Filter (S2); Envelopes And Lfos (S3) - Mutable Instruments Ambika Manual

6-voice hybrid polysynth

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Filter (S2)

Freq

env

• freq (frequency): Filter cutoff frequency.

• reso (resonance): Filter resonance.

• 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 part LFOs and one voice LFO.

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

voice LFO for the vibrato (because it is slightly different and desynchronized for each

individual note) ; and you will use a part LFO 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 voice LFO is good for richness and

randomness, a part LFO is good for sync'ing things up.

As a result, only the voice LFO can be controlled in the modulation matrix (because it can

be controlled 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.

| reso

| lfo2

mode

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