Michael Trigoboff wrote:

Thanks, Bad Mister. I tried the experiments you suggested, and I think I understand now. But I want to verify that understanding.

I had thought that with regard to the AEG the Montage would move along the Time (i.e. horizontal) axis from left to right at some constant speed, picking up Level values as it went along and applying them to the sound. From what you just told me, what I now think I understand is that the Montage moves along the red line at some constant speed, which is why varying the level can affect the timing. Do I have that right?

Also, does the OP AEG Offset affect all of the levels of the amplitude envelope? And if so, does it just move the whole red curve up and down without altering its shape, or does it move the anchor points in some more proportional manner with respect to each other?

Actually, the redline does not animate at all, but if you are trying to imagine what the redline would look like when you apply your offsets, I highly recommend (as the point of the series is attempting to point out) you should use your ears. You will hear exactly how and what is being changed. As you reduce OP AEG OFFSET the influence of the Modulator in this case is reduced to nothing, so yes all the Level parameters are being reduced.

Try applying this same Offset to the Carrier, this will now effect the overall level output of the total sound not just the edgy influence of the Modulator. Experiment with building different shapes (envelopes), by ear. It's the way this system was designed to work - build your envelope, then for ease when performing use the OP AEG OFFSET to fashion a change that is useful for what you are trying to accomplish. If you want the Offset to behave like "opening a filter", was a point we were making, then put the Offset to control the energy of the Modulator. And you can fashion that change by ear!

We are simply looking at one Operator in this tutorial, thinking or even wishing/hoping that the Offset Destinations will animate when you move any controller (while it might help your eyes understand what your ears are hearing - it would actually be great for that purpose) it is really not necessary and I would imagine it would undoubtedly, at some point, bog down the system... given the sheer number of parameters that 'could be' affected.

When you assign a pitch bend wheel to control changes in pitch, if you don't understand what it's doing one might request that the destination parameter animate to show your eyes the change in pitch. The reason no synth does this is not because it wouldn't help you understand how the pitch is being altered, it's because it really is not necessary, at all. You bend pitch intuitively. Which with music, is by ear...

When you move a MW to bring in vibrato, or tremolo etc, the destination parameter doesn't need to change to show you how much is being applied. You apply modulation intuitively, by ear.

(That said, the Output Level of the PART does animate when the Fader is assigned to control Part, Element or Operator Output. These are not offsets, but direct Assignments. The Super Knob parameter position animates... just FYI.)

Perhaps a piece of software can be tasked with representing exactly what the AEG OFFSETS create in terms of a graphic is something you might consider creating. But to place it inside the screen of the synth might be a bit overkill. Since the computer software simply needs to read the values and adjust a picture, that seems like a good task for some computer programmer. I'm not that kind of programmer but if you seem to think it is easy enough to do - then I would expect some third party will take this on (if others think it would be a useful shortcut to learning how to program envelopes, you may have a sellable product)

I think the best method to learning to program envelopes is to experiment with them and listen... like on an analog. Yes, you have many more parameters to control, but the methodology should be the same. And then, the purpose of setting up the OFFSET, is to make it serve how YOU want or need to adjust this envelope during performing.

Create a synth string sound, that needs to change from a quick bow to a gradual attack... setup your OFFSET parameters to accommodate this change with a single gesture. You can either navigate to the two or three Carriers and adjust each one separately (unwieldy for performing), or you can use the Control Box matrix to address just the Carrier Operators and assign them to OFFSET their attack in response to a controller. How much? Answer: by ear, until it sounds/feels right and serves your musical purpose.

When you think about it; a 4 Part FM-X Part could potentially have 32 Operators, each with its own AEG Offset relationship with this one gesture via that Control Box matrix... I think putting all these parameters on the screen in motion on a Motion Control synth might cause a tornado.

Hope that helps.
Just so you know, if I hear back from engineering on a rational or even the most outrageous "requests", we'll let you know. But they do not respond to every request, please don't take offense. It does not mean your idea isn't being heard.

Thanks, Bad Mister.

I think that you're exactly right that I should approach the Montage as a musician instead of as a software engineer, and listen instead of trying to visually/mathematically figure things out. It's good to be reminded of this because my natural tendencies (after a lifetime of writing code) often don't go in that direction.

I think I won't take up the task of writing the software you mentioned, because I'm a retired software engineer and I'd rather do music instead.

And stay tuned - Part 3 coming soon!

when should we be expecting part 3? can't wait...

It's already up!

https://yamahasynth.com/resources/mastering-montage-an-fm-x-exploration-part-3

oh snap! thx... the link never made it to the Part 2 page ... it still says 'Coming Soon' at bottom. See:
https://yamahasynth.com/component/k2/mastering-montage-an-fm-x-exploration-part-2