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CHAPTER 

4

Introduction

the sound, for instance if you mod-
ulate the frequency of Oscillator 2 
although it is dialed out of the 
oscillator mix. When you run into 
this type of problem, check out the 
signal routing,  if any configura-
tions conflict with each other and 
memorize the situation, problem 
and solution. If you make a habit 
out of this, you won’t panic when 
you run into similar situations; 
instead you’ll keep your cool, ana-
lyze the unexpected sound and fix 
the mix.

You are currently using a triangle 
as the LFO waveshape. You 
shouldn’t have any problem asso-
ciating the periodic up and down 
fluctuation of the target parame-
ter with this waveshape. Now acti-
vate the other available 
waveshapes for LFO 1 and try to 
picture the respective waveshape 
and associate it with the results of 
the modulation. 

The third waveshape is a descend-
ing sawtooth wave. You can con-
vert it into to an ascending 
sawtooth by simply dialing in the 
requisite negative modulation 
intensities (AMOUNT).

In the WAVE setting, you have 
access to 64 LFO waveshapes. 
Select these in the display section 
using the VALUE buttons:

S&H    (Sample and Hold) is a struc-
tured random modulation. Here 
random modulation values are 
generated. The value is held until 
the next beat impulse, then it 
abruptly jumps to a new random 
value.

S&G    (Sample and Glide) is a con-
tinual random modulation. Here 
the random values glide seam-
lessly into one another, the rate of 
which is determined by random 
modulation of the RATE value.

The following 62 waveshapes are 
identical to the oscillator section’s 
digital waves. These can be used to 
create interesting rhythmic effects.

Continued your experiments with 
different LFO waveshapes. Note 
that after a while you no longer 
consciously hear minimal modula-
tion intensities - depending on the 
waveshape and modulation target 
(e.g. S&G +1 on OSC 1 or 2). How-
ever they do pep up the sound of