Файл: E-mu E 6400 EOS 4.0 manual.pdf

O The EOS envelope generators are just like standard ADSR’s, except that they have two segments for each stage.

• To create a standard ADSR curve, set the “2” levels the same as the “1” levels and set all the “2” rates to 0.

O By routing the Auxiliary Envelope to control the pitch (Cords) you can easily hear the shape of the envelopes you are creating.

Envelope Generators

An envelope can be described as a “contour” which can be used to shape the sound in some way over time. There are three envelope generators per voice and all of them are the rate/level type.

This is how the rate/level envelopes work: When a key is pressed, envelope starts from zero and moves toward the Attack 1 Level at the Attack 1 Rate. As soon as it reaches this first stage, it immediately begins the Attack 2 phase and moves toward the Attack 2 level at the Attack 2 rate. As long as the key is still held, the envelope continues on through the Decay 1 and Decay 2 stages. If the key is still held when the envelope reaches the end of Decay 2, it simply stops there waiting for you to release the key. When you release the key, the envelope continues through its Release 1 and Release 2 stages, stopping at the end of the Release 2 stage. The rate/level envelopes give maximum flexibility to program both complex and simple envelopes.

The Amplifier Envelope generator controls the volume of the voice over time and has 6 stages: Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. The Filter Envelope generator controls the filter morph and also has 6 stages. Unlike the amplifier envelope, however, the filter envelope has the ability to go negative as well as positive. There is also an Auxiliary Envelope generator which is a general purpose envelope. The auxiliary envelope is identical to the filter envelope and can go negative as well as positive. The time of each stage can be adjusted to create myriad envelope shapes, which in turn shape the sound over time.

•The way the volume of a sound changes over time determines how we perceive that sound. For example, a bell struck with a hammer is instantly at full volume, then slowly dies away. A bowed violin sound fades in more slowly and dies away slowly. Using the Amplifier Envelope, you can simulate different types of instrument volume envelopes by programming them appropriately.

LFO Tricks & Tips:

•The Random LFO wave is truly random and is different for each voice and layer.

•The Pattern (Pat) waveforms will sound the same on different layers and voices.

•Sine + Noise is very useful for simulating trumpet and flute vibrato.

When routing Hemi-quaver to Pitch:

+38 = major scale -38 = phrygian scale

+76 = whole tone scale

(+38) + (+76) = diminished

(two cords)

odd amount = S+H sound

Note: References to musical intervals in the pattern LFO shapes are with the LFO routed to pitch and a PatchCord amount of +38.

Try combining the Pattern LFOs, or controlling the amount of one with another, or combining them with the clock divisors.

Low Frequency Oscillators (LFOs)

A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow rate. The Emulator has two multi-wave LFOs for each channel. The LFO waveforms are shown in the following illustration.

By examining the diagram of the LFO waveforms, you can see how the LFO will affect a modulation destination. Suppose we are modulating the pitch of an instrument. The sine wave looks smooth, and will smoothly change the pitch. The square wave changes abruptly, and will abruptly change the pitch from one pitch to another. The sawtooth wave smoothly decreases, then abruptly changes back up. The sound’s pitch will follow the same course. Controlling the pitch of an instrument is an easy way to hear the effects of the LFO waves.