 Hello, this is OcellatorSync. Welcome to another video where we're looking at some programming tricks that we can use on the Korg monologue. So one of the objections that you sometimes see leveled at the monologue is that we've got quite a limited envelope generator up here. We've only got an attack and a decay and it can only be arranged in certain ways. It can only be sent to a limited subset of parameters. Now personally, I'm a big believer that these sort of restrictions actually help with creativity, both in terms of cutting down options so that you spend more time creating and less time trying stuff out and also because it leads to you trying to look for novel workarounds which can lead to new sounds. But I have to admit sometimes I do find myself missing that flexibility that maybe a second envelope generator would bring. But we do kind of have a pseudo second envelope generator on the monologue and we find it in the LFO. So we all know what the LFO does usually and that is that it will oscillate a parameter at a lower frequency although we can go audio range on the monologue and so we can do something like this if we apply it to the pitch. So we can hear there that the pitch parameter is being altered by the LFO and it's happening cyclically. That is once the LFO gets to the end of its waveform, it's starting its waveform again. If we move into one sharp mode however, that behavior changes a little bit. So rather than altering the parameter cyclically, what's happening instead is we are going through the waveform once and then finishing and that's kind of like what an envelope generator does. We are again somewhat limited in the types of envelope generators that we have here though. So if we set our LFO on to sawtooth mode, what we get here is the equivalent of an envelope generator with an instant attack and a decay that we can modify by changing the rate. Now the way that the rate works here is a little bit counter-intuitive compared to a normal envelope generator. Usually with our decay knob if we turn our decay knob up we expect the decay to last longer but here we're talking about the rate with which it takes place. So actually if we want a shorter decay, we turn our rate up instead. So sawtooth instant onset and then a variable decay. Our triangle wave gives us an envelope generator essentially where the attack and the decay are coupled. That is to say if we have a fast attack we also have a fast decay or if we have a slow attack we also have a slow decay. At the square wave it's kind of not really like an envelope generator that you'd have anywhere else I guess. Here what we have is an instant onset, a hold time which is defined by the rate and then an instant release or decay depending on how you want to look at it. Or faster. So what sort of things can we do? Well let's start with this square wave because actually I quite like this one because you don't tend to do this sort of thing with envelope generators. So if we find a nice sort of octave interval by changing the intensity out an octave and we turn the rate up we kind of get this kind of plink at the start of the note which is quite quite pleasant and we might couple that with maybe a filter cutoff happening on the envelope generator. Now already what we've got here are two one plus a pseudo envelope generator changing two different parameters which you can't do using just the envelope generator so that's really cool. Let's try something else. Let's open up our filter again for the moment. So one of the things that the monologue does really well is it syncs sounds so if we turn up VCO2 turn this off for the moment as well. And usually what you do with the sync sounds is that we are going to affect pitch two to get that classic sort of turn off VCO1 just to emphasise it. A little bit of VCO1 back in. Classic sync sounds. Sounds great. If I want to affect the overall sort of harmonic content here using the filter I've kind of only got really the options to do it statically I can either have the filter open or I can shut it off. I can't easily do that sort of classic opening at the start and tile off with the envelope generator because I'm using that to do my sync sound but if I have my LFO in one shot mode and I go over to probably the sawtooth is most applicable and we send that over to the cutoff. I'm going to rate that works for us. Now we've got the option to have that filter cutoff happening as well as our sync sound which is great. Good news. Now what's that sound like with the triangle instead? That's cool. A bit of resonance. Change our EG. So next time someone tells you that the monologue is limited because it only has one envelope generator you kind of look at them riling and think to yourself well one and a half probably. 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