[sdiy] Dealing with velocity sensitivity / scaling on envelopes

rsdio at audiobanshee.com rsdio at audiobanshee.com
Thu Aug 31 22:58:05 CEST 2017


Another thing to consider is that the Envelope control signal is separate from the Oscillator or other sound source.

An acoustic instrument might have very complex transitions when a new note overlaps an already-sound note. However, most of the complexity is in the "oscillator" section, not the "envelope" section.

The typical analog EG behavior, where the Attack phase starts from whatever Voltage is currently stored in the capacitor, is probably the most appropriate envelope. The more complex problem is what happens to the VCO or other waveform generator when notes overlap. VCO reset or offset or complex modeling all seem unrelated to what an EG should do at this point.

Brian


On Aug 31, 2017, at 12:10 PM, Tom Wiltshire <tom at electricdruid.net> wrote:
> I don’t know, what does it do? I don’t have a piano at home any more.
> 
> I’m guessing the hammer hits the already vibrating string and you get some fairly random effect depending on whether the new hit reinforces or cancels the existing string vibration.
> 
> The trouble with using real-world instruments as a model is that a typical synth envelope generator can generate envelopes that you won’t see in the real world. We still need to be able to deal with those sensibly and logically.
> 
> On 31 Aug 2017, at 19:36, Vladimir Pantelic <vladoman at gmail.com> wrote:
>> On 31.08.2017 20:16, Tom Wiltshire wrote:
>>> Has anyone else come up against this? What did you decide? How do modern monosynths that include velocity sensitivity deal with it? What does Moog do, for example?
>> 
>> what does a real world instrument do? e.g. a piano with sustain where you bang on a key and while it fades out, just barely hit it again?
> 



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