If you remember from our first article, the branched stack of Ops 3-8 is creating the basic tone, and Ops 1 & 2 are creating some high harmonic acoustic eccentricities. Looking at Part 7, using Algorithm 74 the Carrier Operators are 2, 4 & 8: Both in the regards of how long it takes before the hammer strikes and the tone itself starts to ‘sound’ after playing the key. So, we have to ‘slow things down’ to emulate physics of playing a piano action. The first thing to keep in mind, nothing is ‘instant’ in this regard on a piano, and the envelopes in FM are famously ‘fast’. I mentioned we need to emulate the inertia of the key mechanism – what do I mean? Obviously some of this will come from the keyboard action of the Montage itself, but to truly get a ‘feel’ that our playing is actually ‘connected’ to the final sound, we have to have the onset and evolution of the ‘hammer’ sound match our expectations and the idiosyncrasies of the piano. Part of that is emulating the inertia of the Piano key mechanism.Ĭontinuing with the example Performance “MF.HCM Piano Ex1, and let’s look at ‘hammer’ parts 7 and 8. Along with the creating the proper harmonic structure, we’ve got to tailor both the general time behavior of the envelope in addition to the touch response to get a final result that both sounds and ‘feels’ like a piano. So without further suspense… the Envelope(s), Please ! For the piano, it’s the initial half second or so of the hammer attack that is so critical to achieve a convincing result. And envelopes are how we’re going to create lot of that behavior. With a Piano this is especially important in the getting the ‘feel’ of playing the notes correct. When doing emulative synthesis, the trick in a convincing resynthesis is getting both the harmonic structure and the behavior of that harmonic structure to closely mimic the target sound. So, continuing on our journey of building our FM-X piano, this article will mainly focus on Envelopes in context of the attack transients in the sound. Envelopes are what shape the volume of our sound and control the harmonic evolutions as you play the notes - which in essentially dictate the difference between, for example, something like a pizzicato versus bowed violin sound. for traditional envelopes, Rates & Levels for FM envelopes, etc. Once the envelope is triggered, its modifies that control source or parameter in a pre-defined shape over time determined by its settings – Attack, Decay, Sustain, Release etc.
#The envelopes please generator#
Quick review – an envelope generator is an automated control source that modifies the amount of another control source or parameter. The prior articles covered the harmonic structure (frequency) components, and now I’ll delve into the time components - Envelopes!
#The envelopes please series#
Manny FM-Xpert 5: "Everybody's Doin' the Knob-O-Motion"ĭownload the updated file associated with this article series here! (Manny FMXpert.X7L)Īfter the arcane topic of our prior article, now it’s time to go back to something familiar. Manny FM-Xpert 3: "It's Just a Phase, Man" Manny FM-Xpert 2: "I'm Fixing a Hole Where the Timbre is Thin" Manny FM-Xpert 1: "Acoustic Eccentricities and Stuff" The other articles in the series are accessible via the links below:
This five article series is delivered in an accessible and entertaining way and includes MONTAGE content programmed by Manny himself. Manny’s FM-Xpert is a deep dive into the the FM-X engines of the MONTAGE and MODX Music Synthesizers. This month he shows how envelope generators affect an FM-X sound and require much less math! Last month FM-Xpert Manny Fernandez showed us that he's pretty good at math in article 3, " It's Just a Phase, Man".
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