How do you get ''normal'' filter envelopes in sampler?

I’m trying to get the filter to sound like a synth, where the envelope opens the filter even when it is at 0% and the sustain is full at 100%. This is a bit tricky to achieve because there are so many modulation options (+, -, *, /, bipolar, unipolar, fader, envelope, ahdsr). + mod kinda achieves this but doesn’t sound quite right as you increase the cutoff. I think a + fader and a * envelope would replicate the behaviour of synthesizers better, but I don’t know. How do you achieve this?

Thanks.

Post example XNRS.

Unfortunately, I don’t have any right now as my computer is broken. I know there is no right or wrong answer but I’ve made some juno/wavetable style pads and korg basses using the single cycles/modulation and morphing using the amazing panning method posted in this forum. But what do you usually do? I’ve found some differences between how the sampler behaves with amp and freq in comparison to a typical synth, so I’ve started doing some things:

  • I’ve found out that using single cycles in C-0 is better and you can see the waveform less aliased, maybe it has to do with sample rate? (at 41.1 kHz). Now I started prefering scw’s in that frequency.

  • If you play midi on a lot of plugins you’ll see that the frequency curve is totally different in comparison to using the sampler. Therefore, I began to put a keytracker to the amp or gain at the fx section. This prevents the C-4-B9 range from getting too loud, thus flattens the frequency curve. I cannot even tell you how many EQ issues I’ve solved doing this alone as well.

  • So, my take on envelopes: On many synths, when a HP filter is at 0% you still get some modulation, and at 100% the filter is actually at 100%, according to my investigation, it’s because envelope multipliers in sampler are linear, not exponential as it would be on synthesizers hence I started using positive faders and envelope multipliers, I think I cannot wrap my head operands around how to mix different modulators. So maybe someone can explain?

*Also. filtered chorused delays with a time of 1.5 lines on basses sounds beautiful. Also I congrat Renoise for the Convolver, it’s amazing. I now use these impulse responses but modulated with chorus, flangers or many things ::guitar: inside a send track. Now I can finally get that really wet and clear drowned room and plate reverb I was looking for. Nonetheless, hall mpReverb is still amazing, specially modulated, driven and compressed. :walkman:

Thank you for you reply!

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