* A variety of waveforms can be selected for each LFO, and their rate can be sync'd to Logic 's tempo. * LFO 1 is polyphonic, while LFO 2 works monophonically. This section is fairly basic in concept, and comprises two low-frequency oscillators and three envelopes, all of which have slightly different feature sets: * Sustain and Loop points can be created to make looping envelopes. * Each point can represent a different position on the triangular and square pads, or both simultaneously. * Up to 15 points can be created along the envelope line. * A slider allows you to control the intensity of each modulation routing. * Target defines which parameter will be modulated by the combination of the last two parameters. * Via offers an additional modulation source, enabling you to modulate the intensity of the modulation. * Source defines the function that's being used to send the data. When the Vector button is pressed, an envelope is displayed, which allows you to create evolving sounds using the X-Y Pad and Oscillator Mix Field. When the Router is displayed, 10 independent modulation routings can be made. * Each time the RND button is pressed, a new, random sound is generated. * The drop-down menu enables you to choose the parameters that will be affected by the Randomiser. * The amount of parameter alteration is governed by the Random Intensity slider.
#Lmms tutorial filters generator#
* The Vector mode can be used to create complex 'moving' sounds, by setting up points along a timeline with different X and Y values.Ī simple yet effective way to create your own sounds is to choose an ES2 preset, then use this random parameter generator to warp the sound: * X and Y 'targets' can be specified in the Router. * One of three effects can be blended with the master signal.ĮS2 's modulation parameters can be assigned to the X and Y axes, then modulated in real-time using this area: * Tube- and transistor-derived distortion can be added. * The Sine Level knob introduces a pure sine signal at the output stage. This section controls the master output of ES2, and apart from the ubiquitous volume knob, there are a few handy tools for processing the synth's output: * There are three chain symbols, which all do slightly different jobs and let you modulate the filters' cutoff and resonance simultaneously in real-time.
#Lmms tutorial filters series#
* In Series mode, positive and negative Blend values affect each filter differently. * When in Parallel mode, Blend effectively crossfades between the two filters. * Filter two is permanently low-pass, but has variable slopes. * Filter one can be selected to work in five different modes. They behave differently, depending on which mode is in operation: * Filter Reset can be used to instantly engage filter self-oscillation when a key is pressed.ĮS2 has two filters that can be used in parallel or series. * The Osc Start menu enables you to restart the oscillator cycles every time you press a key. * Unison mode can be engaged to add those classic warm chorus effects. * A maximum of 32-voice polyphony can be selected, but higher voice counts increase CPU load. * There are the usual poly, mono and legato modes.
#Lmms tutorial filters software#
Here, as with most software and hardware synths, you can control how the keyboard input will affect the synth's output: * Complex FM synthesis can be created using Osc 1's dedicated FM mode. * The controls to the left of the section can be used to introduce elements common in analogue synths. * The Oscillator Mix Field (the triangular pad) is used to crossfade between the three oscillators when the locator is central, an equal mix of all three is sent to the filters. * All three have a familiar line-up of waveforms, but a library of 100 Digiwaves can be called upon to spice up your sounds. * Each oscillator has a slightly different role. Creating your own sounds is always the way to go if you want to stand out from the crowd, so here's a guide to ES2 's features (with further detail overleaf), which should help you do exactly that.ĮS2 's three oscillators employ a layout that has much in common with the classic Minimoog, but is much more flexible: It does, however, have a very complex user interface, so many users tend to skip the programming and use the presets supplied by Apple.
ES2 is, from a programming perspective, one of the most powerful of these, and it has the flexibility to create everything from emulations of synth classics to completely new and unique-sounding instruments. These days, when inexpensive software synthesizers seem to be released on a weekly basis, it's easy to forget that Logic comes complete with a fine suite of sound-making tools.
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