NONLINEAR LABS C15 - Page 20

Sound Generation
20
Controlling the Modulator by an Envelope:
As you have learned in the meantime, frequency and mod depth of the modulator
(here Oscillator B) are crucial for shaping sound using PM. Unlike classic subtractive
synthesis, it is very easy to generate a wide range of noisy and “metallic” timbres
that oer lots of potential when emulating acoustic instruments, like e.g. mallets or
plucked strings. To explore this, we will now add some sort of percussive “stroke” to
a simple sound:
▶
Load the Init sound and turn up Oscillator A (the carrier):
A (Output Mixer) = [ 75.0 % ]
▶
Press Pitch (Oscillator B).
▶
Set the Encoder to [ 96.00 st ].
▶
Press PM B (Oscillator A).
▶
Set the Encoder to approx [ 60.00 % ].
ߊ Now you are hearing Oscillator A being phase-modulated by Oscillator B.
The sound is bright and slowly decaying.
▶
Press Pitch (Oscillator B) until Key Trk is highlighted in the display.
▶
Turn the Encoder and dial in [ 0.00 % ].
ߊ The Key Tracking of Oscillator B is o now, providing a steady modula-
tor-pitch for all keys. In some key ranges, the sound is now becoming
somewhat odd.
▶
Press PM B (Oscillator A) until Env B is highlighted in the display.
▶
Set the Encoder to [ 100.0 % ].
ߊ Now Envelope B is controlling the phase-modulation depth (PM B) over
time.
▶
Press Decay 1 (Envelope B).
▶
Turn the Encoder to [ 10.0 ms ].
▶
Press Decay 2 (Envelope B).
▶
Turn the Encoder to approx. [ 40.0 ms ] and play some notes. Keep Break-
point (BP Level) at default value 50%.
ߊ Envelope B is now producing a short percussive “stroke” that quickly
fades out. In every key range, the percussive “stroke” sounds slightly
dierent since the pitch ratio between carrier and modulator is a bit
dierent for every key. This helps to make emulations of natural sounds
pretty realistic.