The Basics of Electronic Music - How To Use Sound Envelopes
Lets assume that you start off at full blast and you stay there, then you release the key and your patch disappears. This implies there are no envelopes. Sound articulation required them for they're the primary factor.. It's as a result of the envelopes that you can be creative and express dynamic sounds via your synthesizer. You'll learn about them shortly, even though theyre quite difficult to understand. Think of the average envelope being as 4 primary entities.
Entity 1 : If you want good string sounds then do the following. Set it pretty high where the sound will bit by bit decline. Say you set to nothing then the sound will straightaway be at full tilt. So you want to attack meaning the sound is rising up to it's max level.
Entity two : When the attack brings the sound up and stays at the level how long it stays there is noted as the decay. If you set it at maximum. level then it'll stay there permanently which implies the sustain stage is of no value.
Entity three : Once the decay stage has completeed it would be at the sustain level where it stays. In numerous cases depending on your synthesiser you would have a dedicated sustain time setting, which signifies it would decay the sustain stage after an adjusted time period.
Entity four : The sustain level takes a period of time to fall to silence. This's the release, and it's almost like reverb at the sound ending. If you want it to be instant then set the release level to nothing.
Get a image in your brain of the envelopes then with practising the programming of the envelopes you'll master it. Think of every entity on graph paper where you're dedicating higher to lower points as it goes through the various entities and the sound changes. Picture the sound maximising through the attack, decreasing through the decay, remaining in the determined level of the sustain, then eventually it disappears through the release when you let go.
To articulate the filter it needs a filter envelope. You should be able to see a dedicated knob for the filter frequency. Youre going to programme the filter envelope just as you would whatever regular envelope after you turn down the regular cut off filter, and turn the filter envelope cut-off higher.
It will take a little getting used to. To hear something splendid turn the sustain on the filter envelope off, forget about the release and attack. Then make the decay short and turn up the release. What you're doing here is using the envelope to cut-off the frequency, thus you are not changing the volume. Say you increase the attack on the filter envelope, you will create brass sounds. - 18418
Entity 1 : If you want good string sounds then do the following. Set it pretty high where the sound will bit by bit decline. Say you set to nothing then the sound will straightaway be at full tilt. So you want to attack meaning the sound is rising up to it's max level.
Entity two : When the attack brings the sound up and stays at the level how long it stays there is noted as the decay. If you set it at maximum. level then it'll stay there permanently which implies the sustain stage is of no value.
Entity three : Once the decay stage has completeed it would be at the sustain level where it stays. In numerous cases depending on your synthesiser you would have a dedicated sustain time setting, which signifies it would decay the sustain stage after an adjusted time period.
Entity four : The sustain level takes a period of time to fall to silence. This's the release, and it's almost like reverb at the sound ending. If you want it to be instant then set the release level to nothing.
Get a image in your brain of the envelopes then with practising the programming of the envelopes you'll master it. Think of every entity on graph paper where you're dedicating higher to lower points as it goes through the various entities and the sound changes. Picture the sound maximising through the attack, decreasing through the decay, remaining in the determined level of the sustain, then eventually it disappears through the release when you let go.
To articulate the filter it needs a filter envelope. You should be able to see a dedicated knob for the filter frequency. Youre going to programme the filter envelope just as you would whatever regular envelope after you turn down the regular cut off filter, and turn the filter envelope cut-off higher.
It will take a little getting used to. To hear something splendid turn the sustain on the filter envelope off, forget about the release and attack. Then make the decay short and turn up the release. What you're doing here is using the envelope to cut-off the frequency, thus you are not changing the volume. Say you increase the attack on the filter envelope, you will create brass sounds. - 18418
About the Author:
Creating music shouldn't be that frustrating. Say goodbye to expensive hardware and synths or overly complicated softwares with VSTPlatinum, the collection of free vst plug ins. Work like a studio pro with these steinberg cubase compatible plugins.
posted by X - Men at
1:27 AM
0 Comments:
Post a Comment
Subscribe to Post Comments [Atom]
<< Home