Amplifier Envelope - Studiologic sledge Operation Manual

Amplifier envelope

AMPLITUDE
SUS LEVEL
ATTACK DECAY SUSTAIN
KEY ON
This section has no effect on the frequency of the filter, while it
AMPLIFIER ENVELOPE
controls the amplitude (volume) of the sound. In general, the filter
may control large part of the timbre of the sound and consequent-
ly this section can be set with simple parameters. It is also possible
to set the desired envelope in the case that it is chosen not to have
a filter envelope (for instance, leave the amount of the filter at 00).
The parameters have the same function as those of the filter, with
the difference that appears on the vertical axis the amplitude of the
sound and not the frequency of the filter itself.
Note: with fast attack and release very short (close to 0) you can hear evident clicks
during the attack and release, and in some cases the desired characteristic, but
can be eliminated by selecting values slightly different from zero (eg: Attack and
Release 10 ).
Velocity: controls how much the dynamics of the keyboard controls
the volume of the notes, also depending on the selected velocity
curve (in the Midi, page 2). For values close to 0, playing hard will
have no effect on the sound; for values greater or maximum (127)
the dynamics of the keyboard will have the greatest effect on the
volume of sound, increasing the expressiveness of the execution.
Note: the Velocity control has also influence on the Amplifier dynamic response
and it allows to have a kind of control also on the amplitude of the sound and
not only on the Filter frequency and related ADSR control of it. This parameter
makes the sound more expressive, with a very easy control on the overall dynamic
response.
Attention: To make this control useful and active, be sure that the
keyboard sensitivity is not set to "Fixed" (Velocity Curve parameter
of the Midi Section) otherwise it will not have any audible effect on
the sound.
46 SLEDGE by Studiologic®
AMPLIFIER ENVELOPE
TIME
RELEASE
KEY OFF
Chorus: this warm and rich effect is generated by using Comb
filters that creates slightly detuned copies of the input signal
and mix it into the output signal. The result sounds like an
ensemble of several simultaneous sounds, like a choir as op-
posed to a single voice; hence the name Chorus. The
detuning is generated by an internal LFO that can be control-
led in Rate and Depth by the related potentiometers of the
front panel.
Phaser: is a combination of several „allpass" filters working
in parallel. This generates an effect with equally spaced fre-
quency peaks or troughs. The result is a strongly colorized
signal. The two potentiometers are controlling both the Rate
(speed) and Depth (amount) of the effect.
Flanger: very similar to the Chorus effect, it features a more
evident feedback circuitry to feed the generated signal back
into the comb filter. This generates a deeper detuning and co-
lorizes the signal. With extreme settings you can hear a very
characteristic whistling sound.
Delay: this is an effect produces echoes of the input signal;
the length can be changed without clicks or pitch changes an
this allows to experiment with different values without get-
ting bad side effects.
Reverb: this effect is probably the most widely used effect in
music production; it is used to add a realistic ambience to cle-
an and dry audio recorded in a studio andvery complicated
mathematical algorithms are needed to simulate the comple-
xity of a natural reverb. The instrument's reverb effects don't
intend to simulate a perfect natural room, rather they are an
addition to Sledge's sound synthesis to make it more three (3)
dimensional and expressive.
The two potentiometers allow to control the level of this Ef-
fects (sometimes mentioned as Dry/Wet mix) and the Time,
for both the Delay effect (time between two repetitions) and
Reverb (duration of the reverb effect, that can also be inten-
ded as room size and diffusion in a simple mixed parameter).
Effect 1/Effect 2
EFFECT 1
EFFECT 2
EFFECT 1
EFFECT 2
SLEDGE by Studiologic® 47
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