User manual

SLEDGE by Studiologic®
SLEDGE by Studiologic®
46 47
E
AMPLIFIER ENVELOPE EFFECT 1
EFFECT 2
AMPLITUDE
TIME
KEY ON
KEY OFF
ATTA C K
SUS LEVEL
DECAY SUSTAIN
RELEASE
This section has no eect on the frequency of the lter, while it
controls the amplitude (volume) of the sound. In general, the lter
may control large part of the timbre of the sound and consequent-
ly this section can be set with simple parameters. It is also possible
to set the desired envelope in the case that it is chosen not to have
a lter envelope (for instance, leave the amount of the lter at 00).
The parameters have the same function as those of the lter, with
the dierence that appears on the vertical axis the amplitude of the
sound and not the frequency of the lter itself.
Note: with fast attack and release very short (close to 0) you can hear evident clicks
during the attack and release, and in some cases the desired characteristic, but
can be eliminated by selecting values slightly dierent from zero (eg: Attack and
Release 10 ).
Velocity: controls how much the dynamics of the keyboard controls
the volume of the notes, also depending on the selected velocity
curve (in the Midi, page 2). For values close to 0, playing hard will
have no eect on the sound; for values greater or maximum (127)
the dynamics of the keyboard will have the greatest eect on the
volume of sound, increasing the expressiveness of the execution.
Note: the Velocity control has also inuence on the Amplier dynamic response
and it allows to have a kind of control also on the amplitude of the sound and
not only on the Filter frequency and related ADSR control of it. This parameter
makes the sound more expressive, with a very easy control on the overall dynamic
response.
Attention: To make this control useful and active, be sure that the
keyboard sensitivity is not set to “Fixed” (Velocity Curve parameter
of the Midi Section) otherwise it will not have any audible eect on
the sound.
AMPLIFIER ENVELOPE
Chorus: this warm and rich eect is generated by using Comb
lters that creates slightly detuned copies of the input signal
and mix it into the output signal. The result sounds like an
ensemble of several simultaneous sounds, like a choir as op-
posed to a single voice; hence the name Chorus. The
detuning is generated by an internal LFO that can be control-
led in Rate and Depth by the related potentiometers of the
front panel.
Phaser: is a combination of several „allpass“ lters working
in parallel. This generates an eect with equally spaced fre-
quency peaks or troughs. The result is a strongly colorized
signal. The two potentiometers are controlling both the Rate
(speed) and Depth (amount) of the eect.
Flanger: very similar to the Chorus eect, it features a more
evident feedback circuitry to feed the generated signal back
into the comb lter. This generates a deeper detuning and co-
lorizes the signal. With extreme settings you can hear a very
characteristic whistling sound.
Delay: this is an eect produces echoes of the input signal;
the length can be changed without clicks or pitch changes an
this allows to experiment with dierent values without get-
ting bad side eects.
Reverb: this eect is probably the most widely used eect in
music production; it is used to add a realistic ambience to cle-
an and dry audio recorded in a studio andvery complicated
mathematical algorithms are needed to simulate the comple-
xity of a natural reverb. The instrument’s reverb eects don’t
intend to simulate a perfect natural room, rather they are an
addition to Sledge’s sound synthesis to make it more three (3)
dimensional and expressive.
The two potentiometers allow to control the level of this Ef-
fects (sometimes mentioned as Dry/Wet mix) and the Time,
for both the Delay eect (time between two repetitions) and
Reverb (duration of the reverb eect, that can also be inten-
ded as room size and diusion in a simple mixed parameter).
EFFECT 1
EFFECT 2
Amplier envelope Eect 1/Eect 2