|
Negative Filter Envelope
|
View this Thread in Original format
| inversoundzzz |
Since we're on the topic of synths, there's something I don't yet know when I or why I would use this: a negative filter envelope....like the knob for the filter envelope goes from 100% to -100%, so why would you want to have a -100% filter envelope. Is there some cool fx you could do with that/? I get the positive but not the negative...is there something that you would use that control with in conjuction to make a cool effect?
Like if 100% gives the full control of the filter to the envelope....then why would you want to give not just zero control to it, but actually the inverse of it.......I just never use it because I don't think theres any point to it....lol
like am I missing something here or what.... |
|
|
| farris |
When using a negative (or inverted) filter envelope, instead of opening the filter (from the cutoff point), it will close it.
The ADSR can get confusing when it’s inverted, but when you think about it,
it’s all logical.
From reading your description, the synth you are using combines both
the modulation depth as well as positive/negative with one knob (12 ’o clock being 0).
Other synths have a knob which controls modulation depth only, and a simple toggle to
switch between positive/negative. |
|
|
| LoveHate |
| Inverted sub bass ? |
|
|
| aquila |
| it's handy for making wubs |
|
|
| Teezdalien |
| Yeah Farris explained it pretty well. An envelope is only applying a uni-polar modulation, it's either positive or negative, where as an LFO is a bi-polar modulation fluctuating between positive and negative values. A negative envelope is useful if you want only a negative modulation, you'll generally want to use medium to high filter cutoff settings to make this effective. |
|
|
| cryophonik |
| quote: | Originally posted by farris
The ADSR can get confusing when it’s inverted, but when you think about it,
it’s all logical.
|
Yeah, farris explained it perfectly, but it might also help to see it in action. If you have something like FXpansion DCAM Strobe, you can see the effect of switching from a positive to an inverted envelope on the filter in the display when the filter is in focus and notes are being generated. I'm sure there are other synth and filter plugins with a similar real-time display, but that's the first one that comes to mind. |
|
|
| tehlord |
| Omnisphere does as well if you magnify the mod matrix |
|
|
| inversoundzzz |
| quote: | Originally posted by aquila
it's handy for making wubs |
soulst env negative<<
hahaha you're right....you know what else it sounds like, sounds like jimmy page in one of dazed and confused solos......that wooooopppp wwwooop, I did it slowly going from -100% and playing wit h freq and resonance, i dont think you can get that sound really without using it maybe something close but not wquite...so thats seems to be one cool thing.
thanks for the responses....it made more sense to me how to trey and use it.....
| quote: | | Yeah, farris explained it perfectly, but it might also help to see it in action. If you have something like FXpansion DCAM Strobe, you can see the effect of switching from a positive to an inverted envelope on the filter in the display when the filter is in focus and notes are being generated. I'm sure there are other synth and filter plugins with a similar real-time display, but that's the first one that comes to mind. |
yea his explanation made the most sense,....I can sort of picture it but it's better to just hear it actually, i get that it is like[U] |
|
|
| farris |
| quote: | Originally posted by cryophonik
I'm sure there are other synth and filter plugins with a similar real-time display, but that's the first one that comes to mind. |
Yup, and also FAW Circle. Not sure, but I think Razor has a similar feature too.
| quote: | Originally posted by cryophonik
yea his explanation made the most sense,....I can sort of picture it but it's better to just hear it actually, |
The best way to hear it is to set a fairly high attack on the filter envelope,
adjust the (negative) modulation depth, set the cutoff somewhere in the middle
and play longer notes. |
|
|
|
|
