Specifications

SUBTRACTOR SYNTHESIZER
112
Destination
The available LFO 1 Destinations are as follows:
Sync
By clicking this button you activate/deactivate LFO sync. The frequency of the
LFO will then be synchronized to the song tempo, in one of 16 possible timedi-
visions. When sync is activated, the Rate knob (see below) is used for setting
the desired timedivision.
Turn the knob and check the tooltip for an indication of the time division.
Rate
The Rate knob controls the LFO’s frequency. Turn clockwise for a faster modu-
lation rate.
Amount
This parameter determines to what degree the selected parameter destination
will be affected by LFO 1. Raising this knob’s value creates more drastic results.
LFO 2 Parameters
LFO 2 is polyphonic. This means that for every note you play, an independent
LFO cycle is generated, whereas LFO 1 always modulates the destination pa-
rameter using the same “cycle”. This can be used to produce subtle cross-mod-
ulation effects, with several LFO cycles that “beat” against each other. This also
enables LFO 2 to produce modulation rates that vary across the keyboard (see
the “Keyboard Tracking” parameter below).
Destination
The available LFO 2 Destinations are as follows:
LFO 2 Delay
This parameter is used to set a delay between when a note is played and when
the LFO modulation “kicks in”. For example, if Osc 1 & 2 is selected as the des-
tination parameter and Delay was set to a moderate value, the sound would start
out unmodulated, with the vibrato only setting in if you hold the note(s) long
enough. Delayed LFO modulation can be very useful, especially if you are play-
ing musical instrument-like sounds like violin or flute. Naturally it could also be
used to control more extreme modulation effects and still retain the “playability”
of the sound.
LFO 2 Keyboard Tracking
If LFO keyboard tracking is activated, the LFO rate will progressively increase
the higher up on the keyboard you play. Raising this knob’s value creates more
drastic results.
✪ If the LFO is set to modulate the phase offset, LFO keyboard track-
ing can produce good results. For example, synth string pads and
other sounds that use PWM (see page 103) can benefit from this.
| Destination | Description
Osc 1&2 Selecting this makes LFO 1 control the pitch (frequency) of
Osc 1 and Osc 2.
Osc 2 Same as above, but for Osc 2.
Filter Freq Selecting this makes the LFO 1 control the filter frequency for
Filter 1 (and Filter 2 if linked).
FM Selecting this makes the LFO 1 control the FM Amount pa-
rameter. Both oscillators must be activated for this to have
any effect.
Phase Selecting this makes the LFO 1 control the Phase Offset pa-
rameter for both Osc 1 and 2. Note that Phase Offset Modu-
lation (Subtraction or Multiplication) must be activated for this
to have any effect (see page 103).
Osc Mix Selecting this makes the LFO 1 control the oscillator Mix pa-
rameter.
| Destination | Description
Osc 1&2 Selecting this makes LFO 2 modulate the pitch (frequency) of
Osc 1 and Osc 2.
Phase Selecting this makes the LFO 2 modulate the Phase Offset pa-
rameter for both Osc 1 and 2. Note that Phase Offset Modula-
tion (Subtraction or Multiplication) must be activated for this to
have any effect (see page 103).
Filter Freq 2 Selecting this makes the LFO 2 modulate the filter frequency for
Filter 2.
Amp Selecting this makes the LFO 2 modulate the overall volume., to
create tremolo-effects.