The Control Panel Sections
52
Kyra Manual
used for basses) and is caused by Kyra’s click suppressor
delaying the signal for up to one wave cycle. At higher
frequencies, this time is so short so as not to be important
but at very low frequencies, it can be long enough such
that the sound does not start until the modulation EG cycle
is already underway, or if it’s short enough, already com-
pleted.
To avoid this without increasing play latency, the Bass
Delay feature slightly delays the onset of the modulating
EG such that the sound has already started before the
modulating EG starts. It is short enough to be barely no-
ticeable for bass sounds but it’s long enough to be certain
the wave has started before triggering the modulating EG.
If you create a Patch with the following features, you
should consider enabling Bass Delay to ensure a consistent
modulation effect:
•
The sound is very low frequency, typically a bass.
•
The amplitude attack is extremely fast.
•
The modulating attack is extremely fast.
•
The modulating decay is short (less than 100mS)
•
The modulation amount is very high (e.g. filter
frequency or wavetable level used for ‘bite’).
If your Patch meets all these requirements, enable Bass
Delay for the EG (2 or 3) that is being used for the attack
modulation. This will result in a consistent sound (some
variation will remain, but it will be minimal). Note that on
certain sounds it might not be possible to remove all varia-
tion. If the track you’re recording requires identical beats,
please consider sampling a note hit and using that in your
DAW. If your song relies on very tight timing of the bass-
line, consider bringing the bassline forward very slightly to
compensate for the slight delay added by Bass Delay.
For any other sound, ensure Bass Delay is switched off
otherwise there’ll be a slight pop or punch at the start of
sounds with fast modulated attacks. This itself is an effect
and you might find it useful. As always, experimentation is
the key.
Summary of Contents for KYRA
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