instrument
Amp and filter envelopes (M2)
holds two ADSR envelopes per track: the amp envelope shapes each note's level over time, the filter envelope moves the filter cutoff. Click any encoder to flip between them.
Envelopes give every note a shape in time: short and snappy amp settings for plucks and drums, slow ones for pads. Read the graph as time running left to right: a peak far to the right is a slow attack, a release handle far to the left is a long release (release turned down), one sitting on the end is none (release turned all the way up). The filter envelope runs the same four stages but moves the cutoff instead, as far as envelope amount on allows. The shift layer of holds the voice settings (play mode, portamento, bend range, preset volume).
How to
Show the other envelope on M2
before you start instrument mode · M2 is open
- 1 any encoder
Details
- TE’s guide
Every instrument track has two envelopes, one for amplitude and one that drives the filter.
- TE’s guide
Clicking any encoder on flips the page between the amp and the filter envelope, on drum tracks as well as synth tracks.
- TE’s guide
How far the filter envelope moves the cutoff is set by envelope amount,
E3on the filter page . - checked on a unit · 1.1.33
Over MIDI, CC20–23 set the amp envelope and CC24–27 the filter envelope, each in attack, decay, sustain, release order, whichever envelope the page shows.
- checked on a unit · 1.1.33
The page draws both envelopes at once. The one the encoders edit is bright, with five square handles (start, peak, decay end, release start, end) and thin lines dropping from the inner three; the other is grey, without handles. Each is named, "amp" or "filter", just left of its release handle.
- checked on a unit · 1.1.33
Each encoder slides one handle. Attack moves the peak right along the top, decay moves the decay end right of the peak, sustain raises the level, and release moves the release start right toward the end.
- checked on a unit · 1.1.33
Release is set by where its handle sits, so turning E4 clockwise (a higher value) gives a shorter release; fully clockwise the handle sits on the end and the note stops at once. Turn it counter-clockwise for a long fade.
- checked on a unit · 1.1.33
There is no plateau after the attack; the decay starts at the peak. The attack rises steeply and bends into the peak, and decay and release fall steeply and level off.
- checked on a unit · 1.1.33
The filter envelope is always drawn at full height; its real reach is set by envelope amount on .
- checked on a unit · 1.1.33
The attack runs from instant at 0 to about 1.4 s at the middle and six minutes at the top, doubling every 6 or so steps; it rises like a charging capacitor, fastest at first, and stops at the peak.
- checked on a unit · 1.1.33
Decay and release fall exponentially on one law, halving in about 5 ms at the short end, 0.28 s in the middle and 5 s at the long end (release runs the other way round); the law is gentle up to the middle and steepens past it.
- checked on a unit · 1.1.33
A decay down to sustain 0 cuts to silence at about −41 dB, and a release ends at about −66 dB.
- checked on a unit · 1.1.33
Sustain is linear in level: a quarter, half and three quarters of the way up give a quarter, half and three quarters of the peak.
Parameters
| parameter | gesture | range | cc |
|---|---|---|---|
| attack M2 | turn dark grey encoder | – | 20 |
| decay M2 | turn mid grey encoder | – | 21 |
| sustain M2 | turn light grey encoder | – | 22 |
| release M2 | turn white encoder | – | 23 |
| filter attack M2 | turn dark grey encoder | – | 24 |
| filter decay M2 | turn mid grey encoder | – | 25 |
| filter sustain M2 | turn light grey encoder | – | 26 |
| filter release M2 | turn white encoder | – | 27 |