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12.16 MOD PAGE 5 (FX LFO 2)

12. AUDIO TRACK PARAMETERS > 12.16 MOD PAGE 5 (FX LFO 2) · PDF p. 61–63 · OS 1.3.3

# 12.16 MOD PAGE 5 (FX LFO 2)

12. AUDIO TRACK PARAMETERS
MULT
Multiplier multiplies the SPD parameter by the set factor, either by adjusting the current tempo (BPM
settings) or by applying a fixed tempo of 120 BPM.
FADE
Fade In/Out allows for fading in and out of the LFO modulation. The knob is bipolar. Positive values pro­
duce a fade-in, while negative values produce a fade-out. 0 gives no fade-in/fade-out.
DEST
Destination selects the modulation destination for the LFO. Preview how the LFO modulation will affect
the sound by highlighting a destination. Press [YES] to confirm the selection. Press [NO] to cancel and
revert to previous selection. For more information, please see “APPENDIX B: LFO/MOD ENVELOPE
MODULATION DESTINATIONS” on page 113.
WAVE
Waveform sets the LFO waveform. The Triangle, Sine, Square, Sawtooth, and Random waveforms are
bipolar. The Exponential and Ramp are unipolar.
SPH
Start Phase sets the point within the wave cycle where the LFO will start when it is trigged. 0 makes the
LFO start at the beginning of a complete wave cycle, 64 makes it start at the center. A small square at
the start of the waveform shows that the wave cycle begins at a zero-crossing. If WAV is set to RND then
the SPH parameter changes to SLEW and adds slew to the transitions in the waveform.
MODE
Trig Mode determines how the LFO behaves when a note is triggered.
• FREE is the default free-running mode. It makes the LFO run continuously, never restarting or
stopping even if notes are trigged.
• TRIG makes the LFO restart when a note is trigged.
• HOLD makes the LFO run free in the background, but when a note is trigged, the LFO output level is
latched and held still until the next note is trigged.
• ONE The LFO starts when a note is trigged, then runs to the end of the waveform and then stops.
This makes the LFO function similar to an envelope.
• HALF The LFO starts when a note is trigged, then runs to the middle of the waveform and then stops.
DEP
Depth sets the depth and polarity of the LFO modulation. Both negative and positive modulation depths
are possible. A center setting, 0.00, equals no modulation depth.
12.16 MOD PAGE 5 (FX LFO 2)
The FX LFO 2 page contains the same parameters as FX LFO page 1, but controls the behavior of FX LFO 2.

12. AUDIO TRACK PARAMETERS
LFO WAVEFORMS AND TRIGMODES
TRIG
HALF
TRIG
ONE
TRIG
TRIG
HOLD
TRIG
TRIG
TRIG
TRIG
FREE
TRI
SINE
SQR
SAW
EXPO
RAMP
RAND
LFO TRIG MODE
WAVEFORM
LFO SPEED SETTINGS
The table below shows the LFO speed measured in sequencer steps using different combinations of SPD
and MULT (set to a BPM value) settings. For example, a value of 8 in the table means that the LFO will do
one complete cycle in the time it takes the sequencer to advance eight steps.

MULT
S
P
D
1K
2K
2048
1024
1024
1/2
1/2
1/4
1/2
1/4
1/8
1/2
1/4
1/8
1/16
1/2
1/4
1/8
1/16
1/32
1/2
1/4
1/8
1/16
1/32
1/64

13. BUS TRACK PARAMETERS
13. BUS TRACK PARAMETERS
The parameters that are available on the Bus tracks are explained in this chapter. For more information
about Bus tracks, please see”5.3.3 BUS TRACKS (TRACK 9–12)” on page 20. On the SRC, FLTR, and
AMP PARAMETER pages, you will find parameters for when using the Bus track to control external MI­
DI-controlled devices (if you have assigned a MIDI SRC machine to the track). For more information about
these parameters, please see “A.2.7 MIDI” on page 95. On the FX parameter pages, you have param­
eters for selecting and editing the Bus track’s FX machines, setting the send levels from the track to the
send FX, and also setting the track routing. On the MOD pages, you have two LFOs dedicated as modula­
tion sources for the track’s selected FX machines.
13.1 EDITING THE BUS TRACK PARAMETERS
Press [TRK] + [TRIG 9–12] to select the Bus track you want to edit. There are six PARAMETER pages for
the Bus tracks. Press [TRIG], [SRC], [FLTR], [AMP], [FX], and [MOD] to access the tracks PARAMETER
page groups. Use the [UP]/[DOWN] keys to access the parameter group’s pages. You can also press a
[PARAMETER PAGE] key repeatedly to cycle through that group’s parameter pages. Press and hold a [PA­
RAMETER PAGE] key to see the values for all parameters on that page.
The track parameters can be locked to other settings at any step of the pattern by first pressing and hold­
ing the [TRIG] key, then adjusting the parameter settings with the DATA ENTRY knobs.For more informa­
tion, please see “10.10.1 PARAMETER LOCKS” on page 44.
If you press [TRIG 9–12] to select a Bus track without first pressing and holding [TRK],  you
can still use the [KEYBOARD] to play the previously selected audio track. Selecting the same
Bus track again toggles editing back to the audio track.
13.2 TRIG PAGE
Here you set the options for notes that are trigged. This is also where you select trig conditions. Press the
[TRIG PARAMETERS] key to access the menu. Change settings using the DATA ENTRY knobs. These
general settings affect note trigs placed on the sequencer.
NOTE
Trig Note sets the pitch of the note when trigged. When in LIVE RECORDING mode and using the [KEY­
BOARD] to enter notes, the pitch of the [TRIG] keys played will override this setting. The NOTE parame­
ter is not available for tracks that have the Subtracks SRC machine assigned.
VEL
Trig Velocity sets the velocity of the sequencer’s note trigs.
LEN
Trig Length sets the length of the note trig. In LIVE RECORDING mode, the duration of pressing the
[TRIG] keys overrides this general setting.
PROB
Trig Probability sets the probability that the trigs on the track play or not. The probability outcome is
re-evaluated every time a trig is set to play. The default setting is 100%, meaning that all the trigs on the
track plays every time. This parameter can be parameter locked, which lets you give separate trigs their
own probability.
RTRG
Retrig enables multiple trig repeats on placed trigs. Use DATA ENTRY knob A to turn retrig on/off. For
information on how to set retrig locks on specific trigs in the sequencer, please see “10.7 RETRIGS” on
page 42.

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