Again, I’m new to synthesis so forgive what might be a dumb question.
I’ve setup a Perf scene where I open the hold and decay to draw out the sound. When I enagage the scene, however, it seems the Attack starts from zero; the “hit” I’ve dialed away comes back. I’ve tried setting up the attack in the same Perf scene but does nothing to take away the hit.
What am I doing wrong? Thanks for your help.
Just played around with this. Attack in general works rather oddly in regards to the synth engines. I find I have to play around with the hold parameter to even get Attack to function at all, and even then it’s fairly easy for the AR to seemingly forget the setting. Haven’t found a way to consistently reproduce the issue though. Also doesn’t appear to happen with samples.
If I recall correctly, you need to set Hold at a value of 1 or more for the envelope to be activated (which is weird, but this is by design). So try setting Hold to 1 for your sound before you set up the Performance mode changes and they may now work correctly.
Probably a couple of things misunderstood here folks …
first off, that statement^ is wrong, the significance of jumping to 1 and above is that you then ‘force’ the hold (or gate) to be a finite time (not related to tempo) - it will also ignore how long you hold when you realtime record and will over-ride the len setting (default for step mode), in both of these modes when hold is an auto(i.e. 0) it will plock(or use) the len value which is tempo related
secondly, the envelope does not retrigger from zero, it retriggers from where it currently is, which may be high, thus OP hearing attack of voice !
thirdly, if the hold time (or len steps) are too short, you do not allow the attack to develop, it can only develop given time, so to hear a long attack, you need to have gated the hit long or set a long len in step record (or use a fixed time with hold that is as long or longer than attack (expressed in time)
i don’t think what’s happening inside performance mode is significant here, so long as you appreciate that certain params are only significant come time the note is trigged, having said that, the only p lockable way to mess with hold in performance mode (you can do it during either record mode) will be to mess with hold, but keep in mind the relationship between attack and hold(gate) time
keep it simple and sparse on the seq when testing
This is all great info. Thank you taking the time to explain.
One more question, and please correct me if I’m wrong: so if I lengthen the Hold/Decay to overlap the next trig the envelope has kept holding/decaying, e.g. holding over the sound, and the next trig is almost like without an envelope, therefore I here it’s attack?
[quote=““xidnpnlss””]
This is all great info. Thank you taking the time to explain.
One more question, and please correct me if I’m wrong: so if I lengthen the Hold/Decay to overlap the next trig the envelope has kept holding/decaying, e.g. holding over the sound, and the next trig is almost like without an envelope, therefore I here it’s attack? [/quote]
Yep
This picture doesn’t equate to the AR gate/hold but it illustrates the type of envelope it uses, unlike on the A4 where you can select whether it restarts from zero, i don’t know if the profiles are similar either, but you get the point … The envelope may be high, so when the sample or synth is retriggered you will hear the attack transients because the volume is higher than you hoped. Test this out by using bigger gaps between trigs to allow the decay phase to conclude
This must be the reason.
Thank you very, very much for your effort.
