Guide To Electronic Music – Sound Envelopes and VST Synths

Guide To Electronic Music - Sound Envelopes and VST Synths
by Mo Potter

Lets presume that you start off at full blast and you stay there, then you let go of the key and your patch evaporates. This implies there are no envelopes. Theyre the important element for sound articulation. It’s as a result of the envelopes that you can be creative and express dynamic sounds through your synthesiser. They can be abit hard to understand, but you will finally learn about them. Think of the common envelope being as four essential 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 2 : When the attack brings the sound up and stays at the level how long it stays there is recognized as the decay. If you set it at maximum. level then it would stay there for good which signifies the sustain stage is of no value.

Entity 3 : Once the decay stage has ended it’ll be at the sustain level where it remains. In a couple of cases reckoning on your synthesiser you would have a dedicated sustain time setting, which signifies it will decay the sustain stage after an adjusted time period.

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Entity four : The sustain level takes a period of time to decline to silence. This is the release, and its virtually like reverb at the sound ending. If you want it to be instant then set the release level to nothing.

Get a picture in your head of the envelopes then with practicing the programing of the envelopes you’ll master it. Think of every entity on graph paper where you are dedicating higher to lower points as it goes through the many entities and the sound changes. Visualise the sound increasing through the attack, falling through the decay, remaining in the determined level of the sustain, then at long last it disappears through the release when you let go.

To articulate the filter it wants a filter envelope. You should be able to see a dedicated knob for the filter frequency. You are going to programme the filter envelope merely as you will whatever average envelope after you turn down the average cut off filter, and turn the filter envelope cut off higher.

It would take a bit getting used to. To hear something brilliant turn the sustain on the filter envelope off, forget about the release and attack. And then make the decay short and turn up the release. What youre doing heres utilizing the envelope to cut off the frequency, thus youre not changing the volume. Say you increase the attack on the filter envelope, you will create brass sounds.

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