What do the two releases do in the envelopes for the hex layers

[dc2k]

Tried to search for an answer on google I but can't find one.

Sorry for the probably newb question.

What's their purpose? How do you use them?

I see them in the filter and amp envelopes but in all the synth tutorials I've watched I've never seen anyone mention what you can do if you had two release stages.

[Choppin]

It allows a little bit of flexibility in what happens after a key is released.  When the key is released, the first set of release parameters control the time in which the release phase takes place and to what level.  The second set picks up after the first release set time is complete.

 

So you could, for example, play a note that makes no sound when initially pressed, but when the key is released it could swell up to a volume and then down to zero.  or maybe play a sound that goes through a filter sweep up and down or whatever, after the key is released.  The combinations are up to you.

 

You probably already know this but envelopes for a sound go through 4 general phases: Attack (A) Decay (D) Sustain (S) Release ( R) - ADSR.  Attack is how soon after being triggered or played a note makes a sound and at what level.  Decay is the rate at which the sound changes from the peak of the attack to the sustain phase.  Sustain is the phase the note holds at its timbre until it reaches the release phase.

 

The 2 release controls allow for a little extra change on the Px when it comes to hex layers.  The Decay more or less controls the Sustain phase as well since there doesn't seem to be a named Sustain envelope control.

[Choppin]

just thought of something else:  because a hex layer can be made up of multiple tones, you could time the envelopes so that some layers sound on the attack, and some on the release.  A bomb dropping for example.  Have a high whistle sound that changes pitch over time as if it's falling while the key is pressed.  When the key is released you could have a crash or explosion type sound that is only audible on a particular layer upon release, and then another layer for the second release that maybe makes a debris scatter sound or something. 

 

In short, the envelopes for each layer don't have to affect the sound the exact same way.  With some creativity, you could pull off some complex textures being triggered at different phases of the ADSR cycle.  I haven't actually tested doing this, so it may only be making sense in my head.  I may give it a shot.

[dc2k]

Thanks. I've been experimenting myself,  a lot of the sounds I create are accidental though. I guess I'm having trouble figuring out the relationship between the envelopes for the amp/pitch/filter. I suppose the amp one takes precedence. If you have a short amp attack, it won't matter what the pitch attack is, you won't hear it. This is probably basic synth stuff I need to learn.