SONIC-POTIONS Erica Synths LXR-02, Руководство пользователя

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CLICK
The attack sound is an important part of a kick. There is no general rule here. Try
different transient generator settings for various clicks and pops or even slightly
increasing the amplitude attack to give some softer bass drums.
TIPS AND TRICKS
> You can further shape the attack of the sound using the FM oscillator.
> You want even more clicks in the attack? Why not enhance the click with a peak
filter?
11.2. SNARE
The snare is a 2 component sound. There is a tonal part for the drum body and a
noise part for the rattles.
Voice 4 of the LXR is designed with these 2 parts in mind. You have an oscillator for
the tonal part and a noise generator with filter for the noise part. Since in most
cases you want a high-pass filtered noise with an unfiltered drum body, only the
noise generator is routed through the filter.
For most snare sounds you want the noise part to be louder than the tonal part,
so
try setting the mix parameter on the oscillator page to a value of around 100.
TONAL PART
The tonal part is quite similar to the kick but not as pronounced. The typical snare
does not need a loud click, nor that much modulation depth for the pitch envelope.
Additionally, since a snare is smaller than a bass drum, the frequency of the
oscillator has to be higher than on the kick.
NOISE PART
For most cases highpass filtered noise with a moderate resonance setting is
sufficient to get good results.
AMPLITUDE ENVELOPE
We want a sharp percussion sound, so the attack will stay at zero.
For the decay it depends on what kind of snare you are after.
> Longer decay times with a very exponential slope setting as low as 5 to 10 will
give you a short hit sound with a nicely decaying noise tail. The tail acts a little bit
like a room reverb on the perception of the snare sound and gives more natural
results.
> Shorter decay times with a linear or exponential slope will give a very dry, direct
snare.
TIPS AND TRICKS
> Not every snare needs tone and noise. Try using only the tonal part with a high
pitch modulation envelope to get the classy Kraftwerk zap.
11.3. CLAP
A clap sound is made from noise. What's special about a clap, is the fuzzy attack of
the sound. Imagine a few people clapping a rhythm. They will never all clap at
exactly the same time. Each of them will have small variations in their timing, some
will clap a little bit earlier, some a bit later.
AMPLITUDE ENVELOPE
To simulate this behaviour we will use the repeat feature of the amplitude
envelope. To get the classic clap sound, a setting of 3-4 repeats is good. Since the
timing differences for the clap are very small, a short repeat time has to be
chosen. An attack value below 10 is good.
Now you will have a short burst in the beginning of the sound.
For the decay we need an exponential slope. A value below 10 is recommended.
OSCILLATOR
A single white noise oscillator set to its maximum frequency.
LXR OWNERS MANUAL 40