For starters, what I described above, is mostly done with Filter EGs.
From an INIT, Amp Envelope setting defaults to an "Organ Envelope" with some Release Time. For the most part you can leave them like this, and only adjust the Release Time setting to taste.
Regards the AEG Hold time, this appears only in the FM-X Amp Envelopes. It's probably worth noting here that although the AWM2 & FM-X Envelopes look the same at first glance, there are subtle differences that can confuse you. The same applies generally between AWM2 and FM-X. It's best not to assume functionality of one into the other. There are a lot of similarities, but it's better to be mindful that they are different engines, with different evolutions.
Generally speaking, Yamaha's multi-stage Envelopes are worth studying, because they are in fact significantly different than traditional ADSR Envelopes, although they serve the same purpose... one-shot (non-looping) modulation over time.
For example, you would expect "Decay1" Stage to be a reduction (negative slope) from the Attack Stage. But, it can also be used as a second Attack Stage (positive slope). If you investigate some "Synth Brass" presets, you'll often see Decay1 used as a second Attack Stage, painting a convex Attack Curve. Decay2 is then used as the traditional Decay -> Sustain Stage.
In the AWM2 FEG there is a FEG Hold Time parameter, which delays the onset of the Filter "opening up".
With the Amp EG Fully Open from Key On (AEG Attack Time = 0, AEG Attack Level = 127), the sound is effectively Muted if the Low Pass is Fully Closed. Opening the Filter (increasing Filter Cutoff) with the FEG will Bloom the sound, without any need of interaction from the AEG.
So, you'd set the Filter Cutoff Parameter to 0 or some low damping value, then after a short delay (FEG Hold Time), the FEG Attack would open up the Filter, gradually issuing the sound.
The graphic representation of the Envelope Shapes in the EG Edit screens are just pictorial guides, indicative of the direction of movement. They are not true representations of the actual modulation *curves* they produce. So, you have to use your ears to guide you into the correct settings, there's some trial and error involved.
From an INIT, Amp Envelope setting defaults to an "Organ Envelope" with some Release Time. For the most part you can leave them like this, and only adjust the Release Time setting to taste.
Regards the AEG Hold time, this appears only in the FM-X Amp Envelopes. It's probably worth noting here that although the AWM2 & FM-X Envelopes look the same at first glance, there are subtle differences that can confuse you. The same applies generally between AWM2 and FM-X. It's best not to assume functionality of one into the other. There are a lot of similarities, but it's better to be mindful that they are different engines, with different evolutions.
Generally speaking, Yamaha's multi-stage Envelopes are worth studying, because they are in fact significantly different than traditional ADSR Envelopes, although they serve the same purpose... one-shot (non-looping) modulation over time.
For example, you would expect "Decay1" Stage to be a reduction (negative slope) from the Attack Stage. But, it can also be used as a second Attack Stage (positive slope). If you investigate some "Synth Brass" presets, you'll often see Decay1 used as a second Attack Stage, painting a convex Attack Curve. Decay2 is then used as the traditional Decay -> Sustain Stage.
In the AWM2 FEG there is a FEG Hold Time parameter, which delays the onset of the Filter "opening up".
With the Amp EG Fully Open from Key On (AEG Attack Time = 0, AEG Attack Level = 127), the sound is effectively Muted if the Low Pass is Fully Closed. Opening the Filter (increasing Filter Cutoff) with the FEG will Bloom the sound, without any need of interaction from the AEG.
So, you'd set the Filter Cutoff Parameter to 0 or some low damping value, then after a short delay (FEG Hold Time), the FEG Attack would open up the Filter, gradually issuing the sound.
The graphic representation of the Envelope Shapes in the EG Edit screens are just pictorial guides, indicative of the direction of movement. They are not true representations of the actual modulation *curves* they produce. So, you have to use your ears to guide you into the correct settings, there's some trial and error involved.
Statistics: Posted by TooTone — Thu Jan 04, 2024 12:59 am