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Using Alternate Modulation
51
Quick StartIntroductionSetupProgram
Combination
MultiEffectGlobalArpeggiatorDrum Kit
External control
Other functions
Appendices
There are a number of waveforms to choose
from. Each are suited to different applications:
Triangle and Sine are the classic LFO shapes
for vibrato, tremolo, panning, and filter wah
effects.
Square is useful for gated filter and amp
effects, and creates a police siren effect when
modulating pitch.
The Guitar waveform is designed especially for
guitar vibrato, since it bends only upwards
from the base value.
Saw and Exponential Saw Down are good for
rhythmic filter and amp effects.
Random 1 (S/H) creates the classic sample-and-
hold effect, which is great for modulating a
resonant filter.
4. After looking at the different waveforms, select
Triangle.
5. Use the “Frequency” parameter to set the speed
of the LFO.
6. Use the “Fade” and “Dly” (Delay) settings to
control the way the LFO sounds at the
beginning of the note.
For more information on LFOs, see “PROG 3: Ed–
LFOs” (☞PG p.14).
All of these parameters control the way that the
LFO itself works. In order for the LFO to actually
affect the sound, you can use the dedicated LFO
routings on the Filter, Pitch, and Amp pages, or
use the LFOs as AMS sources for a wide variety of
parameters.
Frequency Modulation
AMS can be used to vary the LFO speed. This lets
you change the LFO speed by operating a control-
ler, or by the EG or Keyboard Track settings. (☞PG
p.14)
MIDI/Tempo Sync.
If “MIDI/Tempo Sync” is checked, the “Fre-
quency” setting will be ignored, and the LFO will
synchronize to the system tempo, as set by the
TEMPO knob or external MIDI clocks.
This lets you produce vibrato, wah, auto-pan, or
tremolo effects that lock to arpeggiator, or external
MIDI sequencers.
EGs (Envelope Generators)
An envelope creates a modulation signal by mov-
ing from one level to another over a specified time,
and then moving to another level over another
period of time, and so on.
Each program includes three EGs, one for Pitch,
one for the Filter, and one for the Amp. These pro-
duce time-varying changes in pitch, tone, and vol-
ume respectively. They can also be used to
modulate a number of other Program parameters
via AMS.
Using Alternate Modulation
AMS (Alternate Modulation Source) refers to any
of the assignable modulation sources in microX,
including:
• Built-in physical controllers, such as the Joy-
stick, and Real-Time Knobs
• Incoming MIDI controllers
• Modulators such as the Filter, Pitch, and Amp
EGs, or the LFOs
Intensity is a parameter that sets the degree
(speed, depth, amount etc.) to which AMS will
control the modulation.
A number of frequently-used modulation rout-
ings, such as using the joystick to vary the pitch,
are provided as additional, dedicated routings,
separate from AMS.
Note that not all AMS sources may be available for
some modulation destinations.
For details on alternate modulation and AMS, see
“Alternate Modulation Source (AMS)” (☞PG
p.151).
Suggestions on using AMS
When making settings for alternate modulation,
think of the effect that you wish to produce, what
type of modulation will be necessary to produce
that effect, and what parameter of the oscillator,
filter, or amplifier needs to be controlled.
Next, select a source (AMS) and set the Intensity.
If you proceed logically in this way, you will
achieve the desired effect.
For example, if you want to control a guitar sound
so that it approaches feedback when you move the
joystick, you might set up the joystick to modulate
the filter frequency and resonance.
Level
Time
Attack Time
Decay Time
Slope Time
Release Time
Attack Level
Start Level
Sustain Level
Break Level
note-on note-off
Release Level