Basics of Cubase VST Plugins – Sound Envelopes
Lets assume that you start off at full blast and you stay there, then you release the key and your patch disappears. This signifies there’re no envelopes. Theyre the essential component for sound articulation. Its as a result of the envelopes that you could be creative and express dynamic sounds through your synthesiser. You’ll learn about them briefly, although they’re rather hard to understand. Think of the common envelope being as four main entities.
Entity 1 : If you want good string sounds then do the following. Set it moderately high where the sound would gradually decline. Say you set to nothing then the sound would straightaway be at full tilt. So you want to attack meaning the sound is rising up to its maximum level.
Entity two : When the attack brings the sound up and remains at the level how long it stays there is recognise as the decay. Say you set it at max. level then it will stay there permanently which means the sustain stage is of no value.
Entity 3 : Once the decay stage has ended it would be at the sustain level where it remains. In several cases reckoning on your synthesiser you will have a dedicated sustain time setting, which implies it would decay the sustain stage after an adjusted time period.
Entity 4 : The sustain level takes a period of time to fall to silence. This is the release, and its virtually like reverb at the sound ending. Say you want it to be instant then set the release level to zero.
Get a image in your brain of the envelopes then with practising the programing of the envelopes you would master it. Think of each entity on graph paper where you are dedicating higher to lower points as it goes through the many entities and the sound changes. Visualize the sound maximizing through the attack, falling through the decay, remaining in the determined level of the sustain, then lastly it disappears through the release when you let go.
To articulate the filter it wants a filter envelope. You should be able to see a dedicated knob for the filter frequency. Youre going to programme the filter envelope simply as you will any normal envelope after you turn down the average cut-off filter, and turn the filter envelope cut-off higher.
It’ll take abit getting used to. To hear something startling turn the sustain on the filter envelope off, forget about the release and attack. Then make the decay short and turn up the release. What youre doing here’s utilising the envelope to cut-off the frequency, hence youre not changing the volume. If you increase the attack on the filter envelope, you would create brass sounds.
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