Clavia Nord Lead 3 User Manual Page 86
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Page 86 About Subtractive Synthesis
The Amplifier
An amplifier is most often used at the final stage of a synth signal chain, to control volume. By modulating
the amplifier with an envelope, the sound can be given its basic “shape”. In fact, the “volume shape” is
one of the most important factors to how we identify the sound. By setting up a proper volume envelope
you can make a sound “soft”, “hard”, “plucked” “static” etc.
The volume envelope curve (to the left) determines how the amplitude of the waveform changes over time.
Envelopes
ADSR-Envelope
Envelopes are used to modulate pitch, amplitude, filter cutoff and other parameters in a sound. This is
used to give the sound a varying character from the moment the key is pressed to the moment it is re-
leased.
The classic synthesizer envelope has four parameters, Attack, Decay, Sustain and Release, and is there-
fore often referred to as an “ADSR-envelope”.
When you press a key, the envelope is triggered. This means is starts rasing from zero to maximum level.
How long this should take, depends on the Attack setting. If the Attack time is set to “0”, the envelope
will instantly reach full level. If it is raised it will take longer.
If you for example have an envelope controlling volume, raising the attack will give the sound a “softer”
character. If you have the envelope routed to the filter, it might give the sound a “wah” type of start.
+=
Attack
(time)
Key Down
Level
Time
- Table Of Contents 1
- Page 4 Table Of Contents 4
- 1. Introduction 5
- Page 6 Introduction 6
- 2. Connections 7
- Connecting Pedals 8
- 3. Basic Operations 9
- Selecting Programs 11
- Selecting Percussion Kits 12
- Layering 13
- Splitting the Keyboard 14
- Selecting Performances 15
- Stereo/Mono 16
- Master Tune 17
- Using a Sustain Pedal 17
- The “Panic” button 19
- Page 20 Basic Operations 20
- 4. Editing Programs 21
- Customizing Manual Mode 22
- Storing Programs 22
- Copying Programs 22
- Using PCMCIA Cards 23
- 5. Programming Velocity 25
- Sensitivity 25
- Moving the Range 27
- Morphing 28
- 6. Percussion Kits 29
- Percussion sounds 31
- Saving Percussion Kits 31
- 7. Performances 33
- Editing the Performance 34
- Saving a Performance 35
- Exiting Performance Mode 36
- What a Performance contains 36
- 8. Panel Reference 37
- Oscillator 2 38
- Settings For Both Oscillators 39
- Ring Mod 40
- Amplifier 41
- Filter Type 43
- Frequency 45
- Resonance 45
- Envelope Amount 46
- Velocity 46
- Kbd Track 46
- Distortion 47
- Waveform 48
- Destination 48
- LFO 2/Arpeggiator 49
- LFO 2:Arpeggiator Mode 49
- Arp range 50
- Arpeggio Hold 50
- About the Echo function 50
- LFO 2:LFO Mode 51
- Modulation Envelope 51
- Mod Wheel Destination 53
- Poly Legato Mono 54
- Portamento 55
- Oct Shift 56
- 9. Shift Functions 57
- Shift Function Listing 58
- Tune (Master Tune) 59
- Out Mode 59
- Settings for Slot A and B: 60
- Settings for Slot C and D: 60
- Prog/Ctrl 61
- MIDI Channel 62
- Accessing the Functions 63
- Sustain Pedal (SP) 68
- Pitch Bend Range (br) 68
- Unison Detune (Un) 68
- 10. MIDI 69
- Program Change 70
- Bank Select 71
- System Exclusive 71
- Connections 71
- Local On/Off 71
- MIDI Channels 71
- Controllers 72
- Bulk Dump 73
- Page 74 MIDI 74
- 11. About Subtractive 75
- Synthesis 75
- The Oscillators and Waveforms 76
- Amplitude 78
- Pulse Wave 79
- The Filter 81
- Filter Types 82
- Roll-off 83
- Filter Frequency 84
- The Amplifier 86
- Envelopes 86
- AD-Envelope 89
- 12. MIDI Implementation 91
- General Message format 93
- Patch Dumps 93
- Percussion Kit Patch Dump 94
- Patch Dump Request 95
- Performance Dump 96
- Performance Dump Request 97
- All Controllers Request 97
- Patch Dump Format 98
- MIDI Implementation Page 99 99
- Performance Data Format 100
- 13. Factory Settings 101
- Factory Percussion Kits 102
- Factory Performances 104
- About the Organ Sounds 105
- 14. MIDI Implementation 109
- 114 Index 114
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