What are some tips and tricks for using filters and envelopes in sound synthesis?

I start by mastering my filters, each type uniquely shaping my sound. Using LFOs to modulate filters adds dynamic life, especially with automated changes. Tweaking envelope parameters, like ADSR, is key; even small adjustments can transform a sound. I often route envelopes beyond volume, modulating pitch or filter cutoff for more sound design possibilities. Most importantly, I remember the context in the mix is crucial; what works solo might need tweaking in the full arrangement for the perfect fit. Also when you're using a VSTi you can create interesting movement by automating these filters to avoid getting a dull sound. Triggering these automations by organical rhythmic elements keeps your electronic music humanized.

I love sounds that are created by multiple knobs being modulated by one LFO. For example, having the filter. volume, fm, distortion, noise and even more all move together you can great super dynamic sounds with a lot of character!

The most common filter in subtractive synthesis is the Low-Pass, which gives you the general basis of the timbre of the sound you are creating. Many hardware synths come with a combination of LP/HP/BP (bandpass), etc but what I find critical for me is the gradient of the slope. I find that a 2-pole pass is great for designing string and pad sounds that don't require impact on the attack. Anything else like leads, bass, and stabs - at least I find for my taste, sound punchier, tighter, and cleaner at 4-pole low pass filters. I recommend familiarizing yourself with both and experimenting from this point of view.

When you want to create a sense of suspense for a big sound, such as a 'Bram,' adding modulation to a low-pass filter will accentuate the emotion. You'll need to assign an LFO to the filter cutoff, adjust the depth of the LFO to limit how much it will open the higher frequencies, Also, play with the frequency (or speed) of the LFO. In most virtual synths the speed of the LFO can be set to note values that sync with the master tempo of your projects. For more random cycles choose controlling the speed with seconds. Finally, you can also add a Keytrack value to the filter. This will open the filter in a position that follows the keyboard. For example, the filter will open more if you play in C3 than if you played C0.

The easiest way to design your filter is to mimic the sound you want to make with your mouth. It sounds childish but I swear it works. The numbers on the dials don’t correlate to the emotion you’re trying capture. Just do the following. 1. Make the sound with your mouth. 2. Break down the envelope piece by piece. First the attack then adjust the rest knob by knob. 3. Keep tweaking till you get the effect you want. One change at a time.

I like to start at the extremes, wet and dry, so I know what I’m hearing as I adjust parameters. It also helps me find where each element would fit in the mix and how wide the pocket is that I could play with before it starts to muddle the sounds. I like to “master as I work” so this helps me a lot. I like your idea tho! Sometimes I’ll record some sort of vocal and manipulate it for background ear candy lol

First: The common acronym for the morphing activity of an envelope is ADSR. Attack, Decay, Sustain and Release. Now let's apply ADSR to a volume knob: (A)ttack: Determines at what time and for how long the envelope will increase volume. It also has a peak, but you can determine the highest volume value with the depth of the modulation. (D)ecay: Once the envelope reaches its peak it will decay. Set up a longer decay and the volume will slowly go down over time. (S)ustain: This curve determines how much volume decays over time Thus sustaining the volume through the decay curve. (R)release: The time it will take for the volume to go to zero once you release the note.

Some filters are self-oscillating. When turning off the oscillators on the synth so no tone generation is happening, increase the resonance of the filter, and you'll hear a tone as the filter begins to self-oscillate. You can then adjust pitch with the filter knob. Adjust key tracking with the filter to produce tones that are in tune. It may take some adjusting to get the intonation just right. This can be a solution to introduce an extra oscillator that is not present within the synth's oscillators. E.g. A 2-oscillator synth with sawtooth and square wave, the filter acts as a 3rd oscillator with a different waveform. And that could be layered and mixed in with the oscillators of the synth as the signal passes through the envelopes.