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Using LFOs and Envelopes (EGs)
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Notice that the graphic now shows the two ranges
tapering into one another. Between 80 and 100, MS2
will fade out, and MS1 will fade in, creating a gradual
velocity transition instead of a hard split.
12.If you like, adjust the Levels for the two
Multisamples.
Reverse check box
Reverse lets you play the selected multisample
backwards, without looping. This can produce
interesting results for sound effects or other unusual
timbres. Reverse applies only to Multisamples; when
the Type is set Wave Sequence, this is grayed out.
Using LFOs and Envelopes (EGs)
Using LFOs
Each Oscillator has two LFOs: LFO1 and LFO2. There
is also a single Common LFO, shared by both
Oscillators.While LFO1 and LFO2 are separate for each
voice, the Common LFO is shared by all voices in the
Program. This makes it useful when you want all of the
voices to have an identical LFO effect.
You can use these LFOs to modulate many different
Program parameters, including:
• Pitch (for vibrato)
• Filters (for wah effects)
• Volume (for tremolo)
• Pan (for auto-panning)
The LFOs can modulate many other parameters, in
addition to those listed above.
Basic LFO programming
The OASYS LFOs are very powerful, and offer lots of
control for the power user. It’s simple to get started
with them, though–and the graphics on the LCD show
how the parameters affect the sound. Let’s take a brief
tour.
1. Go to the OSC1 LFO1 tab of the LFO page.
2. Select the Waveform parameter.
3. Use the Inc and Dec buttons to scroll
through the different waveforms, and look at their
shapes in the graphic display.
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. Select the Shape parameter, and use the VALUE
slider to move through its different settings, from -
99 to +99.
Notice how the shape of the waveform becomes more
curved, and how -99 emphasizes the lower part of the
shape, and +99 emphasizes the upper part.
6. Select the Start Phase parameter, and use the
VALUE slider to sweep through its range of
values.
Notice how the waveform shifts from side to side.
Among other things, this lets you offset the LFOs from
one another in time, which can create interesting
organic effects.
7. Use the Frequency parameter to set the speed of
the LFO.
8. Use the Fade and Delay settings to control the way
the LFO sounds at the beginning of the note.
For more information on LFOs, see “Program P5: LFO”
on page 83 of the Parameter Guide.
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 controller, or by
the EG or Keyboard Track settings.
MIDI/Tempo Sync.
If MIDI/Tempo Sync is checked, the Frequency
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 KARMA, Wave Sequences,
the internal sequencer, or external MIDI sequencers.