![]() ![]() i have the doepfer quad adsr but the shape of the envelope is just bad for slow attack sounds. I think there's quite a lot of 1 note pads / strings as wellīut my modular is definitely not conducive to thatįirst, you need proper shape envelopes. I do see you mentioned oscillators arguably more intended for more extreme and chaotic sounds. Too long a trail and you get mud and sour overlaps, too little and it doesn't really help.Īs for ADSRs rather than ASRs, they can't hurt but won't have a huge impact. You have to adjust it to your playing style and speed. That might be the staccato you are talking about? With a poly you hopefully have more voices than you are playing so when you release you can get a decay to zero while another voice(s) picks up the next note(s) played.Īs mentioned you can reverb or delay mix your final output. You can give your modular a long decay but it's just going to shut off when you play the next note. So that is one of those reasons why modulars weren't the go to instruments. That's not just not going to happen on a monosynth unless your technique is complicated like multitracking every other note or some kind of automatic voice assignment. On a poly synth when you change notes you usually have enough voices so the voice you release can decay into the start the next note. An outboard chorus as mentioned is generally a great idea. A lot of people max out their modulation. Attenuate some slow LFOs or other envelope generators and send them in small amounts to anything on your VCO that can be modulated and see if you like the way that evolves. But on the up side several VCOs will surely help make evolving sounds. Without that sort of pitch changes the stacked VCOs sound more like a single timbre sound if they move totally in parallel rather than 2 or more voices. ![]() Why it's not perfect is that traditionally chords are not parallel, in other words if one oscillator goes up say 4 notes the 2nd one may go up 5. Now when you talk of chords one obvious idea that can't hurt but won't quite do it would be to use multiple VCOs tuned to different intervals. That's not say you can't take a bunch of time and multitrack them or if you are skilled in that sort of thing try to set up something poly for live play Most but not all used string synths/melotrons in the 70s & polysynths in the 80s and I'm sure some used samples in more recent times for better or worse. A lot of classic artists even those associated with modulars didn't necessarily use them for pads. I'd say the big but not impossible problem you are facing is simply that classic pads tend to be polyphonic chords.
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