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• If you release a key before the envelope has reach its sustain, it will immediately “jump” to the Release. 

The effect of this can be studied in the illustration below:

Often envelope levels can be made to vary with how hard you play the keys. This is used to make a sound 
vary with your playing style, for example to make the sound brighter (filter envelope) or louder (amplifier 
envelope).

AD-E

AD-E

AD-E

AD-E

N

N

N

NV

V

V

VE

E

E

EL

L

L

LO

O

O

OP

P

P

PE

E

E

E

A simpler form of envelope has Attack and Decay parameters only, and is therefore called an AD-enve-
lope. In effect, the AD-envelope behaves like an ADSR-envelope with Sustain set to 0 (see the picture at 
the top of this page). This type of envelope, often with amount and inversion controls, is suitable when 
you want to affect the start of the sound only. 

On the Nord Lead 2X, the Modulation Envelope is of AD-type. Typically, it can be made to modulate 
the FM amplitude or the pitch of Oscillator 2, to create a different timbre during the attack part of the 
sounds.

LFO

LFO

LFO

LFO

S

S

S

S

An LFO is an oscillator, just like the ones that produce the sound in a synthesizer, but with two main 
differences:

• The LFO produces very low frequencies, most often below the hearing range (up to 20Hz).

• The LFO is not used to produce sound, instead it is connected to other modules to provide modula-

tion of parameters. If you for example route an LFO to pitch, you get a vibrato. If you route it to the 
filter’s cutoff frequency you get a wah-wah type of effect. And if you route it to the amplifier of an 
instrument you get a tremolo.

The three basic parameters for an LFO are Waveform, Rate (frequency) and Amount:

• The waveform determines the type of vibrato, for example “regular” (triangle or sine), ramp (saw-

tooth) or random.

• The Rate determines the speed of the vibrato.

• The Amount controls to what degree the LFO affects its destination.