Enjoying Envelopes

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We find ourselves once again sauntering through the summer of synths. Last time, we went over the tone sculpting power of filters and how we can use them to let through and/or block low sounds, high sounds, or both.

In addition to filters, we’ve figure out how make pitches using oscillators and how to adjust the primary sonic nature of said oscillators by using different waveforms.

Now we need to harness the actual execution of our pitches. At the moment (presuming we’re using a keyboard to make notes occur), when we strike a key, the note instantaneously starts, remains the same while we hold it, and then immediately stops when we let go. A nice start, but we can go so much further with the power of envelopes!

Before we get into what envelopes are in the synthesis world, I want to say you have to dig pretty deep in the dictionary to find an appropriate definition of the word.

We’re certainly not dealing with items made to contain letters, but we’re also not dealing with many of the other definitions. In fact, I had to go down to the sixth definition to find something even close to what we’ll be discussing today.

Just so we have it, said definition was: “Electronics: a curve joining the successive peaks of a modulated wave.” Not the most enlightening definition in the world, so we’ll focus on four easy letters instead:

A. D. S. R.

These four letters stand for Attack, Decay, Sustain, and Release, and they are the building blocks of any synthesizer envelope. To get a better idea of what each of these words mean, let’s put them into a visual format:

ADSR

Each line goes along with one of the letters. The first rising line is Attack, the next falling line is Decay, the flat line is Sustain, and the final falling line is Release. Moving left to right on this picture represents moving forward in time, while moving up and down represents how “strong” the envelope is (this “strength” can represent volume, brightness of tone, etc.).

The Minimoog Voyager has two envelopes: the volume envelope and the filter envelope. We’ll discuss volume first as I think it’s easier to wrap one’s head around.

The volume envelope determines how long it will take for a note to begin after striking a key (attack), if the note will fade a bit (decay), how loudly the note will ring out (sustain), and how long the note will fade after releasing the key (release).

If you have a very short attack, the note will begin instantly, which is similar to plucking a guitar string. If you have a very long attack, the note will slowly fade in, which is similar to a slowly pulling a bow over a violin string. The Moog can have an attack of 0 seconds all the way up to 10 seconds!

After the initial attack, the note might Decay to a lower volume. Going back to the guitar, the initial pluck is quite loud, but the sound of the string ringing out afterwards is generally softer. The time it takes to get to that softer ringing out is our Decay length. Just like Attack, this can be 0-10 seconds in length.

Once the Decay has occurred, the note will continue to Sustain as long as the key is held. So the value of the Sustain knob is not about time (unlike Attack and Decay). Instead the Sustain knob dictates how loud the sound will be after the first two stages of the envelope. If the Sustain knob is all the way down, the sound will fade away to nothing after the Attack and/or Decay. If the Sustain knob is all the way up, the sound will never Decay at all and will remain at full strength after the initial Attack.

Lastly, we have the Release. This is the amount of time it will take the sound to fade away once you release the key. Once again, we have a large range of options given that the release can last 0-10 seconds. You may want the sound to cut off instantly, you may want a bit of a taper, or maybe you want some epic, trippy space sounds that seemingly last forever.

To better demonstrate all of this, here’s a video exclusively on the Volume Envelope.

Right next door to the Volume Envelope is the Filter Envelope.

The same picture from above applies, but this time, going up and down on the picture represents how open or closed the filter is (if you missed the last post on Filters, I highly recommend checking that out first before proceeding).

A. D. S. and R. all work exactly the same as on the Volume Envelope. We’re just choosing how quickly to open and close the filter. The Sustain decides how open or closed the filter will wind up after the initial Attack and Decay, and the Release will fully close the filter over a certain amount of time.

Side-note: the Volume and Filter envelopes are independent of each other, so you could have two radically different envelopes going on at the same time, which enables you to create some wonderfully unique sounds.

The only unique item on the Filter Envelope is the knob called “Amount to Filter.” Unlike most knobs that proceed clockwise from least to most, this knob is “off” at the 12 o’clock position. When turned to the right, it has a positive effect on the envelope, and when turned to the left, it has a negative effect on the envelope.

When in positive mode, the envelope matches the picture above. The filter starts off closed and opens as it increases in strength.

However, when in negative mode, the envelope becomes a mirror image (flipped upside down) of the picture above. The filter starts open and closes as it follows the Attack, the Decay opens it back up, etc.

Once again, a video will do wonders to make all of this clearer.

One other item in the Envelope section that wasn’t touched upon today was the Envelope Gate. We’ll cover gates in a later post and will come back to this. For now, this post is under the presumption that all notes are activated via a keyboard.

With that all said, we’ve covered the main components of making sound on a synthesizer! Next time, we’ll get into how we can start to really modify and tweak our sounds via the LFO (Low Frequency Oscillator) and Modulation Busses. Things are about to get wild!

UTA Radio Sign-Ons In Rotation

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Hey everyone!

This past March, we recorded some sign on’s for our good friends over at UTA Radio, and they are now in their daily rotation! If you tune in at utaradio.com, whenever there is a break in between tunes, you may chance a hearing of good ol Lindby. Above are a couple of examples of the sign on’s we sent, but there are many more as well. Hope you enjoy, and thanks again UTA Radio for working with us! We had a blast!

Love,
Lindby

Marty! We have to go back! Back to the Studio!

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Happy New Year everyone! We hope you have had a great start to 2014, and have already made it one heck of a year! Here at Lindby HQ, we are going to be heading back into the studio for the month of February to really get the wheels rolling on our next full-length album, AND continue laying down tracks for our collaboration album with the incredible, the amazing…”[link url=”https://www.facebook.com/pages/Doug-Funnie-Nerdcore/120074378096445″]DOUG FUNNIE[/link]”! We’ll be back at it for the month of March, so stay tuned for studio updates, shows updates and more!

Love,
Lindby

“Christmas On My Street” Released

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It’s that time of year again-CHRISTMAS MUSIC TIME! Here is Lindby’s 2nd Christmas EP entitled “Christmas On My Street.” It features two original Christmas tunes (“[link url=”http://lindby.bandcamp.com/track/christmas-on-my-street”]Christmas On My Street[/link]” and “[link url=”http://lindby.bandcamp.com/track/lights-on-a-string”]Lights On A String[/link]”), a Doctor Who-themed rendition of “Holly Jolly Christmas” (“[link url=”http://lindby.bandcamp.com/track/timey-wimey-christmas”]Timey Wimey Christmas[/link]”), a synth-y & swung version of J.S. Bach’s “Jesu, Joy of Man’s Desiring” (“[link url=”http://lindby.bandcamp.com/track/jesu-joy-of-synth”]Jesu, Joy Of Synth[/link]”), and a special, Christmas-y remix of “Lights On A String” done by [link url=”http://tanner4105.bandcamp.com”]tanner4105[/link] (“[link url=”http://lindby.bandcamp.com/track/lights-on-a-machine-tanner4105-remix”]Lights On A Machine[/link]”). “[link url=”http://lindby.bandcamp.com/track/christmas-on-my-street”]Christmas On My Street[/link]” also features “[link url=”http://www.larry-gee.com/”]Larry g(EE)[/link]” on vocals! We cannot thank all the people who contributed to the making of this EP, and are truly grateful for the time and effort they put into helping us out. So with that, scroll on down and enjoy “Christmas On My Street!” And don’t forget-you can download it FOR FREEEEE! Merry Christmas, everyone!

released 09 December 2013

Vocals on “Christmas on My Street”: Larry g(EE) and Ali Grant
Vocals on “Lights on a String”: Ali Grant
Vocals on “Timey Wimey Christmas”: Nick Goodrich, Ali Grant, Nick Spurrier
All Saxophones: Mark Smith
All Trumpets: Micah Bell
All Trombones: Jim Meyer
All Piano/Synthesizers: Nick Spurrier
Guitar: Nick Goodrich
Bass Guitar: Kyle Claset
Drums/Percussion: Logan Bowers

“Christmas On My Street” EP tracked at The Larch Studios by Wilbur Schrodinger

“Lights On A Machine (tanner4105 Remix)” mixed by Tanner Brown

“Christmas On My Street” and “Lights On A String” tracks mixed by Kent Stump at Crystal Clear Sound

“Timey Wimey Christmas” and “Jesu, Joy of Synth” tracks mixed at The Larch Studios by Wilbur Schrodinger

“Christmas On My Street” EP mastered by Nolan Brett at Crystal Clear Sound

Rock Assembly & 8-bit Bonanza Videos

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Heidi-ho, neighborinos!

The last couple of months have been CRAZY busy for us here at Lindby HQ, but it has been wonderful all the same. We’ve been spending most of our time in the studio (check out The Lindby Bandcamp Page to see what we’ve been up to…and expect a post about it soon!), but we’ve also been playing a lot of shows and meeting tons of fantastic new folks!

Here now, for your enjoyment, are some videos of us performing at the Fort Worth Rock Assembly II, covering the music of David Bowie. We had a BLAST! In addition to that, we’ve also got a couple of videos of us at the 8-bit Bonanza, including one that features our good friend Doug Funnie! So check ’em out, enjoy this awesome weather we’ve been having, and love your mother!

Love,
Lindby

(Click each picture below to view the video!)

Space Oddity:
Space Oddity
Ziggy Stardust:
Ziggy
Moonage Daydream:
Moonage
Changes:
Changes
Peanuts by Doug Funnie Featuring Lindby:
Peanuts
Super Mario Super Show Theme:
Super Mario Super SHow

Lindby wins “Best Pop Act” in FW Weekly Music Awards!

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Woohoo! We cannot thank everyone enough for supporting us! Thank you so much for taking time out of your busy schedules to vote for us and show your support for local music. We are truly honored by all encouragement and love we’ve received over these past few weeks and cannot wait to show everyone what we have in store for you in the months to come! You guys seriously make what we do so worthwhile and we could not have achieved any of this without you. Below are some snapshots from the awards ceremony for your enjoyment, and, as always, remember to LOVE YOUR MOTHER!

Love,
Lindby

1003461_450284545068370_1337168_n Onstage accepting the award!
1005435_10151555017460748_874451037_n The “Panthy” for “Best Pop Act”
944227_10151555017345748_319105825_n Ali and Kyle chillin with the Panthy
Lindby Hey look! There’s a Bowser on that screen!

A long, long time ago…

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…in a house on Atwood Drive, three high school freshmen decided it would be fun to start a band. Enter Nick Spurrier, Stuart Hausmann, and Nick Goodrich. The three would go on to do amazing things (eat Bertie Bott’s Every Flavour Beans, get the cops called on them, etc), write amazing songs (Move On – a virtual powerchord symphony, Furnination – a song based off of Ray Bradbury’s Fahrenheit 451, etc), and play amazing shows (the 3-song set during Mrs. Baker’s Freshman English class, The various FMHS talent shows, etc).

Why is this important? Why does this matter? What does Mrs. Baker have to do with anything and where is she now? Well, ten (10) years ago (that’s ONE DECADE, PEOPLE!), this happened:

5ntheeyewoo

That’s right, folks. “Lindby” (even though back then we were known as “5 In The Eye”) was, for all intents and purposes, born ten (10) years ago yesterday. We have seen a LOT of members come and go over the years, and we have truly treasured each practice, gig, recording session, road trip, etc we’ve had with them. We really could not have gotten to where we are today without each and every one of them, and for that we say say thank you! For those of you reading this who have stuck it out with us throughout the years, thanks for hanging in there with us. Again, we could never have done it without you. Your patience, support, and love have really kept us going. For those of you who are relatively new to Lindby, thanks for your support as well! We have really been encouraged by your love, spirit, and kindness towards us and we have some FANTASTIC things in store for you (well everyone, really). It has really been a wild and crazy ride for us and we feel like we’re only getting started. So raise your goblet of rock, and join with me in saying:

Happy 10th, Lindby!

P.S. If you want to check out the FANTASTIC work of Stuart Hausmann (music and artwork – he did the cat painting for the ERIKSON album cover), check out his WEBSITE and follow him on TWITTER.