ESI ESI2000 Operation Manual page 52

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ESI Operation Manual
Now try assigning the pitch control to 2: VCF Cutoff. Rotating the wheel
towards you should produce a more muted sound.
If you feel adventurous, check out the other control destinations. Note
that if you select a destination that is already specified for one of the
other control sources, the old assignment will be de-selected and that
control source will be turned off (0).
Think about it for a bit... the left wheel can control a destination, the
right wheel can control a different one (as can a MIDI pedal). There are
other MIDI control possibilities as well. These assignments can be
different for each preset, and particular controller destinations can be
disabled for different presets and samples. We're talking versatility here,
so if you feel like taking the next couple of hours and checking out all
the possibilities, by all means, do so!
MIDI controller numbers
are assigned here...
Master/Global
(MIDI Globals)
Pitch Control (pwh)
Mod Control (1)
M I D I
Pressure (chp)
I N
Pedal Control (4)
MIDI A (6)
MIDI B (2)
The Realtime Control screen is a digital patchbay where performance controls are routed to the
various synthesizer parameters.
Oh yes, and there are footswitches too. But before experimenting with
the footswitches (sources 7 and 8), we need to understand the difference
between looped and unlooped sounds. Basically, a sustain looped sound
is one where a portion of the sound is put into an infinite repeat loop for
as long as you hold down the key. This is similar to the infinite repeat
function on digital delay lines. Looping allows you to sustain a normally
non-sustaining sound for as long as you like. An unlooped sound is not
artificially sustained, and therefore lasts its normal length.
Keeping this in mind, refer to the Preset Definition module, 0. Realtime
Controls, footswitch destinations 0-9. (Destinations 3-7 are EIII func-
tions which were not implemented in the ESI. The numbers were
retained to maintain compatibility.) Assign various functions to the
footswitches. You will find that some sounds lend themselves to the
sustain function better than other sounds, and we heartily encourage
you to experiment.
What the controllers actually
do is assigned here.
Preset Definition
1
(Realtime Controls)
2
1 P i t c h
2 V C F C u t o f f
3
3 V C A L e v e l
4 L F O P i t c h
5 L F O C u t o f f
4
6 L F O V C A
7 P a n
8 A t t a c k
5
9 C r o s s f a d e
1 0 N o t e - O n Q
6