Tag Archive for: envelope

Music Timbre Essentials

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(Photo by Ayush Kumar on Unsplash)

 

When we dive into electronic music, one concept continually shapes our audio landscape, and you might not even know what it is: timbre.

Often described as the “color” or “tone quality” of sound, timbre is the characteristic that distinguishes one instrument or sound source from another, even when they’re playing the same pitch at the same volume. In this article, we will approach what I have learned about timbre in electronic music, focusing on how synthesizers and envelope design play pivotal roles in its creation.

Why is it important to understand what Timbre is about?

Well, if you’re interested in sound design, this should be your entrance to that world. If you know how it works, then you’ll have an understanding of how sounds are made. This means you can then extrapolate your imagination’s bleeps into real-life bloops.

Pigment from Arturia

Understanding Timbre

 

At its core, timbre is on a multi-axis, covering the aspects of sound. It has various factors such as harmonics, dynamics,  overtones, attack, decay, sustain, and release. These elements collectively shape the fingerprint of a sound, allowing us to discern between a piano, a trumpet, or a synthesizer.

To give you an example, you can play the same C2 on all those instruments, but your ear would be able to identify both the notes as well as what are the instruments. That is because the ear understands timbre’s multiple elements as unique.

In detail, those elements that will determine a sound’s color would be:

  • It’s the head. The very beginning of a sound will contain dynamic information that will let you understand what it is. For example, a drum and a piano are both percussive instruments but sound completely different.
  • Spectral profile. The way a sound is composed will be a collection of different tones, harmonics, and overtones. That also involves noise and inharmonicity. The last point, also known as noise, defines a certain amount of non-linear components, that are random and don’t follow a precise pattern.
  • Dynamics. This is how the sound changes over time. Of course, this is related to the envelope of that sound (ADSR).

Synthesis and Timbre

 

In early 2024, I decided to join the Synthesis class of Sarah Belle Reid. I was a bit doubtful at first because since I started making music, in the early 90’s, I’ve learned everything by myself and continue learning every day as well. Being under the impression that you can have access to all knowledge gives you a lot of drive but also creates a blindsight where you also have information you didn’t know you don’t know.

These are some of the things people consult me a lot for: lack of vocabulary, lack of understanding of concepts that are badly explained online and being pointed at what a specific sound, sounds like.

Back to Reid’s class. It starts with the basic knowledge of sound itself and goes through each element related to sound, then proceeds with a demonstration. Seeing, hearing, and being explained these concepts, helps being able to perceive sound from a very technical point of view. It’s one thing to understand it but it’s another thing to have vocabulary.

Timbre was one of the most important points of the class for me. It’s not with a simple blog post that I can go through all the main elements regarding timbre but I’d point out that the aha moment was to review how I use a spectrogram.

Seeing the sound from that angle helped me understand what timbre is about. It’s a concept that felt easy to read about but not necessarily easy to grasp.

 

Here are my 2 tips:

  1. Check the frequency response of the beginning of a sound’s information.
  2. Observe how the sound fades out and how the frequencies shape slowly.

Knowing that the beginning shapes an important part of your sound, this is a direct inspiration on how to use your ADSR envelope to shape or alter the shape of sounds you have. The amplitude of your sound can be shaped by a first envelope and a second one may shape filtering or other elements.

 

As for creating the timbre of a sound, you’ll have to combine multiple oscillators, noise, and modulations to mimic the spectral content.

 

Let’s go deeper into the envelope and content synthesis.

Envelope Design and Dynamic Techniques

 

At the heart of timbral manipulation lies envelope design—an important point of sound shaping in electronic music. You might use it with compression but it is also there for design. Envelopes lead the evolution of a sound over time, dictating its amplitude, frequency, and spectral content. Understanding envelope parameters, particularly attack, decay, sustain, and release (ADSR), is crucial for crafting dynamic and expressive sounds.

 

Attack: The onset of a sound, characterized by its initial transient, sets the stage for our auditory perception. A sharp attack imbues a sound with immediacy and presence, while a gradual attack imparts a softer, more ethereal quality.

Decay: Following the attack, the decay phase determines how quickly the sound’s intensity diminishes. A longer decay sustains the sound, while a shorter decay yields a percussive or plucked character.

Sustain: Once the decay phase concludes, the sustain segment maintains a constant amplitude until the sound is released. Adjusting the sustain level allows for sustained or staccato articulations.

Release: As the sound fades into silence, the release phase governs the duration of its decay. A shorter release yields a crisp, abrupt ending, while a longer release imparts a lingering decay.

Sounds of the real world or from instruments are rarely static. They often are never the same thing when played a few times, but they’ll be changing a bit too on different aspects: spectral variation, amplitude modulation, pitch. In the modular world, the use of LFOs and envelopes is handy to modify those aspects. You will want to use them to have slight variations.

The soft synth Pigments is very well made in that aspect where it will have a lot of different modulations possible which can then be routed to a lot of different parameters.

Dynamic Use and Filtering

 

In addition to envelope design, dynamic use, and filtering contribute significantly to timbral variation. Dynamic modulation techniques, such as velocity sensitivity and aftertouch, introduce expressive nuances to performances. Meanwhile, filtering—via low-pass, high-pass, band-pass, or notch filters—shapes the spectral content of a sound, emphasizing or attenuating specific frequencies to sculpt its timbre further.

A good way to push the filtering is to use colored filters such as MS20 emulation or vactrol. To understand LPG (Low Pass Gate) is also another option.

 

 

Ever since I got myself a Freak Module from Vult, it brought my sound elsewhere. It has multiple filter emulation, some saturation, and a duplex mode where you can have chained filters or different filters in stereo mode. It’s pretty powerful.

Conclusion

In the ever-evolving world of electronic music, timbre is something to understand if you want to define your sound and personal signature. By understanding the power of synthesizers, mastering envelope design, and employing dynamic techniques and filtering, musicians and producers alike can unlock new creative possibilities. Through this article, we’ve partly covered into the heart of timbral exploration in electronic music, uncovering the intricate interplay between synthesis, envelope design, dynamics, and filtering.  With this knowledge, may you define on your sound design skills, sculpting timbral tones that redefine who you are. Continue searching for more details and let me know if you have questions.

Miniature Songs Concept

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Sometimes I find really lovely videos with production techniques that I love and after practicing it, I thought I’d share it with you so you can benefit from this finding. In this case, it’s about the concept of miniatures and also how this pairs with some sound design principles I’ve been applying. Recently I joined Sarah Belle Reid’s Sound and Synthesis program which turned out to be insightful. Once I started diving into sound design and its mechanics, I not only started understanding sound’s DNA from a different angle but also in the context of a song.

 

 

What are miniatures?

I was recently browsing YouTube when I found this video that got me excited. Miniature is a step back from making songs and has the perspective of using a sound in a tiny bubble concept. Think of it as a 10-second to 1-minute idea. Nothing more. It’s not about trying to cram in as many elements as possible but more of taking one sound and see how to you can pull out the most from it.

When I teach music production, there is more exercise that I like to suggest to students which is to take a very basic sound (sample) and to turn it into a “main idea.”

To do so, I’d suggest picking first a random sound, preferably something you consider boring, and then playing it repeatedly to find a pattern from it. Change the pitch perhaps, but sometimes, leaving it to its original pitch will be enough. See how you can make a phrase from it and make a song (1-2min) from that alone. Sometimes I see an eyebrow being raised in doubt but then I explain that any sound, on its own, can be a song.

For example, John Cage made a song for hand clapping:

 

So back to miniatures.

Think of tiny ideas that work, ideally with 1 to 2 sounds. Watch the video below:

 

The clickbait title, at first, had me roll my eyes but then I checked it to find something that was pretty fun. To summarize it, he suggests that you write down ideas on a card, which will create a little challenge, as a miniature idea. Those prompts have certain criteria:

So this would be an example:

 

We often forget that songs are a collection of sounds and sounds that evolve on their own, maybe for a short lapse or during the entire song. The idea of creating miniature becomes useful because you’re creating ideas that can later be included in a song. Thinking of music production in a modular way (not modular synth) can help you work on different elements of your songs before diving into arrangements.

One of my principal sources of guilty pleasure is to find fun loops on Splice as a starting point so building my loops is valuable for making songs later.

 

Envelopes and macro envelopes

One element that we approached in sound design is how envelopes shape sounds as their shape. But when thinking of miniatures or songs, it can be useful to think of a macro envelope. What I mean here is how you have an evolution within the entire song.

One exercise Sarah gave us for a performance is to draw the shape of how your song or pattern evolves over the entire experience. It could start abruptly, then fade, and then increasingly get louder until the end. If you’re a Shaperbox user like me, you know you can use its internal envelopes to shape amplitude or filter over a long period. It becomes handy if you want slow modulation repeating.

 

If you want some Miniature ideas, I’d encourage you to watch the video up there. I got some instant inspiration for my sounds.