[sdiy] Dealing with velocity sensitivity / scaling on envelopes

paula at synth.net paula at synth.net
Fri Sep 1 13:53:52 CEST 2017


For me personally,

  VCA wise I'd put two in series, one for velocity/aftertouch and one for 
the ADSR.
  VCF wise, sorry I really don't like adjusting the size of the ADSR with 
velocity/aftertouch, but I do think routing velocity to speed is a great 
idea.

  RTZ ADSRs have their place, typically bass sounds (also great of you 
can sync the oscillators to gate start), As Tony says it should be an 
option rather than fixed.

Paula

On 2017-09-01 09:29, Oakley Sound wrote:
> For polysynths with multiple voices changing the level of the VCA ADSR
> works well enough. But on monosynths you do end up with this horrible
> jump in volume when moving from a high velocity note to a low velocity
> note. Generally I avoid using such a patch on monosynth sounds unless
> the release time is very short.
> 
> However, what is more effective is control over the VCF ADSR's
> modulation level only via velocity. You do still get an abrupt change
> in CV output but it sounds better. This mimics natural sounds well too
> since louder sounds are typically brighter too.
> 
> So a velocity controlled EG is a good option since on some patches it
> will work very well but it should be able to be turned off at the very
> least.
> 
> Return to zero envelopes (RTZ), ie. ones that always start from zero
> on a note on, inevitably sound bad. Korgs & Spectrasonics among others
> are offenders here - they have RTZ envelopes whether you want them or
> not. An RTZ EG is a nice option but it shouldn't be a default setting.
> 
> Primitive samplers can have the same RTZ problem when trying to play
> monophonically too as the sample is always played from the start at
> note on.
> 
> It should be noted that RTZ envelopes are used in some classic string
> machines, eg. Solina, RS-505. But they really they do sound pants
> compared to proper polyphony.
> 
> Tony
> 
> www.oakleysound.com
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