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Variations on those should be experimented with for a wide range of filter
effects.
Let us now move to Page 10, the amplitude envelope settings. This page looks
like this:
>10 ENV ;Attack *Decay *Sustain (Release
#KG*
where # is the current keygroup selected.
This page. is similar to Page 09 except that this envelope generator affects
the overall amplitude of the keygroup. As well as restoring the natural
envelope
of
a
looped
interesting envelope shapes to samples and such things as 'bowed piano' are
possible where a piano sample is given a slow attack. This page is also
useful for fading out noise at the end of a sample.
As above, data entry is made by selecting the required keygroup in the KG
field and moving the cursor across the display in the usual way with the
'cursor >' or left buttons.
ABOUT ENVELOPE GENERATORS
The envelope generator is en extremely Important item when synthesizing or
sampling a sound as they allow you to modify the way !n which the sound is
presented to us. For example, a drum sound starts instantly and dies away very
quickly and this is true of most percussive sounds. A violin, however, starts
slowly, sustains for as long as the player bows and then dies away quickly
whilst a piano starts quickly end dies away over a long period of time,
sometimes many seconds. This method of presentation is known as the envelope
end ell synths end most samplers allow quite intricate control over a sounds
envelope. Of course, the beauty of synths and samplers is that It is possible
to apply the envelope of one instrument on another so that we end up with the
bowed piano example given above or we could have e super percussive guitar.
An envelope can be broken down Into four main portions:
ATTACK - This is the time !t takes for the sound to reach its full volume.
DECAY -
This is the time it takes for the sound to die away to its sustain
level.
SUSTAIN - This is the level et which the instrument will sustain during held
notes.
RELEASE ° This Is the time it takes for the sound to die away after the note
has finished.
By controlling these parameters, it Is possible to recreate the envelopes of a
wide range of acoustic instruments as well as create some unusual synthesised
effects.
0
80
sound,
this
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