ately following the attack phase. This is similar to the �envelope initial decay� parameter on most synthesizers. 2. END: The decay phase of the envelope always ends exactly at the end of the sound playback. The point at which the decay starts is determined by the decay parameter. This was called fadeout on the MPC60 and is very useful for creating a smooth fade down just before the end of a sampled sound.
The Vel Mod (Velocity Modulation) section: � The Attack field: This field sets the amount of effect that note velocity has on attack time (0-100%). If set to 0, note velocity has no effect on attack; if set to higher values, attack time will increase as you play lower velocities. That is, hitting a pad hard will produce a faster attack than hitting it softly. � The Sft st (soft start) field: This field controls the amount of time (0-5000 ms) that will be added to the sound�s Soft Start location when notes with low velocities are received. (The Soft Start field is located in the screen accessed by pressing the PROGRAM/SOUNDS key and selecting option 6 from the menu.) This provides a good simulation of the way a real drum sounds differently when hit softly. If you set this field above 0, hitting a pad more softly will start playback later in the sample, causing fewer attack transients to be heard. Notes with velocity = 1 will add the full amount of time entered here to the Soft Start location; notes with velocity = 127 will add nothing; notes with velocities in between will add time proportionately. If this field is set to 0, note velocity will have no effect on the Soft Start location. � The Volume field: This field sets the amount of effect that note velocity has on volume (0-100%). If set to 0, note velocity has no effect on volume; if set to higher values, the volume will decrease as you play lower velocities.
The Tune/Poly section: � The Tune field: This sets the tuning. The range is from -240 (-24 semitones) to 240 (+24 semitones) in increments of 0.1 semitone. � The Poly field: This is a choice field with three options: 1.POLY: Multiple plays of the sound are assigned to additional voices, allowing polyphonic overlap. This is useful for sounds like ride cymbals, for which you don�t want new notes to cut off old ones.
