Envelopes are the difference between a pad and a pluck, a build or a stab. A release of zero will result in no release being audible.ĭeveloping a comfortable understanding of how these four parameters work together to produce practical results is essential for helping create a cohesive and fully fleshed out track. Release is measured in milliseconds, this measures how long it takes for our volume to trail off to zero after we have released the key for our synth. *note: Decay will have no effect if the sustain level is the same as the attacks maximum level. It controls how long it takes for our synth to reach its sustain volume, after the initial attack volume is reached. It controls the sustained volume at which our synth will remain after the initial attack volume is reached.ĭecay is measured in milliseconds. Sustain in this instance is measured in dB. In this case, it would control how many milliseconds it takes for our synth to reach max volume. This controls how long it takes for the envelope to reach its maximum level. For the sake of this post, lets pretend we are dealing with an envelope that controls the volume of a synthesizer.Īttack is measured in in milliseconds. Working together, these parameters will help shape how a sound or a parameter functions through time. ADSR is something you will encounter in many tools in your DAW, and deals with how we shape sounds. The reversal of samples, even as a joke just to hear what it would sound like, has yielded amazing results for me in my music, and I'm sure it will for you as well!Įnvelopes are a tool in digital music that help us control sounds and effects. Never be afraid to see where inspiration could strike. Pretty much any audio file with a clearly defined Attack and Decay has the potential to yield interesting results. This is especially pertinent if you are a producer who prefers to do a lot of their sound design through the cutting and splicing of various audio samples.Ĭreating fresh Material within a Stagnant idea The characteristics of reversed samples are a very distinct sound, one that is easily recognizable, and using this distinct coloration, we can get great results on all sorts of samples through creative cutting and reversing. This can be achieved cleanly by duplicating your guitar track, choosing which notes you want to accentuate, cutting out those notes individually and reversing them, and deleting the notes we don't want.Ī similar effect to reinforcing a sound, but reversing samples doesn't have to be restricted to solely harmonic endeavors. By selectively choosing important notes in a harmony, and reversing them into themselves, you can make your guitar line draw listeners in with the allure of the unfamiliar sounds of the reversed guitar. One of my favorite uses of reversed sampling is on finger plucked acoustic guitars. Reverb, distortion, delay etc.) before you reverse it. ![]() You can even go above and beyond by adding additional processing to your snare (i.e. Reversed snare drums are super effective for creating emphasis on a particular snare hit in a pattern. ![]() ![]() One very common practice is the use of reversed crash cymbals into a drop, so that our last final seconds of build up are extra tense. Everything sounds good, but we feel like there should be a little extra something in the last bar to really up the stress, so that our drop feels a bit more satisfactory. Say we have an EDM track with a long, powerful build. You can reverse a number of different things to create different types of tension. Reversing stuff can be used to:Ĭreating fresh material within a stagnant idea Using the reverse function can be useful in meeting a number of various production effects. ![]() Pretty much every DAW has a built in reverse function. Reversing stuff is a great way to get a fresh and interesting new twist on a sample or section of our song, especially in the beginning stages of production.
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