Sequential TAKE 5 - Additional Envelope Parameters (Program Menu); About the Amp Envelope

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Take 5 User’s Guide
About the Amp Envelope
Amount: Sets the amount of modulation from the lter envelope to the
lter’s cutoff frequency. Any setting above zero means that each time
you strike a key, the lter envelope controls how the lter opens and
closes. Higher amounts more dramatically affect the cutoff frequency.
This control is bipolar. Positive settings produce standard behavior.
Negative settings invert the envelope.
Additional Envelope Parameters (Program Menu)
Additional Envelope parameters are accessible by pressing the front-
panel
program button and scrolling through the list that appears. The
parameters below do not appear on the front panel.
Env 1 Delay: 0...127—Sets a delay between the time the envelope is
triggered (note on) and when the attack portion actually begins.
Env 2 Delay: 0...127—Sets a delay between the time the envelope is
triggered (note on) and when the attack portion actually begins.
About the Amp Envelope
After passing through the lters, a synthesized sound goes into an
amplier, which controls its overall volume. The Amp envelope is used
to shape the volume characteristics of a sound over time by giving you
control over these stages. Along with the Filter envelope, this is one of
the most important aspects of a synthesized sound.
Without a volume envelope, the volume of a sound wouldn’t change
over the duration of a note. It would begin immediately, remain at its full
volume for its duration of the note, then end immediately when the note
was released. Again, that’s not very interesting sonically and it’s not typi-
cally how instruments behave in the real world.
To give you a real-world example, the main difference between the sound
of the wind and the sound of a snare drum is that they have very different
volume envelopes. Otherwise, they are essentially both white noise.
Wind has a relatively slow attack, a long sustain, and a long decay and
release. A snare drum has a sharp attack, no sustain, and very little decay
or release. But again, they are both fundamentally white noise.