Ok, all you synth programming experts. Help me figure this one out (I'm a guitarist initially, but have been working with synths off on and on for some years - so I'm not a complete synth novice, nor do I claim to be an expert)
Using an LFO routed to filter cutoff I can make a sound rhythmically turn on and off - lets say, for example, as an alternative to playing a quarter note repeatedly for whatever length of time.
Using a second much slower LFO (or an envelope) I can make the sounds characteristics change over time. So in combination you get, for example, a four to the floor bass that "rises" over two bars.
Still with me? So lets say I in addition would like the filter envelope (attack) to restart at the same rate as the rhythmic LFO - say I have some kind of filter attack thing going, that needs to be repeated with each stab because it's integral to the character of the initial sound.
Now, if I sequenced this, obviously I could just play quarter notes, drop the rhythmic LFO all together and use for example keyboard velocity to change parameters over whatever length of time. But seems there must be a way to do this just using the internal architecture of a synth and thus having a more "seamless" and "finished" preset...?
What kind of synth are you using? This is really easy to do with a modular. What you are really wanting to do is send a 'gate' signal, something that just says 'turn on' and 'turn off'. You would feed this into an envelope and it could add the contour you want.
What kind of synth are you using? This is really easy to do with a modular. What you are really wanting to do is send a 'gate' signal, something that just says 'turn on' and 'turn off'. You would feed this into an envelope and it could add the contour you want.
Thanks for quick reply!
I have a prophet 08, Moog SP and an Andromeda A6 (which I've barely scratched the surface of ).
Still with me? So lets say I in addition would like the filter envelope (attack) to restart at the same rate as the rhythmic LFO - say I have some kind of filter attack thing going, that needs to be repeated with each stab because it's integral to the character of the initial sound.
If there's no way to re-trigger the envelope without hitting the key again - this depends entirely on the model of the synth by the way - then you're out of luck.
Quote:
But seems there must be a way to do this just using the internal architecture of a synth and thus having a more "seamless" and "finished" preset...?
There is not. Envelopes are generally one-shot unipolar modulators, LFOs are looping bipolar modulators.
edit: okay, I replied when your second post wasn't visible. Doesn't the A6 have looping envelopes?
__________________ For all the intelligence and knowledge that technology empowers us with, the lazy and stupid is amplified along with it (Staticstarter) Threads to check out:Chord Generators & Tips | Pop Sound Sources
If there's no way to re-trigger the envelope without hitting the key again - this depends entirely on the model of the synth by the way - then you're out of luck.
There is not. Envelopes are generally one-shot unipolar modulators, LFOs are looping bipolar modulators.
edit: okay, I replied when your second post wasn't visible. Doesn't the A6 have looping envelopes?
Yes, it seems the A6 does have looping envelopes, so it would seem that is the solution.
Now I just have to figure out how to time the loop parameters with the LFO-tempo... But you have pointed me in the right direction. Thanks, Yoozer!
Sometimes it's just easier to send midi CC data from your daw to control filters and have them perfectly tempo sync'd to your tracks.
You might even consider using more than one synth together (basically using them like a modular system). One synth you might send CC data to pulse the filter at quarter notes. You could then route this into another synth and sweep the filter for the rising effect, and this can be perfectly sync'd too.
If your LFO's can sync to midi tempo this may not be necessary, and it's especially useful if the LFO's have a phase shift parameter, because it's one thing to have the tempo sync'd but it's another thing to have the pulse hitting at the right point in the groove. That's one advantage of using CC data from a daw - you can always shift the track if necessary.
Am I missing something? Couldn't you route the LFO1 that's gating your signal into 1/4 notes to the filter? Or if using the prophet, couldn't you just use another LFO?
I'm a newb do forgive me if I'm missing something obvious...
Am I missing something? Couldn't you route the LFO1 that's gating your signal into 1/4 notes to the filter? Or if using the prophet, couldn't you just use another LFO?
I'm a newb do forgive me if I'm missing something obvious...
OP already said he can do this.
I'm guessing the main problem he wants to solve is syncing it to a song. Free running LFO's are fine for just playing solo, but when you want to fit it into a song you need the LFO's to sync up with the all the other elements. Some synths can sync to incoming MIDI - but simply getting the pulse rate correct is only half the problem. Sometimes to get the feel right you need to shift the timing of the pulse so it grooves. That's dependant on things such as level in the mix, so sometimes the mathematically perfect timing isn't good enough. Phase offset lets you adjust the timing of an LFO in relation to the first beat in a bar ... maybe from -180 degrees to +180 degrees.
Or, if all else fails, give up and send Midi CC events from your DAW, where you have total control over everything ...
Getting a bit nerdy, but I guess if your synth syncs to tempo but lacks an LFO phase parameter, you could possibly get the same effect by delaying the whole synth by as much as you need, and shifting the midi track left to compensate. That would make the triggered notes hit at the right time, but as far as the synth's LFO clock is concerned, it would be at a different point in the phase cycle.
I have an A6 and here is what I would do to make things simple and accomplish what you want. To me that should always be the goal:
Use the internal sequencer to put down your pattern. The filter envelope will, by default, retrigger when you have a note down event. Make sure the envelope type is "normal" so the attack value resets back to its initial state. I would NOT use looping envelopes for this. I will explain in a bit. As far as modulating cutoffs using the LFO you have that correct. Set it up to be sync'd to the master clock and have that in turn sync to midi clock if you are not the timing master.
This is within the "architecture" of the synth and is the easiest way to get what you want. The reason I would not use a looped envelope is that you want the envelope to follow tempo and tempo changes. If you absolutely know the tempo you use will never change you could calculate out the exact envelope stage timing. The problem is what happens when your tempo changes? There is no way to stage the envelope stage lengths modified by clock timing or as an absolute fraction of tempo clock. There is a clock trigger that you can use that goes off every quarter note but you want to trigger on note on.
On a separate note, I would seriously spend some time learning about the A6 envelope modes. To me, this is one of the most important features that makes it such an incredible synth. It may not sink in at first but experiment with them using the pitch envelope so you can hear the differences your changes make more clearly. Looping envelopes are just fantastic. The different ways you can progress through the envelope stages can make a huge difference for you in sound shaping.
I have an A6 and here is what I would do to make things simple and accomplish what you want. To me that should always be the goal:
Use the internal sequencer to put down your pattern. The filter envelope will, by default, retrigger when you have a note down event. Make sure the envelope type is "normal" so the attack value resets back to its initial state. I would NOT use looping envelopes for this. I will explain in a bit. As far as modulating cutoffs using the LFO you have that correct. Set it up to be sync'd to the master clock and have that in turn sync to midi clock if you are not the timing master.
This is within the "architecture" of the synth and is the easiest way to get what you want. The reason I would not use a looped envelope is that you want the envelope to follow tempo and tempo changes. If you absolutely know the tempo you use will never change you could calculate out the exact envelope stage timing. The problem is what happens when your tempo changes? There is no way to stage the envelope stage lengths modified by clock timing or as an absolute fraction of tempo clock. There is a clock trigger that you can use that goes off every quarter note but you want to trigger on note on.
On a separate note, I would seriously spend some time learning about the A6 envelope modes. To me, this is one of the most important features that makes it such an incredible synth. It may not sink in at first but experiment with them using the pitch envelope so you can hear the differences your changes make more clearly. Looping envelopes are just fantastic. The different ways you can progress through the envelope stages can make a huge difference for you in sound shaping.
New Reply 
Facebook
Twitter
LinkedIn
).
