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mode
(mode): Filter mode (low-pass / band-pass / high-pass). Note that this setting takes effect only if the
SVF filter board is installed. With the standard SMR-4 filter board, the filter is always a low-pass no matter the
position of this setting!
env2
(env2->vcf): Modulation amount from envelope 2 to VCF. If you want to set a negative modulation
amount, you can patch env2 to the VCF in the modulations section and ignore this parameter.
lfo2
(lfo2->vcf): Modulation amount from LFO 2 to VCF. Again, if you want to set a negative modulation
amount, you can patch the LFO 2 to the VCF in the modulations section and ignore this parameter.
Ambika has three ADSR envelopes, three
A
part LFO
is shared among all voices assigned to a part and is used for creating global sweeps, tremolo
effects, etc.
A
voice LFO
is specific to each voice, and there will actually be a small amount of detuning/dephasing
between them, for a richer sound.
Consider the example of a guitarist playing a guitar through a tremolo pedal, and applying a vibrato on a
particular note. If you want to program something similar, you will use the
(because it is slightly different and desynchronized for each individual note) ; and you will use a
for the tremolo, since it uniformly affects all the notes. Another example: you have found the perfect
combination of LFOs to create a trancey gated strings sound. The last thing you want is to have each note
of the chord triggered at a slightly different instant due to difference in timings when the chord is played.
You need a
part LFO
for the gating effect. A
is good for sync'ing things up.
As a result, only the
voice LFO
by velocity, aftertouch, etc. – all kind of things that might be different for each played note) ; and only the
part LFOs
can be synchronized to tempo.
This
part LFO
vs
voice LFO
it. Most classic analog synthesizers do not have one LFO circuit per voice, so their behaviour is accurately
simulated by the use of
part
Blofeld, each LFO is a
voice LFO
sync
setting.
lfo/eg: Selects the LFO / envelope generator to edit. The settings shown on the page are relative to the
selected LFO / EG. If you are wondering if there is such thing as a "filter envelope" and "VCA envelope"...
Yes, by default env2 is mapped to cutoff and env3 to the VCA ; but this can be changed in the modulation
matrix by patching pranksters.
rate: LFO rate. The first values (
clock). For example, if set to
increasing frequencies, from 0.06 Hz (0) to 100 Hz (127).
wave
(waveform): LFO waveform. A list of LFO waveforms is given below.
trig
(trigger): LFO/envelope synchronization mode.
phase of the LFO everytime a new note is played.
everytime the LFO completes a cycle.
attk
(attack): Envelope attack time, from 1ms to 66s.
deca
(decay): Envelope decay time (same times as for attack).
sust
(sustain): Envelope sustain level.
rele
(release): Envelope release time (same times as for attack).
Mutable Instruments | Ambika - User manual
part LFOs
voice LFO
can be controlled in the modulation matrix (because it can be controlled
distinction sounds confusing, and there is actually little documentation about
LFOs. Some VAs, like the access Virus, use
by default and can be turned into a
1
1
⁄
to
⁄
) are note values relative to the global tempo (or to an external MIDI
1
96
1
⁄
, the LFO will play one cycle every quarter note. The other values are
4
free
lfo->env
13 of 28
and one
voice
LFO.
voice LFO
is good for richness and randomness, a
voice
part LFO
leaves the LFO free-running.
retriggers the corresponding envelope generator
for the vibrato
part LFO
part LFO
LFOs. On the Waldorf
through the use of the
env->lfo
resets the
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