Modulation Matrix Parameters

Modulation Sources

You set up the modulation source on the Modulation Source pop-up menu.

The following sources are available:

LFO 1/2

The LFOs 1 and 2 produce cyclic modulation signals.

These LFOs are monophonic, that is, a single signal is used for all notes.

LFO 3/4

The LFOs 3 and 4 produce cyclic modulation signals.

These LFOs are polyphonic, that is, a new LFO signal is created with each new note.

Amp Envelope

The amplifier envelope. This modulation source is unipolar. The shape of the envelope determines the modulation signal.

Filter Envelope

The filter envelope. The shape of the envelope determines the modulation signal.

Env 3

A freely assignable envelope. This modulation source is bipolar. It is suited for pan or pitch modulation, for example.

Key Follow

This produces modulation in relation to the MIDI note number. For the lowest MIDI note (C-2), the value is -1, and for the highest MIDI note (G8), the value is +1.

Velocity

Note-on velocity can be used as the modulation signal. This modulation source is unipolar.

Pitchbend

The position of the pitchbend wheel can be used as the modulation signal. This modulation source is bipolar.

Modulation Wheel

The position of the modulation wheel can be used as the modulation signal. This modulation source is unipolar.

Arpeggiator

This submenu allows you to use the controller lanes of the arpeggiator as modulation sources.

Aftertouch

Aftertouch can be used as the modulation signal. This modulation source is unipolar. Some MIDI keyboards cannot send aftertouch messages. However, most sequencer software is able to produce such messages.

Quick Control

The quick controls can be used as the modulation signal. You can select quick control from the corresponding submenu.

Note Expression

This submenu lists the eight Note Expression parameters that can be used as the modulation signals.

Noise

Produces a random modulation signal. This modulation source is bipolar.

Bus 1–16

Modulations that are sent to one of the 16 busses can be reused as sources. This way, you can combine several modulations to produce more complex signals.

Offset

Allows you to specify an additional offset on the output of the modulation source.

Modulation Modifiers (Source 2)

All modulation sources can also be used as modifiers. A modifier is used to scale the output of the modulation source. A typical example is an LFO as a source and the modulation wheel as the modifier. This allows you to control the intensity of the LFO modulation using the wheel. You can find the modulation modifiers on the Source 2 pop-up menu.

Modulation Depth

Adjusts the intensity of the modulation.

Modulation Destinations

Pitch

Modulates the pitch. For example, assign one of the LFOs to create a vibrato effect. If Pitch is selected, the modulation depth is set in semitones (-60 to +60).

Cutoff

Modulates the filter cutoff.

For example, to create rhythmic patterns in the spectral timbre, assign the Step Modulator.

Resonance

Modulates the filter resonance. Resonance changes the character of the filter.

For example, to increasingly accent the filter the harder you hit a key, assign Velocity to Resonance.

Distortion

Modulates the filter distortion.

Level

Adds to the level setting. It can be used to create level offsets using the modulation wheel, for example.

Volume 1

Modulates the gain. This modulation multiplies with the level.

Volume 2

As Volume 1. Volume 1 is multiplied with Volume 2. This way, you can build more complex modulations.

Pan

Modulates the position of the sound in the panorama.

Osc 1/2/3 Pitch

Modulates the pitch of the corresponding oscillator.

For example, to detune an oscillator cyclically, assign one of the LFOs.

Osc 1/2/3 Level

Modulates the level of the corresponding oscillator.

For example, to fade an oscillator in and out while you play, assign the modulation wheel.

Osc 1/2/3 Shape

Modulates the shape and character of the corresponding oscillator.

For example, to change the character of an oscillator over time, assign one of the envelopes.

Osc 1/2/3 Multi Detune

Modulates the Detune parameter of the individual oscillator voices that are produced by the multi-oscillator mode.

Osc 1/2/3 Multi Voices

Modulates the number of oscillator voices that are produced by the multi-oscillator mode.

Sub Osc Level

Modulates the level of the sub oscillator. For example, to fade in the oscillator while you play, assign the modulation wheel.

Ring Mod Level

Modulates the level of the ring modulation effect. For example, to fade in the ring modulation while you play, assign the modulation wheel.

Noise Level

Modulates the level of the noise generator. For example, to fade in the noise generator while you play, assign the modulation wheel.

Audio Input

Modulates the level of the audio input that is received via the side-chain input of the plug-in.

This allows you to use the side-chain input as an additional source for the synthesis.

LFO 3/4 Frequency

Modulates the speed of the corresponding LFO.

For example, to control the speed of a vibrato effect while you play, assign Aftertouch.

LFO 3/4 Shape

Modulates the waveform of the corresponding LFO.

For example, to vary the waveform with the playing position on the keyboard, assign Key Follow.

Amp Attack

Modulates the attack time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Amp Decay

Modulates the decay time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Amp Sustain

Modulates the sustain level of the amplitude envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Amp Release

Modulates the release time of the amplitude envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Filter Attack

Modulates the attack time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Filter Decay

Modulates the decay time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Filter Sustain

Modulates the sustain level of the filter envelope. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Filter Release

Modulates the release time of the filter envelope. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Env 3 L0

Modulates the L0 parameter of the user-definable envelope 3, that is, the level of the first envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Env 3 Attack

Modulates the attack time of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Env 3 L1

Modulates the L1 parameter of the user-definable envelope 3, that is, the level of the second envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Env 3 Decay

Modulates the decay time of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Env 3 Sustain

Modulates the sustain level of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Env 3 Release

Modulates the release time of the user-definable envelope 3. This modulation destination cannot be modulated continuously. The time is updated only when the segment starts.

Env 3 L4

Modulates the L4 parameter of the user-definable envelope 3, that is, the level of the last envelope node. This modulation destination cannot be modulated continuously. The level is updated only when the segment starts.

Bus 1-16

You can send any modulation to one of the 16 busses, for example, to produce more complex modulation signals. Select the bus that you want to send the signals to as a destination. To use the modulation that was sent to a bus, assign the corresponding bus as a modulation source.