Why do I perceive a tonal element changing when I change between the various amplitude envelope types? Its very subtle, and I was actually surprised there was a difference at all - I just thought, well, ADS, analog ADSR, Digital ADSR - just different accuracies of adsr. The transient seems to change in a pleasing way between the different types. But I also feel sometimes the sound is rounder with one env over another, even if I try to get the env as close as possible to one another....
I guess in non-technical terms (as I find I miss out on alot of info when I cant visually/audibly describe something) - what am I looking for if I want to switch ADSR on a patch?
For example - ADS seems to have the sharpest transient, kind of abrupt and stands out more. Almost percussive. Any other unique characteristics/common applications in patch design for the different amplitude ENV types?
Can someone help explain this ENV to me (in Diva)
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- KVRist
- 143 posts since 30 Apr, 2010
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- KVRAF
- 5223 posts since 20 Jul, 2010
One thing I do know is that the ADS can modulate further/higher than the others, because consecutive triggers stack on top of each other or something. It's awesome for big sync sweeps.
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- KVRAF
- 4141 posts since 11 Aug, 2006 from Texas
Hi jumpercable,
I highly recommend reading Howard's manual for Diva. The envelopes section on page 19 discusses how the envelopes from all the different original synths as well as differences between filter env and amp env have been modeled.
All 6 of the envelopes have their own character and tonal applications.
I highly recommend reading Howard's manual for Diva. The envelopes section on page 19 discusses how the envelopes from all the different original synths as well as differences between filter env and amp env have been modeled.
All 6 of the envelopes have their own character and tonal applications.