TONE2 ELECTRA3 online-manual - Tone2 Synthesizers

- Waveform pulsewidth.

- Wavetable position (when Waveshapes prefixed with WT are used)

- Oscillator detune.

- The waveform pulsewidth.

The central ‘display’ of each oscillator contains the more advanced settings and layer options including which oscillator type to use, keysplits, velocity settings, and so forth.

The waveform display updates in real-time (like an oscilloscope) to give you a visual representation of the oscillator waveform and any modulators that are affecting it.

Clicking on the synthesis-type selector (which is set to Wavetable here) will bring up a context-menu of the available modes:

• Wavetable – this type emulates oscillators that crossblend waveforms.
  
• Hypersaw – this type generates multiple detuned sawtooth or pulse waves.
  
• Noise/Fractal – this type generates noise of different types.
  
• Sample – this type plays back user-samples.
  
• Custom Wave – this type analyzes & resynthesizes user waveforms, which can then also be PW modulated.
  
• Analog - this is an emulation of analog oscillators.
  

This oscillator mode choice of different types of waveforms based on classic synthesizers and ways to modulate the waveforms using the PW parameter. The different types of waveforms can be selected from the oscillator display.

The Start point control changes the start phase of the waveform. Setting it to 100% will change it to Free-running and cause the phase to be randomly changed every time a note is played.

The waveforms are split into different categories differentiated by the letters in front of the waveform name. They are:

• VA – Virtual Analog. Waves from classic analog synthesizers.
  
• FM – Frequency Modulated waveforms.
  
• PD – Phase Distortion. Waves from classic phase distortion synthesizers.
  
• RES – Resonant. These are highly resonant waveforms with the PW knob controlling the amount of resonance.
  
• SNC – Sync. These are oscillator-synced sounding waveforms with the PW controlling the amount of sync.
  
• WT – Wavetable. These are a selection of wavetable waveforms. The PW knob steps or morphs through them.
  
• FX – Effects. These are special effects or special purpose waveforms.
  
• EL – Electronic. These are a various selection of waveforms based purely on other forms of synthesis e.g. additive synthesis.
  

Hypersaw

The Hypersaw oscillator type creates the modern classic sound of many complex detuned waveforms playing together to create a huge sound. The PW knob is used to detune the oscillators.

There are 12 diffrerent modes available. They can be selected by clicking on the list selector below 'Hypersaw':

Noise/Fractal

The Noise/Fractal oscillator type provides different types of noise either for audio or for FM modulation purposes. Fractal synthesis is a completely new and unique method of synthesis based around the mathematics of chaos theory.

Chaos theory is a field of study in mathematics, physics, economics and philosophy that studies the behavior of dynamic systems that are highly sensitive to initial conditions. This sensitivity is popularly referred to as the butterfly effect. Small differences in initial conditions yield widely diverging outcomes for chaotic systems, rendering long-term predictions impossible in general. This behavior is known as chaos. Chaotic behavior can be observed in many natural systems, such as the weather, plants, lightning or analogue circuits from synthesizers.

• White – White noise with more energy in the higher spectrum.
  
• Lowpass - Low-pass filtered noise. The cut-off frequency follows the pitch of the oscillator. The PW control alters the resonance.
  
• Bandpass - Bandpass filtered noise. The cut-off frequency follows the pitch of the oscillator. The PW control alters the resonance.
  
• Random - Noise which sounds like old low-bit computer hardware. The Semi and INTER parameters control the tuning. Useful for snare drums.
  
• Random Ramp - Similar to Random, but with a darker sound. It's useful as an FM source for breathy type sounds.
  
• Digital - Digital noise. The Semi and INTER parameters control the tuning.
  
• Bandlimit - Band-limited noise. The Semi and INTER parameters control the tuning. The PW control alter the bandwidth. Very useful for creating drum sounds.
  
• Synced - Synced noise. The Semi and INTER parameters control the tuning. The PW control changes the start point.
  
• Fractal1 - Models a real crazy analogue circuit which cannot make up it's mind! It simply can't decide if it wants to be a square wave, a sine, a sawtooth, noise or feedback. PW controls it's undecided mood. The tuning mostly follows oscillator pitch.
  
• Fractal2 - Can be sine, feedback, granular, screaming, flute or sawtooth waveforms. PW controls the level of chaos.The tuning is mostly predictable and rudely follows pitch.
  
• Fractal3 - Can be sine, square, band-limited noise, granular or feedback waveforms. PW controls the level of chaos. The tuning is mostly predictable and crudely follows pitch.
  
• Fractal4 - Can be square, granular or low-passed noise waveforms. PW controls the level of chaos. The tuning is mostly predictable and crudely follows pitch.
  
• Pink – Pink Noise. Useful for general purpose and plucked string simulation when used in combination with the Phys String filter type.
  
• 8 Bit - The 8Bit noise oscillator can create lo-fi fx sounds from the past. The sound can be changed with PW and the key.
  

Samples

The Sample-oscillator allows the playback of user samples. Unlike the Custom Wave oscillator type, the Sample oscillator is designed for straight playback without any resynthesis or waveform modulation.

Once a sample is loaded you'll see two small dotted lines inside of the sample display, these two dotted lines represent the start and end position markers of the sample loop. They can be edited by clicking on one of the markers and moving the mouse on the wave display.

• The Load function will open a standard file browser where you can browse for and load your own standard sample files (.wav file extension). Whenever a sample is loaded a dialog box "Autotune Yes/No?" will appear, this allows you to automatically tune the sample upon import.If the sample file has loop information embedded in it, Electra will use this information for setting the loop-points.
  
• The loop mode can either be Single or Loop. The Single setting will play the sample from beginning to end and then stop. The Loop setting will play the loop from beginning to end infinitely (as long as you hold the key down!). If a sustain loop is active the sample will loop between the 2 loop markers.
  
• The Start function will determine from which point sample playback will start, drag its value up or down to edit the start point.
  
• The Edit menu contains a selection of Sample edit options, these can be used for setting default loop points, editing its volume or processing the sample with effects.
  - Edit-> Autotune: automatically tunes the sample
  - Edit-> Autoloop: automatically loops the sample using a crossblend
  - Edit-> Export as wav: stores the sample content to a wav file
  - Edit-> Reverse: makes the sample play backwards
  - Edit-> Volume: maximizes the sample volume without clipping it
  - Edit-> Volume +6dB: doubles the sample volume with clipping
  - Edit-> Volume -6dB: lowers the sample volume
  - Edit-> Fade in: fades the selected area in
  - Edit-> Fade out: fades the selected area out
  - Edit-> Silence: mutes the selected area
  - Edit-> Trim: cuts everything but the selected area
  - Edit-> Cut: removes the selected area
  - Edit-> Tube saturate: applies soft tube saturation to the sample
  - Edit-> Differenciate: makes the sample sound more bright
  - Edit-> Square: doubles all frequencies
  - Edit-> Sinoid shaper: is a soft waveshaper
  - Edit-> Alias: makes the sample sound like an old sampler
  - Edit-> Crush: is a digital vintage effect reduces the bitdepth of the sample
  - Edit-> Selfsync: applies soft selfsyncronisation to the sample
  - Edit-> Remove DC: removes DC from the sample
  - Edit-> Noisify: fills the envelope of the sample with noise
  - Edit-> Loop all: resets the loop points
  - Edit-> Loop to 100%: sets the loop points
  - Edit-> Tune C5 44100Hz: sets sample tuning to a C5 sampled at 44.1Khz samplerate
  - Edit-> Tune C5 96000Hz: sets sample tuning to a C5 sampled at 96Khz samplerate

Custom Waveforms & Resynthesis

The Custom Wave oscillator type allows you to load user-waveforms. I also allows to resynthesize waveforms from samples which the synth automatically tunes and loops.

The PW control can be used to modulate the pulsewidth of the waveform.

The Start point control changes the start phase of the waveform. Setting it to 100% will change it to Free-running and cause the phase to be randomly changed every time a note is played.

'Custom Wave ->load Wave ' will open a standard file browser where you can load your own sample files (.wav file extension).

How the synth resynthesizes your sample depends on the size of the sample file.

File with less than 4096 samples: The synth will treat these sample files as a single cycle waveform and will automatically, stretch and loop it.

File with 4096 samples or more: The synth will automatically tune, stretch and loop the sample. It will then resynthesize a custom waveform from the middle section of the sound.

'Custom Wave ->save Wave ' exports the waveform as a sample files (.wav file extension).

'Custom Wave ->random Wave ' generates a random waveform.

Physical Modeling

Physical modeling synthesis uses a different approach to sound generation and therefore is available from the Filter section.

Two special filter types are featured for this task:

• Phys String - simulates a plucked string. "Cutoff" controls tuning, "Reso" controls damping and "Analog" controls decay. To tune a resonator set "Cutoff" to 50% (control+left click) and "filter key follow" to 100%.

• Phys Flute - simulates a blown tube. "Cutoff" controls tuning, "Reso" controls damping and "Analog" controls decay. To tune a resonator set "Cutoff" to 50% (control+left click) and "filter key follow" to 100%.

To give you an easy start with Physical Modeling synthesis the INIT menu includes two quick-start patch templates:

Use Init->"Create patch: PhysicalGuitar" to initialize a Physical Guitar Modeling default patch.

Use Init->"Create patch: PhysicalFlute" to initialize a Physical Flute Modeling default patch.

Pink noise: When used in combination with the Phys String filter type, the Pink Noise included inside of the Oscillator Noise/Fractal mode is useful for plucked string simulations.

Key controls

The oscillator display contains various controls for setting oscillator transpose, key range and keytracking.

• The Oscillator Transpose (pic: white box on the left) control allows you to change the transposition of the oscillator upwards in semitone steps up to one octave.
  
• The Oscillator Keytracking control (pic: white box in the middle) sets how the oscillator tracks your keyboard. If set to fixed the same pitch will be heard regardless of what note you play on your keyboard. If set to Keyfol then the oscillator will track the keyboard as normal i.e. 100 cents per semitone. Other settings allow you to use micro- tonal tunings where playing across an octave on your keyboard will increase the pitch by 100 cents, for example. Positive values will increase the pitch as you play up the keyboard, whereas negative values will decrease the pitch.
  
• The Keyrange Start and End (pic: white box on the right) controls allow you to set the range of the oscillator. The Start sets the lowest note which the oscillator will play and the End will set the highest. This allows to set keysplits across a single layer

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The central column of settings I.e. the Sound-mode, the Micro-tuning and the Sound-quality settings affect every layer of the synth.

All other settings only affect the selected layer.

VOL – Master volume for the current layer.

INIT - This manages all the patch initialization options for the synth. Clicking this buttons opens up a context-menu:

• Reset all – this option resets all layers to their default values.
  
• Reset synth layer - this option resets the current layer to its default settings.
  
• Reset Synth mod matrix – this option resets only the mod matrix in the current layer to its default values.
  
• Reset Synth arpeggiator – this option resets only the arpeggiator in the current layer to its default values.
  
• The remaining options in the menu all create an initialized patch based on various ‘types’ of sound. These are intended to be a starting point for your own patches. You could start with an initialized FM patch or Physical Modeling patch and then go from there!
  

• Patch – This copies the entire patch i.e. all parameter values on all layers into the clipboard. This is useful if you want to create a new patch based on the settings of an old patch.
  
• Layer – This copies all parameter values from the current layer into the clipboard.
  
• OSC1,2,3 – This copies only parameter values from oscillator 1, 2 or 3 respectively.
  
• Multilayer edit – selecting this option enables the multilayer edit mode, all other layers will follow the edits made on the current layer.
  
• The different Unison modes will automatically copy/paste the settings from layer one and distribute these over either 2 layers (2X) or 4 layers (4X) The Light, Medium or Heavy option will determine the amount of detuning applied to the layers.
  

• Patch – This pastes the patch currently stored in the clipboard. If there isn't a patch stored in the clipboard a warning dialog-box will appear telling you that you need to copy a patch before you can paste it.
  
• Layer – This pastes the layer currently stored in the clipboard into the current layer. Note that, if an oscillator only is in the clipboard, it will be pasted into the current layer and all other values will be set to default. If a patch is the clipboard then only the current layer will be pasted e.g. if you are layer 2, then layer 2 from the patch in the clipboard will be pasted.
  
• OSC1,2,3 – This pastes the oscillator values in the clipboard to oscillator 1, 2 or 3. If a layer or patch is in the clipboard then the selected oscillator clicked will be pasted from the layer or patch stored in the clipboard.
  

• Monophonic – This mode sets the polyphony to 1 note (monophonic) which mimics the way the classic analogue synthesizers of the past behaved.
  
• Legato – This mode is also monophonic but if a new note is played while an existing note is still being played, the synth will glide to the new note. The time it takes to glide from one note to another is set with the Glide Time parameter.
  
• Polyphonic 2 – 64 – This sets how many notes can be played at the same time on this layer. Settings from 2 notes to 64 notes are available. You can save CPU processing power by lowering the polyphonic count.
  
• Polyphonic 1 – This mode is suitable for punchy bass sounds. Because the Monophonic mode does not always re-trigger the oscillators when you play a new key, it sometimes lacks punchiness and precision.
  

• Linear sound – This mode has a 'technically perfect' linear frequency and phase response.
  
• Dynamic loud – Equalizes non-linearities of the human ear, making the patch sound thicker and louder, without raising the overall volume.
  
• Dynamic bass – Equalizes the non-liearities of the human ear in the low frequency range, offers a more fat sound and raises the perceived volume.
  
• Bright – This mode adds high-end and removes a bit of sharpness from the sounds. This mode is useful for leads and pads.
  
• Loudness – Equalizes the non-linearities of the human ear by boosting high and low frequencies.
  
• Analog Boost – This mimics the character of analog synths, with a warmer sound and beefier bass.
  
• LowCut 140 Hz -  This mode removes low frequencies. It is useful for keys, leads and pads.
  
• HighCut Analog – This mimics the character of analog synths, which are suffering from lacking high frequencies.
  
• Scientific - 100% linear frequency respone without any phase-shift by filtering. Please note that possible DC offsets are not removed.
  
• Transient shaper -  adds punch and presence to the sounds. It is useful for punchy leads, plucks and keys.
  
• Transient + Bass - adds presence and dynamic bass pressure to the sounds. It gives your mix a very modern sound.
  

• Well temp. - This is the standard Western 'Equal Temperament' scale.
  
• Analog light – This mode emulates a fairly 'stable' analog synthesizer with minimal tuning drift and circuit instabilities.
  
• Analog medium – This emulates an analog synthesizer with a greater amount of tuning drift and instability.
  
• Analog heavy – Similar to Analog light and medium but emulates an analog synth in need of repair! This mode emulates heave oscillator drift and instability.
  
• Fat tune 1, 2 - Fat tune makes chords sound 'fuller' and more 'fat' but at the same time they sound harmonically pure. Fat tune 2 has more of the effect than Fat tune 1.
  
• Just inton. - Just intonation. This is a musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Bagpipes, when tuned correctly, uses a system of just intonation.
  
• 432 Hz - detunes the synthesizers with -33 cents.
  

• Low CPU – This setting is the most CPU efficient mode but with a sacrifice of sound quality. Wavetables are not morphing smoothly when the PW knob is used. Instead the 'jump' to new waveforms.
• High quality – This gives the best sound quality but with a higher usage of CPU resources. Wavetables are not morphing smoothly when the PW knob is used. Instead the 'jump' to new waveforms.
  
• Crossblend PW - This mode allows the smooth morphing or blending of waves in the wavetables if this effect is desired. This mode needs the most CPU power.
  

• All keys – This will allow you to play the entire range of your keyboard controller. This is the default setting.
  
• Split low – This splits the layer at key B2. Keys from B2 downwards can be played. All keys from C3 upwards will not play.
  
• Split high – This splits the layer at key C3. Keys from C3 upwards can be played. All keys from B3 downwards will not play.
  
• Octave 0-4 – This allows you to play from the bottom octave (octave 0) to octave 4. All other octaves will not play.
  
• Octave 5 – This option plays only octave 5.
  
• Octave 6 – This option plays only octave 6.
  
• Octave 7-10 – This will play the top four octaves.
  

• All velocities – This option will play the layer regardless of what velocity you play your keyboard controller. This is the default option.
  
• The other options show a lower limit and a higher limit e.g. 64-128. The layer will play if the received velocity is between these two values.
  

The procedure for assigning modulation is very simple:

1. Choose a modulator (modulation source) in the drop-down menu. This is what causes the modulation or changing effect.

2. Choose a target (destination) in the drop-down menu. This is what gets affected by the modulation or changing effect.

3. Specify an amount other than Zero by clicking and dragging the Modulation Amount value. This is how much modulation gets sent to the destination. The lower the value the more subtle the effect.

The controls for the modulation Matrix are:

Modulation Slot Selection Buttons '1-5' and '6-10' – There are ten modulation slots overall arranged in two pages of five. Click on button A to access slots 1-5. Click on button B to access slots 6-10.

Modulation Source Selector Menu – If you left-click on one of the modulation source areas on the first row of the Matrix display, a selector menu appears. The menu options are:

• Off – No modulation source selected. This is the default selection.
  
• Lfo1,2,3+-  This selects either LFO 1, 2 or 3 as a bipolar modulation source.
  
• Lfo1,2,3+   This selects either LFO 1, 2 or 3 as an unipolar modulation source.
  
• Step Lfo+- – This selects the Step LFO as a bipolar source. The Step LFO is located in the LFO Section (see below).
  
• Step Lfo+ – This selects the Step LFO as an unipolar source. The Step LFO is located in the LFO Section (see below).
  
• Vol Env – This selects the Volume Envelope as the modulation source. Although the Vol Env is hard-wired to the amplifier, it can also be used to modulate another destination at the same time.
  
• Filt Env – This selects the Filter Envelope as the modulation source. Although the Filt Env is hard-wired to the Filter, it can also be used to modulate another destination at the same time.
  
• Aux1 Env, Aux2 Env – These select the Auxiliary Envelopes 1 or 2 as the modulation source. Unlike the Vol Env and the Filt Env the Auxiliary Envelopes are not hard-wired to anything so they must be routed in the Mod Matrix for their effect to be heard.
  
• Static – This option uses a static value as the modulation source. The value is taken from the Modulation Amount parameter. This option is useful if you need a paramter offset to any modulation destination.
  
• Random – This option selects a new random value when a key is pressed on your keyboard controller. Note that the value will be static until you play a new note when a new random value will be created.
  
• Flipflop - This option 'flips' between two values. The value is determined by the Modulation Amount. e.g. a Modulation Amount of 50 would 'flip' between +50 and -50. H
  
• Noise – This option generates white noise. This is a continuously varying random value.
  
• Key – This will use the note value of the key you play on your keyboard controller as a modulation source. A low note will generate a low number, a high note will generate a high number.
  
• Velocity – This will use the velocity value (how hard you play the keys) as a modulation value. The harder you play your keyboard controller, the higher the value of velocity.
  
• Modwheel – This will use the modulation wheel from your keyboard controller as a modulation source. Note that you will only change the value if you move the modwheel, otherwise the value will be static (which will be the last value transmitted by the modwheel).
  
• Pitchwheel – This will use the pitchwheel from your keyboard controller as a modulation source.
  
• Afterto. - This will use the aftertouch messages from your keyboard controller as a modulation source. Please check the operating instructions of your keyboard controller to see if it generates aftertouch information. Not all keyboard controllers do.
  
• KeySat. - This will use the note value of the key you play on your keyboard controller as a modulation source. A low note will generate a low number, a high note will generate a high number. KeySat is a variation on the Key source.
  
• Breath - Responds to Breath controller as modulation
  
• Foot - Responds to Foot switch controller as modulation source
  
• MainVol - Responds to Main Volume controller (CC#7) as modulation source
  
• Express. - Responds to Expression controller (CC#11) as modulation source
  
• CC16-CC19 - Responds to CC#16 to CC#19 (continuous controllers) as modulation source
  
• Hold - Responds to Hold pedal (sustain) on/off (CC#69) as modulation source
  
• VoiceNr. - The current voice number is used as a modualtion source
  
• NumKeys - Uses the amount of key pressed as modulation source
  
• Impulse - A short impulse is used as modulation source; could for example be applied to sharpen the attack portion of a sound.
  
• Decay8ms-16s - Decay will use an internal envelope to modulate, options are envelopes that run from 4 milliseconds to 16 seconds.
  
• Sine1/64Hz – Sine64Hz - Uses a bipolar sine shape as modulation source, the amount of Hz denotes the modulation speed used.
  

• Off - No modulation destination selected. This is the default selection.
  
• Volume – The volume of the current layer.
  
• Pitch – The master pitch of the current layer.
  
• Oct1,2,3 – The Octave setting of Oscillator 1, 2 or 3.
  
• Interval1,2,3 – The Interval setting of Oscillator 1, 2 or 3.
  
• Semi1,2,3 – The Semitone setting of Oscillator 1,2 or 3.
  
• Fine1,2,3 – The Fine Tune setting of Oscillator 1,2 or 3.
  
• Pitch1,2,3 – The Pitch control setting of Oscillator 1, 2, or 3.
  
• Tone1,2,3 – The Tone setting of Oscillator 1, 2, or 3.
  
• PW1,2,3 – The Pulse Width setting of Oscillator 1, 2, or 3.
  
• FM2,3 – The FM setting for FM2 or FM3.
  
• OscVol1,2,3 – The Oscillator Volume setting of Oscillator 1, 2, or 3.
  
• Cutoff1,2 – The Filter Cut Off setting of Filter 1 or 2.
  
• Reso1,2 – The Filter Resonance setting of Filter 1 or 2.
  
• Drive1,2 – The Filter Drive setting of Filter 1 or 2.
  
• FiltVol1, 2 – The Filter Volume setting of Filter 1 or 2.
  
• Pan1,2 – The Pan setting of Filter 1 or 2.
  
• Analog – The Analog setting in the Filter section.
  
• Ringmod – The Ringmod Amount setting in the Filter section.
  
• LFO1,2,3Speed – The Speed setting of LFO 1, 2, or 3.
  
• Matrix1,2,3,4,5,6,7,8,9,10 – The Modulation Amount setting of Modulation Matrix slot 1, 2, 3, 4, 5, 6, 7, 8, 9 or 10.
  
• Vol A,D,S,R – The Volume Envelope's Attack, Decay, Sustain or Release parameters.
  
• Filt A,D,S,R – The Filter Envelope's Attack, Decay, Sustain or Release parameters.
  
• Aux1 A,D,S,R – Auxiliary 1 Envelope's Attack, Decay, Sustain or Release parameters.
  
• Aux2 A,D,S,R – Auxiliary 2 Envelope's Attack, Decay, Sustain or Release parameters.
  
• FilterEnv1,2 – The Filter Envelope Amount setting in the Filter section.
  
• Fine – This is the master Fine control of the current layer.
  
• Start 1,2,3 – The start position control for OSC1, 2 or 3.
  
• Mix – The mix control for OSC1, 2 or 3.
  
• FX Mix - Mix level of the insert-effect.
  
• FX Par 1-4 - Parameter 1-4 of the insert-effect.
  
• Pitch Oct 1-3 - Pitch control setting of Oscillator 1,2 or 3 with one octave range.
  

Modulation Amount (MATRIX SEND) – This is a bipolar control that ranges from -100 to 100. Click and drag the amount to change it. A positive number will give positive modulation and a negative number will give negative modulation.

Negative Modulation Amount values are useful if you wish to reduce the value of a parameter with positive modulation. e.g. You can lower the filter cutoff when you use the Modwheel.

You can use Modulation Amount as a destination if you wish to use one modulation source to control the amount of modulation of a parameter. e.g. Use the Modwheel to control the amount of vibrato:

1. In Matrix Slot 1 select Lfo1+- as modulation source
   
2. In Matrix Slot 1 select Fine as modulation target
   
3. In Matrix Slot 1 set the Matrix-send-level to 0
   
4. In Matrix Slot 2 select Modwheel as modulation-source
   
5. In Matrix Slot 2 select Matrix1 as modulation-target
   
6. In Matrix Slot 2 set the Matrix-send-level to 100

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Electra3 has three identical LFOs and one Step LFO for each synth-layer. The waveform display shows a visual representation of the waveform. The Step LFO/GATE looks slightly different and will be explained seperately.

There are different ways to trigger an LFO in Electra3: Per voice, monophonic (per layer) or global (free running).

• Per Voice is when a new LFO is triggered every time you press a key on your keyboard controller. If you play and hold the notes of a chord one at a time, the LFO of each note would be out of time with each other as they are independent.
  
• Global triggering (free running) is when all the LFOs of each voice play together at the same time.
• Monophonic triggering resets the LFO only with the first pressed key.

Note that the Mode setting is per LFO so that each of the three LFOs per layer can have it’s own setting.

LFO 1,2,3 Selector Buttons – The buttons select which one of the three LFOs is selected for editing.

STEP LFO Selector Button – This button selects the Step LFO/Gate.

SPEED – This knob controls the speed of the LFO. The range depends on the LFO Mode:

• In a BPM Mode – The range will be shown as a multiple of the host's tempo. e.g. 1/2 BPM is half of your host's tempo, 4 BPM is four times your host's tempo.
  
• In a non-BPM Mode – The range will be shown in Hertz (Hz). The range is 0.1Hz to 440.1Hz
  

• Free - One global LFO which affects all voices.
  
• Free BPM - One global LFO which affects all voices and is synchronized to your host's tempo.
  
• Trigger BPM - Each voice has it's own LFO which is synced to synchronized to your host's tempo. It is retriggered every time a new note is played.
  
• Trigger - Every voice has it's own LFO. It is retriggered every time a new note is played.
  
• Key 25% - Every voice has it's own LFO with 25% key follow routed to frequency. Higher notes result in a higher frequency.
  
• Key 50% - Every voice has it's own LFO with 50% key follow routed to frequency. Higher notes result in a higher frequency.
  
• Key 75% - Every voice has it's own LFO with 75% key follow routed to frequency. Higher notes result in a higher frequency.
  
• Key 100% - Every voice has it's own LFO with 100% key follow routed to frequency. Higher notes result in a higher frequency.
  
• Mono - Monophonic LFO that re-triggers only with the first pressed key.
  
• Mono BPM - Monophonic LFO with BPM-sync that re-triggers only with the first pressed key. Uselful for Trancegates.
  

• Off - No waveform selected. The LFO is turned off. This is the default setting.
  
• Sine - A sine wave.
  
• Triangle - A triangle wave.
  
• Saw up - A saw wave ramping up.
  
• Saw down - A saw wave ramping down.
  
• Square - A square wave.
  
• Random - A square wave but of randomly varying amplitudes. This is similar to 'Sample and Hold' effect found on many synthesizers.
  
• Random Ramp - The same as Random but uses a triangle wave. The frequency is constant but the amplitude is randomly varied.
  
• Digital - A square wave where the pulse width (hence the frequency) randomly varies.
  
• Bandlimited - A triangle wave where the frequency randomly varies.
  
• Fade out - A ramp down envelope. Fade LFOs are a special type of ‘one-shot’ oscillator that oscillates just once during the time that the key is held down. They are more like simple envelope shapes than oscillators and are best used as extra envelopes if the regular envelopes are being used for other duties. To control the fade or ramp time, use the Fade control.
  
• Fade in - A ramp up envelope.
  
• Fade in/out - A ramp up immediately follwed by a ramp down envelope.
  
• Fade step down - A single on-off shape.
  
• Fade step up - A single off-on shape.
  
• Square 12%-88% - A pulsewidth-modulated squarewave.
  
• Stair - various shapes with steps.

Start - The start parameter changes the start phase of the LFO. The value can be changed from 0 to 99. The value after 99 is Free. The Free setting will make the LFO behave more 'analogesque' as such as the start phase is randomly varied.

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The Step LFO

The STEP LFO is inspired by the old analog step sequencers that existed in the pre-MIDI world.

The main idea is to modulate a target sound parameter with a 1 to 16 step sequence pattern synced to your host’s tempo. Each of the 1-16 steps of the sequence can be given a precise value. This way you can build custom rhythmic patterns and use them to modulate any parameter of the synth available in the Modulation Matrix.

Like LFOs, A STEP LFO doesn’t produce any sound in itself, a STEP LFO is used to modulate another sound parameter to achieve cyclic modulations (changes) of this parameter over time, according to the SPEED Knob settings.

Please note that the STEP LFO is always synced to your host’s tempo.

Step Mode - This sets how the STEP LFO retriggers if you play a new note. Clicking on this parameter will open a context menu. The options are:

• Free loop - The STEP LFO will continue running (in synchronization with your host's tempo) regardless of when you play a note.
  
• Trigger loop - The STEP LFO will start from the beginning whenever you play a new note.
  
• Mono loop -  The STEP LFO will start from the beginning as soon as you play the first note. It does not retrigger on further notes. This mode is useful for building Trancegates
  
• Envelope - The STEP LFO will start from the beginning whenever you play a new note. It does not loop. Instead, it behaves like a multistage-envelope.