E-Mu EMAX II, Руководство по эксплуатации, Страница: 205 / 257

Emax II operation manual
194
The way to set the envelope is as follows: With no envelope applied to the filter, play the
sampled sound and wait for the sustaining portion of the sound. Now adjust the filter
cutoff so it lets through most of the signal, but attenuates the noise. This may take some
trial and error before you obtain the desired result.
Now increase the effect of the envelope on the cutoff frequency. Start off with the attack
at 0 time, sustain at 0 level, and the decay set to some minimum, but noticeable value.
The release is not all that important for now. Repeatedly hit the note and adjust the decay
until it is long enough to let through the sounds and high frequencies associated with
the initial pluck. Adjust the envelope level to make sure that the cutoff is high enough
to let these sounds through, but not so high that the hiss gets through.
I’ve noticed that sounds with few harmonics are particularly prone to noise problems.
Applying the right kind of envelope to the filter will help dramatically towards lowering
the overall amount of noise.
Signal Processing with the Emax II
■
Pitch Transposer with Regeneration: To make a voice sound as if it is being pitch-
shifted downward and regenerated, hit three or four adjacent keys from the same
sample at the exact same time (try this with a sampled sentence for an obvious example
of how the effect works).
■
Time Delay Special Effects
:
Set a voice for non-transpose, then press several keys
at almost the same time—you will hear all sorts of flanging, chorusing, and other delay
effects.
■
Echo : Loop a complete voice so that it begins repeating as soon as it ends. Then, set
the VCA decay so that the repeated voices get softer as you hold down the key. The effect
is very similar to echo, with the exception that different notes will have different echo
rates. Or, set a voice for non-transpose, and hit a new key every time you want to hear
an echo.
THE ART OF SAMPLING
Maniplulating Samples