Specifications

SUBTRACTOR SYNTHESIZER
111
Mod Envelope
The Mod Envelope allows you to select one of a number of parameters, or Des-
tinations, to control with the envelope. By setting up a modulation envelope you
control the how the selected Destination parameter should change over time
with the four Mod Envelope parameters, Attack, Decay, Sustain and Release.
The available Mod Envelope Destinations are as follows:
LFO Section
LFO stands for Low Frequency Oscillator. LFOs are oscillators, just like Osc 1 &
2, in that they also generate a waveform and a frequency. However, there are
two significant differences:
• LFOs only generate waveforms with low frequencies.
• The output of the two LFOs are never actually heard. Instead they are used
for modulating various parameters.
The most typical application of an LFO is to modulate the pitch of a (sound gen-
erating) oscillator, to produce vibrato. Subtractor is equipped with two LFO’s.
The parameters and the possible modulation destinations vary somewhat be-
tween LFO 1 and LFO 2.
LFO 1 Parameters
Waveform
LFO 1 allows you to select different waveforms for modulating parameters.
These are (from top to bottom):
| Destination | Description
Osc 1 Selecting this makes the Mod Envelope control the pitch (fre-
quency) of Osc 1.
Osc 2 Same as above, but for Osc 2.
Osc Mix Selecting this makes the Mod Envelope control the oscillator
Mix parameter. Both oscillators must be activated for this to
have any effect.
FM Selecting this makes the Mod Envelope control the FM Amount
parameter. Both oscillators must be activated for this to have
any effect.
Phase Selecting this makes the Mod Envelope control the Phase Off-
set parameter for both Osc 1 and 2. Note that Phase Offset
Modulation (Subtraction or Multiplication) must be activated for
this to have any effect (see page 103).
Freq 2 Selecting this makes the Mod Envelope control the Frequency
parameter for Filter 2.
| Waveform | Description
Triangle This is a smooth waveform, suitable for normal vibrato.
Inverted Saw-
tooth
This produces a “ramp up” cycle. If applied to an oscillator’s
frequency, the pitch would sweep up to a set point (governed
by the Amount setting), after which the cycle immediately starts
over.
Sawtooth This produces a “ramp down” cycle, the same as above but in-
verted.
Square This produces cycles that abruptly changes between two val-
ues, usable for trills etc.
Random Produces random stepped modulation to the destination. On
some vintage synths, this is called “sample & hold”.
Soft Random The same as above, but with smooth modulation.