Think of a single person clapping their hands: we won’t surely see those quick crests, but instead we will have something similar to what we can create with an ADSR envelopes. As is often the case, there is not a unique way to accomplish our mission. Well, again, we could make a single sample, then duplicate it multiple times, layer, sequence and tweak them to obtain the final sound. The LFO can help, but its cycles will be the same every time, and we would need more freedom to adjust the shape of the peaks, in particular, the longer one of the tail.Ī classic ADSR envelope couldn’t really make three or four (or more) of these peaks.
To make samples more quickly, we would need a more flexible modulation source. We can surely record some white noise, cut some sections, fade them, and make everything in audio, although it can be really time consuming.
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Now that we clarified some aspects behind claps, we can imagine how to create it: we need to shape a noise sample with a quite complex envelope.
Noise can be the answer, and in our patch, it will actually be the main character. Everyone knows how a synthetic clap sounds, but has everyone ever wondered who is responsible for this sound or what is the source for this kind of samples? To better understand how close they are, check the waveform with a timeline set in seconds. The clap sample shown in figure has four peaks, four sections or elements in rapid succession (to see them properly we zoomed in), each one with a slight different decay, especially the last one, being the tail of the clap sample.
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