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 Forum index » Discussion » Composition
envelopes of the non-analytic kind
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bachus



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PostPosted: Sun May 20, 2007 7:41 pm    Post subject: Reply with quote  Mark this post and the followings unread

What I really want are some high level abstractions with at most two additional variables that will let me specify a dynamic expressive articulation that encompasses laglato and legato with portamento or portomento emblishment. Rolling Eyes
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kkissinger



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PostPosted: Sun May 20, 2007 8:42 pm    Post subject: Reply with quote  Mark this post and the followings unread

DrJustice wrote:
In synths that have multiple segments before the sustain, I sometimes use two or three segments for just the attack portion of the sound - that can help a lot.


** nods head in agreement ** thumleft

And yes, the VCA's on the Aries are variable between Linear and Exponential -- a very useful feature.

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EdisonRex
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PostPosted: Tue May 22, 2007 2:35 am    Post subject: Reply with quote  Mark this post and the followings unread

kkissinger wrote:
DrJustice wrote:
In synths that have multiple segments before the sustain, I sometimes use two or three segments for just the attack portion of the sound - that can help a lot.


** nods head in agreement ** thumleft

And yes, the VCA's on the Aries are variable between Linear and Exponential -- a very useful feature.


Ah yes, the Aries. That's where I remember the linear/exponential response from.

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bachus



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PostPosted: Fri May 25, 2007 1:14 pm    Post subject: Reply with quote  Mark this post and the followings unread

I am in hot pursuit of an envelope generator that does what I think I want one to do. I have the Attack 1 segment generating and displaying the correct data, though not all desired data. The display does not scale properly yet so the time values were chosen to promote visibility. The attached jpg shows shapes gotten from different shape values -1 to + 1 (In the final version this set would be from the range +-3.0 to +-4.0 and in the opposite order, i.e. 4.0 would be the straight line again.)


Env Gen 2.jpg
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Env Gen 2.jpg



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bachus



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PostPosted: Fri May 25, 2007 2:08 pm    Post subject: Reply with quote  Mark this post and the followings unread

Here are examples of smoothing including quadratic (parabolic) interpolation used at the initial envelope segment boundary.

BTW in the context of this discussion the values in the Decay 1 and Decay 2 columns are meaningless accident, as are all the values in the bottom row.

In the second image, Attack 1, the 3rd control/readout down from the top is set to 2. That is the duration of the "smoothed" part of the that segment. Due to a bug not yet addressed, the attack level does not reach the maximum of 1.0 as it should. I won't explain the algorithms here but in the third image, Attack 1, the 4th control/readout down from the top was manually set to .56 (normalized range 0 to 1) which moved the center point in the interpolation triplet.


Env Gen 3.jpg
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Env Gen 3.jpg



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Stanley Pain



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PostPosted: Mon Jun 04, 2007 2:27 pm    Post subject: Reply with quote  Mark this post and the followings unread

my 2 cents.
i really like the way on fruity loops you can not only adjust the ADSR as you'd expect in any sequencer, you can switch to adjust the curves of each very finely and get a lot of very nice control over the exact curve and shape of the envelope as you see in the diagrams above. probably from version 5 onwards. but then, it is fruityloops.

i agree that some of the Nord envelopes are quite ugly (which can have it's uses). but i do love the multi-stage envelopes, and the modulated envelopes can produce some beautifully musical effects with lead sounds or if used in a subtle manner can produce some quite humanistic effects in percussive lines.

a combination of the 2 approaches would be idea imho.

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bachus



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PostPosted: Wed Jun 06, 2007 5:37 pm    Post subject: Reply with quote  Mark this post and the followings unread

Stanley Pain wrote:

i agree that some of the Nord envelopes are quite ugly (which can have it's uses). but i do love the multi-stage envelopes, and the modulated envelopes can produce some beautifully musical effects with lead sounds or if used in a subtle manner can produce some quite humanistic effects in percussive lines.

a combination of the 2 approaches would be idea imho.


What aspects of the EG can be modulated and which do you find most useful? Have you found it useful to modulate the "shape/curve" of each segment of the envelope?

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