Hold Time

bob1 · 2015-03-24T06:28:13.000Z

got the MnM yesterday. strangely different appeal than the A4, but out of the box I love that it does NOT give off that supersaw eurodance vibe at all (little wink to the impressions thread).

Tons of stuff to learn there, tho, but one thing I can’t read up or find via forum search and that is how do I get infinite hold time? when I crank the amp hold to 127 the note is played for about 2-3 seconds then runs into dec and rel.
thanks in advance

monocon · 2015-03-24T07:19:00.000Z

""bob1"":

got the MnM yesterday. strangely different appeal than the A4, but out of the box I love that it does NOT give off that supersaw eurodance vibe at all (little wink to the impressions thread).

Tons of stuff to learn there, tho, but one thing I can’t read up or find via forum search and that is how do I get infinite hold time? when I crank the amp hold to 127 the note is played for about 2-3 seconds then runs into dec and rel.
thanks in advance

I thnk you have to set both hold and release to infinte.

pselodux · 2015-03-24T07:40:49.000Z

Set decay to maximum, that way the note will be infinitely long when you’re holding it down, and the release phase will take effect on note off. With release on maximum the note will ring out until it’s replaced by another note (may be what you’re looking for though). Decay on max is good for lead sounds because it plays nicely with legato and if you want to stop the note just use a note off trig (func + trig once).

I never really got the appeal of the hold setting, I just use infinite decay and note offs to change my note lengths.

TrabanT · 2015-03-24T07:49:38.000Z

""bob1"":

vibe at all (little wink to the impressions thread).

bob1 · 2015-03-24T08:20:08.000Z

Great, thanks a lot for the quick replies, gonna test the dec/rel settings later.

Stickhit · 2015-03-24T14:26:27.000Z

I have found that balancing a small amount of hold time with varying decay times can give an envelope shape that suits certain types of sound.
Oh and I am glad that none of my synths give off that supersaw eurodance vibe, unless I want them to.

bob1 · 2015-03-24T15:01:22.000Z

hated most digital synths, from dx to virus, only the MOS 6581 is forcing me there from time to time and I’m open for some quirky aesthetics like eurorack braids and DIY digital stuff. Would never even consider to judge the synthesis as weak or something, if I want strong I’ll fire up my Mos-lab 16a, but it’s not comparable to say an ataraxic translatron or atari punk console, just a different different approach. And I find that clicky clacky Monomachine dead sexy but the last two dsi machines make me run away

Stickhit · 2015-03-24T15:17:02.000Z

A quick example to hear how hold values slightly affect the sound (as opposed to just holding the note length).

Clear a track, load the SID engine, set the wave to mix and all other parameters to off/zero. Set the amp ATK and REL to zero. Set the hold to 6 and the decay to 24.

Tap a pad to hear the sound which should have a buzz to it. Now if you set the hold back to zero you should find that you can’t achieve that exact buzz no matter where you set the decay.

Don’t own an analog synth and never have (though I have played a couple). I recognise DSI but am not familiar with the other synths you have named.

bob1 · 2015-03-24T22:26:32.000Z

works nicely. strange concept but once you get it it’s not a problem anymore.

@stickhit I was just comparing apples with oranges basically, digital one trick ponies with a certain appeal to them, and state of the art analogs with tons features. Wouldn’t even call a very primitive shift register osc weak, tho. All a matter of taste.

pselodux · 2015-03-24T22:47:34.000Z

Cmon guys let’s not bring the weakness discussion here too, argh!

""Stickhit"":

A quick example to hear how hold values slightly affect the sound (as opposed to just holding the note length).

Clear a track, load the SID engine, set the wave to mix and all other parameters to off/zero. Set the amp ATK and REL to zero. Set the hold to 6 and the decay to 24.

Tap a pad to hear the sound which should have a buzz to it. Now if you set the hold back to zero you should find that you can’t achieve that exact buzz no matter where you set the decay.

Oh, that’s interesting, I’ll have to give it a try!

Stickhit · 2015-03-24T23:10:55.000Z

[font=Calibri","sans-serif]Currently trying to replicate a standard ADSR by using an LFO to control the volume level. I can’t get the sustain to work right, there is always a jump in volume going from decay to sustain. Anyone had any success with this technique?

s_p_a_c_e_tent · 2015-03-25T03:10:05.000Z

""Stickhit"":

Currently trying to replicate a standard ADSR by using an LFO to control the volume level. I can’t get the sustain to work right, there is always a jump in volume going from decay to sustain. Anyone had any success with this technique?

Try use a ONE shot trig for the LFO, and turn the VOL parameter down low.You probably want to have the hold or dec params to max also.

Stickhit · 2015-03-25T11:04:40.000Z

Thanks for the reply. I have been using a one shot LFO and all variations of HOLD/DEC/REL but I either end up with no sustain or a sustain that jumps in volume.

I have thought of using 2 LFOs (one for A/D and the second for S/R) but the only way I can see to delay the second LFO is to trig it, which would only allow a minimum delay time of a 32nd. The second LFO would need to kick in faster than that .
[font=Calibri","sans-serif]Not to worry, not a show stopper.

bob1 · 2015-03-25T11:55:58.000Z

Found the ADR env solution completely sufficient

pselodux · 2015-03-25T12:50:01.000Z

[quote=“” Stickhit""]

Thanks for the reply. I have been using a one shot LFO and all variations of HOLD/DEC/REL but I either end up with no sustain or a sustain that jumps in volume.

I have thought of using 2 LFOs (one for A/D and the second for S/R) but the only way I can see to delay the second LFO is to trig it, which would only allow a minimum delay time of a 32nd. The second LFO would need to kick in faster than that .
Not to worry, not a show stopper.
[/quote]

What do you mean by “the sustain jumps in volume”?

Stickhit · 2015-03-25T17:48:25.000Z

[quote=““pselodux””]

Stickhit:

Thanks for the reply. I have been using a one shot LFO and all variations of HOLD/DEC/REL but I either end up with no sustain or a sustain that jumps in volume.

I have thought of using 2 LFOs (one for A/D and the second for S/R) but the only way I can see to delay the second LFO is to trig it, which would only allow a minimum delay time of a 32nd. The second LFO would need to kick in faster than that .
Not to worry, not a show stopper.

What do you mean by “the sustain jumps in volume”?[/quote]
The sustain level is higher then the volume at the end of the decay so the envelope sounds like it has a double attack (which could be useful just not what I was looking for).

pselodux · 2015-03-25T22:25:40.000Z

Oh right, gotcha. I’m not at home at the moment but what if you use the HALF mode instead of ONE? Which waveforms have you tried using for the LFO?

insidestraight · 2015-03-25T23:28:19.000Z

I only use the hold parameter to beef up punchy bass sounds, seems to to do something I can’t achieve with the ADSR envelopes.

Stickhit · 2015-03-26T16:53:29.000Z

""pselodux"":

Oh right, gotcha. I’m not at home at the moment but what if you use the HALF mode instead of ONE? Which waveforms have you tried using for the LFO?

[font=Calibri","sans-serif]I use the RMP wave. If you look at the wave shape it is like an attack and decay. One shot is what I use as it gives one cycle of the wave. Half shot gives one half cycle so would only give the attack part of the wave.

Stickhit · 2015-03-26T16:55:26.000Z

""insidestraight"":

I only use the hold parameter to beef up punchy bass sounds, seems to to do something I can’t achieve with the ADSR envelopes.

[font=Calibri","sans-serif]The hold parameter basically holds the volume of the sound at its maximum level for the length of time which you have it set (I think the maximum time is just over 2 seconds). Whereas the decay parameter immediately begins to reduce the level of the sound at a rate determined by its setting.