Advertisement
*g50>£&fc*fi6
ENVELOPE
GENERATORS
£m
Fjg.lOti,
afc>-*e»—
-?•&*&*>—
*—
(EG)
-fM-t*ftfn, EG*=*H**lMtft nMNNt^j
^i^i'h'i
sMTt*,
MULTIPLE
TRI-
GGER
{-7*-?-7»-
('/*'-)
t"fVtf.-i+.
ST.
£«-f>
9*t*-§t*k*ftiC*t*++&ttt
/jEGIi.
A (r^-v^>. D
ir.i>r<t).
S
(-*-
EG»
*-«(*.
VCAO/KnWIH]ltm«>.
-on
ltvcfco^>-«<0'Kh
(Fc)
trswchirTir
Lit.
-ft*\
x*x^*>Ki"M*c'i'ito
3^^*PS-3100. 3300Oitt^U.
C3>*»*'«
««o8t
(483)
jetwm
t
**.
tn-sbtf-r-r*
r-f*-^, ^i^fi<j(:n(tto*-*-rmi/j*ft^
ri*.
—
o
—
>corrac^i.
jkx<=>
**ie*i
COVCF,
VCA.
EG*'iftfl£l*1»,
-ICO
h
V
**-
ti>^o-
7*©0WIS*5RIL-C
#****•$(:,
#ftt:££&4W
>
h
ift
»
i
PS-3300cOEM*flM1
:
-l
X.
%U<0
fYfrWI
S
ft
A.D.S,
R
TR IGGER
•
Envelope Generator (EG)
In figure
10,
the Watergate theory
is
ex-
tended
to Include the
operation of
the
en-
velope
generator.
When
you
play
a
key,
a light
goes on;
in
a
real
synthesizer,
this light
corresponds
to
the
trigger
signal.
It's
called
a
trigger signal
because
it
triggers
the beginning
and end of
EG
operation.
Usually the
light
(the
trigger signal)
stays
on
for
the
full
length
of time the
key
is
depressed, but
it
can
also just
give
a
brief
flash
when
the
key
is
first hit.
This second
type of
trigger signal
is
called
a
"multiple
trigger'.
So
the
EG
receives the
trigger signal
from
the
keyboard and
proceeds
to control the
VCA
in
accordance
with the
attack,
decay,
sustain,
and
release
settings.
The VCA,
in
turn,
raises
and
lowers the
volume
of
the
sound
passing
through
it.
Meanwhile, back
at
Watergate, the agent
(EG)
sees
the
light (trigger)
go
on;
this
is
a
signal for
him
to pull
the
second Watergate
(VCA)
back and
forth
according
to
his
instructions (the attack,
decay,
sustain,
and
release
settings).
When
his
big
stick
is
tied
to
the
VCF
and
the
VCA
together, the
expand
effect
is
produced.
In
constrast
to
other
synthesizers
you
may
have
used,
the
Korg PS-3300
(and
PS-3100)
has separate
VCF's, VCA's, and
EG*5
for
every
key
(48 of
them) on
the
keyboard,
so
you
can
play
any
number
of
keys,
together
or separetly,
in
a series
or
overlapping,
and each key
will
be
provid-
ed with
its
own
accurate envelope.
Understanding
the
relationship
between
triggers
and envelopes and sound
will
be
a
big
help
when you
get
down
to
more com-
plex
synthesis.
This
is
because
the
envelope
of
a
sound
(its
volume
change over
time)
has
a
surprisingly
large
relationship
with
our
ability
to distinguish
sounds and
their
sources
in
everyday
life.
Since the
EM
con-
trols
the
envelope,
work
with
its
controls
until
you
feel
confident
in
being able
to
create the kind
of envelope
you
have
in
mind.
fig.
10 Watergate
theory applied
to
envelope generate
(iVKD-^.yi^-? -«««
'J)
Advertisement
