LFO Keysync Initial Phase Offset
(Menu Pages 4 & 11 ‘LFO1 Init Phase’)
This setting provides an alternative point in the LFO’s waveform cycle
where the waveform will be restarted from when LFO Keysync is set to
ON. To hear the difference, set a slow LFO to modulate Oscillator pitch
modulation and experiment with different LFO waveforms and LFO
Keysync Phase Offset settings.
LFO Polarity (Menu Pages 5 & 12 ‘LFO1 Unipolar’)
Determines whether the LFO modulates in a positive and negative
direction or solely in a positive direction.
As an example of how this works, imagine an LFO assigned to modu-
late an Oscillator’s pitch while a key of middle C is played on the key-
board. When Unipolar is set to OFF, the pitch would be modulated
between a note some interval below middle C and another note at an
equal interval above middle C. The interval between the notes is deter-
mined by the modulation amount applied to the pitch by the LFO.
If the LFO was modulating the pitch with Unipolar set to ON, the pitch
would only be modulated in a positive direction, so the pitch would
modulate between middle C and another note located at some interval
above.
It is often useful to set an LFO’s Unipolar setting to ON if an LFO is
being used as a simple Envelope Generator (by setting its ONE SHOT
mode) .
LFO Common to all voices (Menu Pages 6 & 13 ‘LFO1 Common’)
Each of the 8 voices (notes of polyphony) have two LFOs - 16 in total.
The eight LFOs designated LFO 1 (one per voice) may be ‘phase’
locked together and similarly the eight LFOs designated LFO 2 may be
locked.
To illustrate this, assume the LFO waveform is a triangle wave and at a
specific moment in time all sixteen are at the beginning of a the rising
portion of the wave. At a later point in time all will be at the beginning of
the falling portion of the wave. If this waveform is applied to pitch, when
a number of notes are played simultaneously, the pitch of all the notes
will rise and fall at precisely the same time.
If the LFO is not locked, then each wave will be at a random position
relative to the others. In this pitch modulation example, the pitch of all
the notes will be changing ‘out of synchronization’ with others.
Imagine a String section of eight violin players. With the LFO locked
and the LFO being used to create a vibrato, all sixteen of the string
players would have the bow in exactly the same position. This obvious-
ly does not occur in a real string section and if it did the sound would be
very unusual. In reality, each player’s bow would be in a different posi-
tion which gives the strings a ‘chorus’ type sound. To simulate the string
section the LFOs would not
be locked.
Setting this to ON will ‘lock’ the LFO.
When LFO Common To All Voices is set to ON, changing the setting
of the LFO Keysync function will have no effect. Instead, how a key-
sync is applied to the LFO is determined by the setting of the Synth
Global Sync value (found in the KS Synth Global Menu). See Page 52
for details.
LFO One-Shot (Menu Pages 7&14 ‘LFO1 One-Shot’)
Determines if the selected LFO will repeat its waveform at the end
of the first cycle throughout the duration of a voice or if the select-
ed LFO will only cycle through its waveform once, to effectively
become an envelope.
The selected LFO will repeat if the One-Shot setting is ‘off’. The
selected LFO will only cycle once if the One-Shot setting is ‘on’.
THE KS SYNTHESIZER
The LFO Menu
• 48 •
Middle C
Time
Pitch
Unipolar set to OFF
Middle C
Time
Pitch
Unipolar set to ON
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