envelope. See ES1 envelope parameters overview.

ES1 Envelope Parameters

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

▪ Attack slider: Set the time it takes for the envelope to reach the initial desired level.
▪ Decay slider: Set the time it takes for the envelope to fall to the sustain level,
following the initial attack time.
▪ Sustain slider: Set the sustain level, which is held until the key is released.
▪ Release slider: Set the time it takes the envelope to fall from the sustain level to a
level of 0.

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
1. Switch the Sub knob to Off.
2. Drag the Mix slider to the very bottom (Sub).
3. Drag the Resonance slider to the maximum position (full).
4. If 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 self-oscillation signal much louder.

ES1 Modulation Parameter

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.

Modulation parameters
▪ LFO parameters: Used to modulate other ES1 parameters. See Use the ES1 LFO.
▪ Router: Enables you to choose the ES1 parameters that are modulated. See Use
the ES1 router.
▪ 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.
ES1 LFO

The LFO (low frequency oscillator) generates an adjustable, cyclic waveform that you can
use to modulate other ES1 parameters.

LFO parameters

▪ Wave knob: Set the LFO waveform. Each waveform has its own shape, providing
different types of modulation.
▪ You can choose the following waveforms: triangle; ascending and
descending sawtooth; square wave; sample & hold (random); and a lagged,
smoothly changing random wave.
▪ You can also choose EXT to assign a side-chain signal as a modulation
source. Choose the side-chain source channel strip from the Side Chain pop-
up menu in the upper-right corner of ES1. See Work in the plug-in window.
▪ Rate dial and field: Set the speed, or frequency, of the LFO waveform cycles.
▪ If you set values to the right of 0, the LFO phase runs freely.
▪ If you set values to the left of 0, the LFO phase is synchronized with the
tempo of Logic Pro X—with phase lengths adjustable between 1/96 bar and
32 bars.
▪ When set to 0, the LFO outputs at a constant, full level, which allows you to
manually control the LFO speed with your keyboard modulation wheel. For
example, to change the pulse width by moving your keyboard modulation
wheel, choose pulse width as the LFO modulation target and set the
modulation intensity range using the Int via Whl slider.
▪ Int via Whl slider: Move the upper arrow to set LFO intensity at the maximum
modwheel position. The lower arrow defines LFO intensity when the modwheel is
set to zero. The distance between the arrows—shown as a green bar—indicates
keyboard modulation wheel range.

You can simultaneously adjust the modulation range and intensity by dragging the
green bar, thus moving both arrows at once. Note that as you do so, the arrows
retain their relative distance from each other.
ES1 Modulation Envelope

The modulation envelope can directly modulate the parameter chosen in the router. It
determines the time it takes for the modulation to fade in or fade out. At its center position
(click Full), modulation intensity is static—no fade-in or fade-out occurs. When set to its full
value, modulation intensity is at a constant level.
The modulation envelope allows you to set either a percussive type of decay envelope by
choosing low values or an attack type of envelope by choosing high values.

Modulation envelope parameters

▪ Form dial and field: Set a fade-in (attack) or fade-out (decay) time for the
modulation. When set to the full position, the modulation envelope is turned off.
▪ Int via Vel sliders: Set the top arrow to define the upper modulation envelope limit
for the hardest keystrike (velocity=127). The bottom arrow sets the lower limit for
the softest keystrike (velocity=1). The green bar between the arrows displays the
impact of velocity sensitivity on the intensity of the modulation envelope. 

You can simultaneously adjust the modulation range and intensity by dragging the
green bar, thus moving both arrows at once. Note that as you do so, the arrows
retain their relative distance from each other.

Modulate a parameter with velocity

1. Select a modulation target, such as Pulse Width, from the right column of the router.
2. Set the Form slider to full, and adjust the Int via Vel parameter as needed. 

This results in a velocity-sensitive modulation of the oscillator pulse width.

More interestingly, you can directly control the LFO level if you click the LFO
Amp(litude) button in the right column of the router.

Fade the LFO modulation in or out

▪ To fade in the LFO modulation: Drag the Form slider to a positive value—toward
attack. The higher the value, the longer it takes for you to hear the modulation.
▪ To fade out the LFO modulation: Drag the Form slider to a negative value—toward
decay. The lower the value—closer to decay—the shorter the fade-out time is.

LFO control with envelopes is most often used for delayed vibrato, a technique
many instrumentalists and singers employ to intonate longer notes.

Set up a delayed vibrato

1. Drag the Form slider to the right—toward attack.
2. Select Pitch as the LFO target in the left column of the router.
3. Use the Wave knob to select the triangular wave as the LFO waveform.
4. Drag the Rate field to an LFO rate of about 5 Hz.
5. Drag the upper Int via Wheel arrow to a low value, and the lower arrow to 0.