ADSR (Sustain, Release … ) with Synths on H90

I’m with your on a global ADSR control (or two) FR.  I’ve said this before, but – to my mind – a Step Sequencer (w/ smoothing for LFO) could cover all these related feature requests with one-shot / X repetitions / looping capability.

There are those fixed ADSR controls in the modulation algos, and HotSawz Attack / Decay Gate options. But you seem to be referencing to the new PolySynth algorithm, though.  Limited at first glance, but a lot can be done with that configuration.  Much of it (yes) focuses on the filter envelope follower, but I find that envelope to be a remarkable achievement.

Attack = attack, input envelope as initial decay, again input envelope or FREEZE as sustain, input envelope or FREEZE REL as the release portion.  For an ADSR control over amplitude, I’ve been using both Preset slots in series, with PolySynth in Preset B.

That way, you can shape the input envelope before it ever gets to PolySynth.  TremoloPan (even as a Manual volume control), UltraTap (Chop) Trigger or Swell, DynaVerb’s Omnipressor mode (Gated is a great choice), or even delay algorithms in Preset A.

A couple of ideas to get started, anyway.

Yes, I did mean that you can shape the envelope before it ever gets to the synth.  To get your short envelope, it might be easiest to first try out TremoloPan into PolySynth in Series.  [You can also try out Manual / Manual Mod with your expression pedal here, instead of Env / ADSR as the Shape (below)]:

• Depth – up full
• Adjust Speed / Sensitivity after selecting …
• … Shape to Env or ADSR
• Width – 0
• The remaining controls to 0, or to taste.

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The one I use most often is a little trickier to dial in:  UltraTap into PolySynth in Series.

• Mix – 100%
• Length – 0 mS
• Taps – 1
• Pre Delay, Spread, Taper, Feedback, Tone, Slurm – all at 0
• Chop – Trigger or Swell adjust between 0-9
• Speed/ Rise / Release – the decay time of Trigger, or the Attack time of Swell.
• Width – 0

Bottom Line:  You are just using the “Chop Machine” section in UltraTap.  Tricker because crossing the threshold of Trigger or Swell takes some fine adjustment  of 0-9 to get the most consistent results.  And it also depends on your input note levels.  A compressor on your bass beforehand might help out there.  Also, mix in any of the original signal with the Program Mix control.  Everything else will be 100% wet in Series.

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And yes, it would be simpler with an ADSR in the synths themselves, but I’m all about working with what you currently have.  PolySynth has me going back to revisit HotSawz for similar effects.

One more option just might be going external, with another pedal as Inserts before your H90 synth of choice.  I use a Poly Effects Beebo for this, and have used a Pigtronix Philosopher King as well.  Seems like the reissue EHX Attack Decay would be a perfect choice here (the rare original I have here is far too noisy).

Something like this might be one more way to get started.  It uses the same general concepts, but with the Omnipressor mode in DynaVerb as the “envelope”.  In Series with a mono-configured PolySynth – all 100% wet.

https://patchstorage.com/attack-bass-tbrock-303/

This next one has some dry mixed in (which you can dial back).  The idea here was to use HotSawz for its fast attack, and PolySynth for a slower attack, with the two synths in parallel.  Bypass one or the other, if it suits your purpose.

https://patchstorage.com/mono-y-mono-sawsquare/

There is a lot of tweaking built into both of these Programs with [P] [A] HotKnobs, HotSwitches, Performance controls, and dual expression pedals.  I’m thinking it might be easiest of all to dial around parameters using some existing Programs, then Save what you like afterwards.

Glad to hear about your progress.  I think there is a lot to be learned by perfecting a specific sound, using another toolset.  Yes, simpler is better, with regards to the pre-shaping options here.  They were just some additional options to consider.

And HotSawz is a great choice, especially with your bass as input.  Monophonic, forgiving of simpler intervals, but it can get glitchy with more complexity and chords.  You’ve probably adjusted this already  [System – Source Type – Sub (Bass)] for tracking & filters.

If I get the chance, I’ll have a go at recreating that Disclosure sound myself with HotSawz and PolySynth.