ENVELOPE SHAPES AND TIMINGS

What we’ve managed to achieve here is a riser which provides great movement. The main rise itself is handled by the modulating envelope (Env2) which is directed toward the filter cutoff, while the pulse is handled by a square wave LFO modulating the amplitude of the patch. The two together provide a formidable combo for that climax within a track.

You may well need to tweak the attack and decay phases of Envelope 2 to get the peak to sit exactly where you want it. You’ll notice a drop-down menu in the Envelope section which assigns the envelope’s overall timing value to either note values or timings, such as 10 seconds. This means you can really draw the riser out, for a very long build or drop – it’s very flexible! It’s also worth experimenting with the envelope modes, also described as shapes. Each exhibits a slightly different flavour, with the V-Slope being particularly good for this sort of patch, if used alongside the Slope parameter.

While we’ve mainly tweaked the settings relating to the filter modulation from Envelope 2, a slight adjustment of the attack and release phases of Envelope 1 will also prove worthwhile. Creating a gradual attack and a longer release in the amplitude settings of envelope 1 makes for a more enticing effect.