The higher the amplitude, the more influence the signal will have over the destination parameter. Amplitude : The amplitude of the LFO determines the depth of modulation.Offsetting the unipolar LFO to be bipolar will allow modulation to occur on both sides of the parameter’s knob position. Similarly, if a unipolar LFO is used to modulate a bipolar CV input, modulation will only occur on one side of the parameter’s knob position. In order for the full LFO signal to be accepted by the unipolar positive CV input, the LFO must be offset to a fully positive signal. That being said, if a bipolar LFO is used to modulate a unipolar positive CV input, the negative portion of the LFO will be clipped at 0V. In most cases, modulation is added to the parameter’s knob position. input range of ±5V), but some digital CV inputs can only accept unipolar positive voltage (e.g. Most analog CV inputs can accept bipolar voltage (e.g. It’s important to note that modulation is also determined by the CV input range of the parameter. Polarity : Going back to Basic Synth 0: Control Voltage, we learned that voltage can be unipolar positive (positive voltage fluctuates above 0V), unipolar negative (negative voltage fluctuates below 0V), or bipolar (positive and negative voltage fluctuations cross 0V).Pro tip - vibrato and tremolo are achieved at around 3Hz-7Hz Frequency : Remember - LFOs are just subsonic oscillators, so the same rules apply! The frequency of the LFO, measured in hertz (Hz), determines the rate at which modulation occurs.In the same way that a noise generator is not an oscillator, random voltage is not a LFO waveform.
A common misconception is that random voltage and smooth random voltage are LFO waveforms.
Similar to audio oscillators, the classic waveforms were often used for LFOs - sine, triangle, sawtooth/ramp, square, and pulse waves. Waveform : The waveform of the LFO determines the shape at which modulation occurs.Some of this may be recap from Basic Synth 4: LFO's, Envelopes & Random Voltage, but we’re going to dive a little deeper into what makes LFOs so powerful and common destinations to route them to. When using LFOs as control signals, there are many variables to consider. They can also control parameters of other control path modules, for instance, when an LFO modulates the attack time of an envelope - this is called second order modulation. We also learned that LFOs can directly control parameters of audio path modules, for instance, when a LFO modulates the cutoff frequency of a filter - this is called first order modulation. Some of the most interesting synthesizers are those that include a large number of LFOs that can be routed to a plethora of destinations. Basic Synth Supplemental 1: Modulation is the keyĪs we’ve learned, modulation is the key to interesting and organic sounds that evolve over time.
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