3 Sound Parameters
This section describes how an Antidote patch is con-
structed, as well as the operation of all front panel
knobs and switches, except the arpeggiator and mod-
ulation matrix (which are covered in chapters 4+5).
3.1 Patch Structure
The structure of an Antidote patch is shown in fig. 3.1.
The block diagram shows the basic working principle
of the entire synthesizer.
Oscillator 1
Sub Osc 1
Oscillator 2
Sub Osc 2
Filter
Effects
Amp
Filter Env
Amp Env
Mod Env
LFO 1+2
+
External
Input
Out L/R
Figure 3.1: Patch Structure.
Whenever a MIDI note is played, a voice is trig-
gered to synthesize that note. Each voice comprises
three major building blocks, the oscillators, the filter,
and the amplifier. The blocks emulate the three ba-
sic properties of a sound: Pitch, Timbre and Volume.
The oscillator block controls the pitch and basic timbre
of a sound by generating one or more periodic wave-
forms. The resulting signal is typically very bright.
To further refine the timbre, the signal is processed
by the filter block, which attenuates frequencies speci-
fied by the user; usually, high frequencies are removed.
Hence, this type of synthesis is commonly called "sub-
tractive". The third block controls the volume of the
sound.
On their own, the three basic building blocks syn-
thesize a completely static sound. This is in contrast
to acoustic sounds, where pitch, timbre and volume
change over time. In order to obtain this possibility
in a synthesizer, envelopes and low-frequency oscilla-
tors are used to add dynamic variation to a sound.
The most important envelope is the amplitude enve-
lope ("Amp Env"), which is essential to fade in and
fade out notes and thus to make a synthesizer playable
like a real instrument in the first place. Also important
is the filter envelope ("Filter Env"), which dynamically
controls the brightness and thus the timbre of a sound
over time. The modulation envelope ("Mod Env") can
be freely assigned to any sound parameter.
6
Antidote User’s Manual
Содержание Antidot
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