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Synthesizer Programming Basics (2)
Envelope Generator Generates an aperiodic (non-repeating) control signal, usually used to automate changes in a filter or amplifier.
Usually creates a pattern of perceived change in timbre or loudness for each note played on a MIDI controller:
1) Attack: Affects the duration of the rise in level at the beginning of an envelope
2) Decay: Affects the duration of the fall in the envelope’s level that occurs right after the attack
3) Sustain: Affects the Level of the steady (unchanging) section of the envelope that begins just after the decay. The duration of the sustain section is determined by the length of the MIDI note
4) Release: Affects the duration of the final fall in the envelope’s level that occurs after the sustain section (as soon as the MIDI note is released)
Multiple Oscillator Techniques Generate more complex and dynamically changing timbres by combining two or more oscillator signals in various ways:
1) De-Tuning: Creates a “chorus” or beating effect by mixing two oscillator signals whose frequencies are tuned apart by Less than a semitone (half-step). The amount of de-tuning (usually measured in cents) affects the apparent speed of the beating effect
2) Octaves: Creates a fuller, richer perceived tone by mixing two oscillator signals whose frequencies are tuned in octave ratios. Simulates a technique commonly used in organ voicing and orchestral arrangements
3) Intervals: Creates musical harmonies (or dissonances) from a single MIDI note by mixing two oscillator signals whose frequencies are tuned some number of semitones apart
4) RM (Ring Modulation): Creates a single, somewhat dissonant (inharmonious) tone by multiplying the signals from two oscillators together. The overall timbre is affected by the relative frequencies of the two oscillators, as well as their waveforms
5) FM (Frequency Modulation): Creates a single, very dissonant and aggressive tone by using one audio frequency oscillator to control the frequency of another oscillator (similar to controlling it using an LFO above 20 Hz). The overall timbre is affected by the relative frequencies of the two oscillators, and the degree or intensity of the dissonance is affected by the FM amount
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