What is ADSR? – Envelope Generator

Hello! I’m Jooyoung Kim, a mixing engineer and music producer.

While working on the next post in my synthesizer basics series yesterday, I realized I’ve never covered the concept of ADSR on my blog. So, today, let’s dive into what ADSR is all about.

I’ve included a plugin link below, and if you purchase through it, I earn a small commission that really helps me keep going. Thank you for your support!

Let’s get started!

Envelope Generator

A single oscillator produces a steady sound, like a sine wave, square wave, or triangle wave, at a specific frequency. But these sounds can feel flat or even harsh on the ears.

To address this, Robert Moog, the founder of Moog, developed the Envelope Generator to make simple oscillators mimic real-world sounds by varying their amplitude over time.

The 911 module in the center is the Envelope Generator.

Early envelope modules were labeled with terms like T1 (Attack), T2 (Decay), T3 (Release), and ESUS (Sustain). Later, the ARP 2500 synthesizer used Attack, Initial Decay, Sustain, and Final Decay, and the ARP Odyssey replaced Final Decay with Release. This standardized the envelope as ADSR (Attack, Decay, Sustain, Release).

So, what exactly is ADSR?

ADSR Explained

  1. Attack: The time it takes for the sound to reach its maximum volume after being triggered.
  2. Decay: The time it takes for the sound to drop from its maximum volume to the sustain level.
  3. Sustain: The volume level maintained while the key is held down.
  4. Release: The time it takes for the sound to fade to silence after the key is released.

Pretty straightforward, right?

The Envelope in the Casio CZ-1

However, Envelope Generators aren’t limited to just ADSR. For example, the Korg MS-20 includes a Hold parameter, which lets you set how long the sound stays at its maximum amplitude after the attack. This could be represented as AHDSR.

The Casio CZ-1 has a particularly unique envelope design.

Transient Shaper

SPL Transient Designer

With the development of the Envelope Follower, which tracks changes in an audio signal, it became possible to apply ADSR-like changes to real audio signals. The pioneer of this concept is the SPL Transient Designer, part of a category called Transient Shapers.

Find out Transient Shaper at Plugin Boutique

There are tons of these plugins out there. The link above takes you to Plugin Boutique’s dedicated Transient Shaper category, where my blog is affiliated.

I own several myself, like Native Instruments’ Transient Master, SPL Transient Designer Plus, Waves Smack Attack, and Oxford TransMod. Personally, I find Oxford TransMod to be the best of the bunch.

Modern music production uses these tools to meticulously sculpt and refine sounds, almost like crafting a fine piece of art.

That wraps up my explanation of ADSR. See you in the next post! 😊

Brainworx May Sale (2) – Ampeg SVT-VR Classic, SVT-3Pro, V-4B, B-15N, Gallien-Krueger 800RB (Until May 31)

Hello! I’m Jooyoung Kim, a mixing engineer and music producer.

Yesterday was the announcement day for artist grants in Korea, and as expected, getting selected is getting tougher… I was hoping to buy some cables for research purposes with the grant, but those plans went up in smoke. Times are tough these days… 😢

Find out brainworx plugins deals

Anyway, today I’m continuing with the Brainworx May sale. This time, I noticed a lot of bass amp plugins are included in the sale, so I’m introducing five Brainworx bass amps commonly used in mixing and composing.

I own the Ampeg SVT-VR Classic and B-15N, having purchased them myself. The other plugins were provided as NFR (Not for Resale) copies through Plugin Boutique. Also, if you purchase through the links in this blog, I earn a small commission, which helps me keep creating content and survive. Thank you for your support!

Let’s dive in!

Ampeg SVT-VR Classic

Click image to purchase Ampeg SVT-VR Classic Plugin

The Ampeg SVT (Super Valve Technology) is a tube-based bass amp head from the late 1960s, developed to meet the demand for powerful bass amps during large concerts. While most amps at the time were under 100W, the SVT delivered a whopping 300W.

The SVT-VR is a vintage reissue (VR) model based on the 1969 SVT. The Classic plugin is a simplified version of the SVT-VR plugin, designed for straightforward operation.

I use this one a lot when writing songs or when a mix source comes in as a DI signal. It has minimal controls, which makes it super easy to dial in the tone I want.

Some bassists I know prefer a brighter, more attack-heavy sound, but I lean toward a darker tone with subdued highs. Setting it to Normal for the input signal and enabling Ultra-Lo gives me exactly the deep, grounded sound I love. With a little EQ tweaking, it sits perfectly in the mix.

You can choose from three cabinet options, but I find the default 8×10 cabinet sounds the best. This plugin sometimes pops up for free or during events, so keep an eye out for it!

Ampeg V-4B

Click image to purchase Ampeg V-4B Plugin

The Ampeg V-4B is a tube-based bass head from the early 1970s, designed for smaller venues. Think of it as a compact version of the SVT with 100W output.

Its tone isn’t drastically different from the SVT-VR, but it has slightly more high-end presence and sits a bit higher in the stereo image. It’s great when you want a tone that’s just a touch lighter than the SVT-VR’s Ultra-Lo setting. Of course, switching cabinets changes the sound quite a bit! 😄

Unlike the SVT-VR Classic, this model includes a noise gate, filter, and EQ, which are handy for tone shaping.

Ampeg SVT-3Pro

Click image to purchase Ampeg SVT-3pro

The SVT-3Pro is a modernized version of Ampeg’s SVT series from the 1990s, combining tubes and transistors to create a lighter hybrid head amp.

With 450W of output, it has less frequency loss compared to other heads in the series, so it can feel higher in resolution when you first hear it.

You can also adjust the harmonic structure using the Tube Gain control. (Cranking it up increases odd harmonics over even ones.)

This makes it especially useful for tracks with fewer instruments, where its clarity shines.

Ampeg B-15N

Click image to purchase Ampeg B-15N plugin

The B-15N is a reissue of the first model in Ampeg’s Portaflex series, where the amp head can be tucked into or removed from the cabinet.

It includes 1964 and 1966 input and bias settings, which significantly affect the sound. The 1966 bias emphasizes highs more, and the 1966 input adds a bit more high-end, lifting the sound slightly in the stereo image. These differences are hard to show on a frequency response graph in Plugin Doctor, unfortunately.

Compared to the SVT-VR or V-4B, the default sound is noticeably lighter with more prominent highs, making it a great starting point for tracks featuring solo bass performances. As always, swapping cabinets changes the sound dramatically.

Gallien-Krueger 800RB

Click image to purchase Gallien-Krueger 800RB plugin

The Gallien-Krueger 800RB is a solid-state amp from the 1980s, designed with bi-amping (separating high and low frequencies) used in hi-fi systems, allowing connection to two cabinets.

In the plugin, you’ll see it split into 300W (lows) and 100W (highs). You can choose the Crossover Frequency to determine how frequencies are divided or use it in Full Range mode without bi-amping.

In its default state, this amp has the lightest sound of all the amps covered here, sitting higher in the stereo image. As with the others, EQ and cabinet tweaks can drastically alter the tone.

Find out brainworx plugins deals

Today, we explored these five bass amp plugins. Bass amp plugins aren’t just for electric bass—they can also enhance synth bass or acoustic bass for great results.

All of these are solid amp plugins, so grabbing a few during this sale would be a smart move.

See you in the next post! 😊

Brainworx May Sale (1) – Amek Mastering Compressor, Mäag Magnum-K, Millennia TCL-2 (Until May 31)

Hello! I’m Jooyoung Kim, a mixing engineer and music producer.

Plugin Alliance has started charging taxes for Korean buyers, making Plugin Boutique a more cost-effective choice. With Plugin Boutique, you can often get free plugins or collect points, even for the same products.

Find about Brainworx Plugins at Plugin Boutique

This month, Plugin Boutique is holding a big sale on several Brainworx plugins from Plugin Alliance, so I’m here to highlight a few.

In a previous post, I focused on Saturation and Bettermaker plugins. This time, I’ll dive into compressors: Amek Mastering Compressor, Mäag Magnum-K, and Millennia TCL-2.

Let’s get started!
(I numbered this post as (1) in case I cover more plugins later, but no promises… 😅)

AMEK Mastering Compressor

Click image to purchase Amek Mastering compressor at Plugin Boutique

This compressor is inspired by the Amek 9098 console and compressor… or so they say. It’s probably best to think of it as Brainworx’s unique take on an Amek-based compressor.

Its standout features are:

  1. Multiple detector settings (Fast, Peak)
  2. Timing and Release Hysteresis parameters instead of traditional Attack and Release

These can be a bit confusing, so let’s break them down.

The Peak parameter enhances detection of transient peaks, while the Fast parameter makes the attack respond more quickly.

Timing directly adjusts the speed of Attack and Release, while Release Hysteresis links the Fast detector to the signal’s volume, reacting faster to loud sounds and slower to quiet ones.

A bit tricky, right? 😄

Also, this compressor has automatic Make-Up Gain, so you’ll need to slightly reduce the Output Gain to balance the sound.

In terms of frequency response, it slightly boosts the low end, and when compression kicks in, the high end gets a subtle lift. True to its “Mastering Compressor” name, it’s very clean with minimal harmonic distortion.

Millennia TCL-2

Click image to purchase Millennia TCL-2 at Plugin Boutique

The Millennia TCL-2 is a plugin emulation of Millennia’s opto compressor, often compared to the Avalon AD2044 as a top-tier stereo opto compressor.

It’s exceptionally clean, producing very little harmonic distortion even under compression. You won’t notice significant changes in the frequency response either.

The parameters are fairly standard, so there’s not much to dive into here.

From my experience, it’s ideal when you want a smooth opto compressor without expecting high-frequency saturation.

Mäag Audio Magnum-K

Click image to purchase Magnum-K at Plugin Boutique

The Mäag Audio Magnum-K is a compressor that incorporates Mäag Audio’s signature Air Band EQ.

This one’s a bit complex to use. It’s easiest to think of it as three sections: Magnum Compressor, K Compressor, and EQ2.

The Magnum section should feel familiar, but the FB/FF (Feedback/Feedforward) setting on the far right is unique. Feedback mode offers smooth compression, while Feedforward mode is more aggressive.

The K Compressor is a one-band compressor centered at 3kHz, essentially functioning as a de-esser to tame vocal sibilance.

The EQ2 section operates in parallel with the original signal, blending with the Magnum and K Compressor signals before soft clipping kicks in.

It adds some coloration, and when compression engages, the midrange feels fuller. The left and right channels can slightly differ, creating a richer effect. If you don’t like this, you can use M/S mode or Digital Mode for uniform channel processing.

Find about Brainworx Plugins at Plugin Boutique

Until the end of this month, these compressors and other Brainworx plugins are on sale at Plugin Boutique, so it’s worth checking them out.

Plus, if you buy any plugin from Plugin Boutique this month, you’ll get Bitwig Studio 8-Track DAW for free, so don’t miss out!

See you in the next post! 😊

Basics of Synthesizers (1) – Types of Synthesizers

Hello! I’m Jooyoung Kim, a mixing engineer and music producer.

Today, I’ll continue from last time and briefly classify synthesizers. Let’s dive in!

The Money Pit: Modular Synthesizers…

Synthesizers can be categorized based on their synthesis methods. Here’s a breakdown:

No.Synthesis MethodDescription
1Subtractive SynthesisApplies filters to a signal to shape the sound.
2Additive SynthesisCombines waveforms to create sound.
3Modulation SynthesisModulates one signal using the values of another.
4SamplingModulates pre-recorded sounds (not strictly a synthesizer but often integrated).
5Physical ModelingMathematically models the principles of how real sounds are produced.
6Phase DistortionDistorts the speed of phase changes to synthesize sound.
7Vector SynthesisUses a basic wavetable approach, often with a joystick to shape sounds.
8Spectral ModelingA type of modeling that uses white noise and variable filters to create sound.
9Linear ArithmeticCombines subtractive synthesis with PCM (Pulse Code Modulation) sampling.
10FormantA modeling technique based on the frequency spectrum peaks that occur in human speech, called formants.
11GranularA sampling method that synthesizes sound by manipulating small units called grains.
12WavetableSynthesizes sound using waveform tables.
13AI (Neural / Deep Learning)Trains models to synthesize sounds based on specific parameters.

Quite a list, right?

The Father of Moog, Robert Moog

After the first commercially successful analog synthesizer from Moog appeared, many companies saw the potential for a profitable synthesizer industry. At the same time, academia recognized its research value, leading to numerous collaborations. This fueled rapid advancements in synthesizer development.

As a result, most synthesizer instruments we know today were fully developed before the 2000s.

Today, technologies like Physical Modeling and AI synthesis have advanced synthesizer creation, but we don’t always think of these as “synthesizers.” For example, a modeled piano is perceived as a piano, and a modeled woodwind as a woodwind.

Pianoteq is a synthesizer, but it doesn’t feel like one, does it?
Where’s the Future of Virtual Instruments and Performers Headed? Meet Melisma AI Strings & Woodwinds

I previously introduced a tool that uses AI and sheet music to synthesize strings that sound incredibly realistic. I believe this is the direction future synthesizers will take.

The recently released Serum 2 synthesizer. I think this is about as far as what we consider “synthesizer” instruments will evolve.

Once you master a few synthesizers, you’ll find that the parameters are largely similar across others. In upcoming posts, I’ll explore representative synthesizers for each synthesis method and how to use them. Reading through these will help you navigate complex synthesizer workflows.

Until next time!