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We can also use the Attack/Release envelope to modulate the filter cutoff. One consideration when we are doing this is that the Attack/Release envelope is also going to be modulating the amplifier, so it's going to be shaping the volume of the sound as well as modulating the filter cutoff. There's no way to independently do that from each other. First thing I want to do is set the filter cutoff to its minimum point. I'm going to filter down the sound. (music playing) So maybe that's the most filtered-down that I want it to be. That's a good place. And just to start with things more even, I'm going to set this release to instantaneous for a moment.
So if I want this filter envelope to work, I'm going to move this to the right. When this is in its center position, the filter envelope isn't active. I move it to the right and I'm going to have this Attack/Release envelope that's going to modulate the filter cutoff. (music playing) So right now when I have this Attack and Release both set at zero, it's just going to offset the filter cutoff by a static position. If I increase the time for the attack here, you can hear two things are happening. One, the volume of the sound is fading in, just like in the last video when we talked about this envelope as it's applied to the amplifier, but also, the filter is opening up during that whole period of time.
So listen to that again. (music playing) So the volume is fading in and this filter is opening up. You don't actually see that animated; it's just happening all underneath the hood, but you can hear it happening. So if I give this a little bit of a release what's going to happen is that when I play the note, it's going to take during the attack stage, the sound is going to fade in, and the filter is going to open up. When I release the sounds-- so I let go of my keyboard--the note's volume is going to fade down, and also the filter is going to close back down to its position that I have set here.
So I'm holding the note, and I'll let go, and so that will happens pretty quickly. So let's give it this a longer release time. (music playing) So I'll let go of the note here. You can hear that both the volume is fading out, but also the filter is closing down. So maybe I'll try to make that more pronounced. I'm going to give this a little bit of resonance so it rings out more, and I am going to set this starting place to something a little bit lower, to filter cutoff. So let's listen to that. So let go of the note. (music playing) You can hear that the filter is obviously closing, and also the volume is fading out.
So in that way you get both things happening with this envelope. The next thing I can do is give this A/R envelope a negative amount of intensity. So when this knob here is not in the center, or not to right, if I move it to the left, it's going to send a negative amount of filter modulation. So what I'll want to do is set the cutoff point to its maximum, and what's going to happen during this release period here is when I let go of the note, the filter, we're going to hear it open up. So when I'm playing the note it's going to be filtered down.
You might not even be able to hear this. But when I let go, you'll hear it release, and the filter will open up. So I'll give it a longer attack. Maybe I can set this a little differently so we can hear it more. Now let go. During its release phase, you can hear it opening up. In some ways, it's a little bit counterintuitive, but it's always good to explore giving a negative amount of modulation just to see what it sounds like, and sometimes you get a happy accident. So let's try that with the attack as well.
If I give this a little bit of attack here, you can hear that during the portion of the attack stage, the filter closed down, so that the opposite of what we'd imagine, and I let go and the filter opens up. So that's the Attack and Release envelope as applied to the filter.
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