The Amount control determines the intensity of the modulation. The Attack control sets the attack time of the envelope. The Attack Slope slider adjusts the shape of the Attack envelope segment. The Decay control sets the decay time of the envelope. The Decay Slope slider adjusts the shape of the Decay envelope segment. The Sustain control sets the level reached at the end of the Decay stage.
The Sustain Mode switch toggles the Sustain function on or off. The Release control sets the release time of the envelope. The Release Slope slider adjusts the shape of the Release envelope segment. You can adjust the Attack, Decay, Sustain and Release parameters by clicking and dragging the envelope display. Expression Control is a parameter modulation device that allows for a wide variety of internal MIDI mappings. Activate a Map switch and click on a parameter in Live to assign that parameter as a mapping target.
The Rise slider smooths the attack of the envelope, while the Fall slider smooths the release of the envelope. The MPE signals can be transformed via two types of curves and smoothed for consistent rise and fall times. Note that all MPE sources are always active, even if they are not selected in the drop-down chooser. This translates to the ability to assign per-note aftertouch to various parameters. Assign this to the parameter that you wish to control within an MPE-enabled instrument.
The Pitch source modifies the X-axis, which corresponds to pitch bend on a per-note basis often called Note Pitch Bend. Pitch bend by definition only affects the pitch or pitches being produced. For each MPE source, you can choose between two types of curve settings in the bottom left corner of the display: Linear or S-Shaped. The Linear curve has two points, while the S-Shaped curve has three points. For each MPE source, choosing the Linear setting lets you adjust the curve in two ways.
You can use either the Curve control or click and drag directly in the visualization. In addition to adjusting the curve, you can also modify the minimum and maximum values using the Min and Max slider boxes, or by dragging the breakpoints at the ends of the curve. Note that while Pressure and Slide offer integer values between 0 and , the Pitch curve allows for finer values, which can be attained by holding the Shift key and dragging the mouse within the slider box.
This breakpoint is movable, allowing complete control over the crossover point between the two segments, giving you the possibility to create much more radical curves. The two segments are linked together by default. Toggling the Curve Link button separates the segments from each other, so that they can be individually compressed or expanded using the two independent Curve dials.
Note that the breakpoint separating the two segments can be adjusted either by directly clicking and dragging the breakpoint, or by using the X-Y controls at the bottom of the display. This is possible only when using the S-Shaped curve. The Smooth section enables smoothing for the currently chosen modulation source.
Specific Rise and Fall values for the various curves can be adjusted independently via the respective controls, and additional controls are available depending on if you are editing the Slide or Pitch curves. This can then only be modified by further sweeping the finger up and down while holding a note. And, as a third mode it can put out the modulation as audio signal Audio which is useful for creating control voltages for analog synthesizers.
Assigning the LFO to a modulation target is simple: Press Map to activate the automatic target detection and click on the target parameter. The Map button should turn off and the parameter should appear in the Track, Device, Parameter choosers.
Alternatively one can of course navigate with those choosers to the desired parameter. The LFO modulation of the parameter can be temporarily disabled via the On button. When assigning the LFO to a target, the target parameter's previous value is taken over by the Control parameter. Modulate an oscillator, single cycle waveform, or random one-shot sample with an LFO to apply different sonic characteristics to sequenced beats over time. For example, If you want to add something to a bass line with a boring texture, one way of going about it is to use an LFO.
For example, you can modulate its pitch or its frequency cutoff while adding a bit of distortion and bit reduction to make it sound as an acid bassline.
For example, you can make a quarter note electronic hi-hat less boring, by using an LFO to modulate destinations like the volume or the pan. We hope this introduction to LFOs has been helpful to you and helps you experiment with them to find interesting sounds in your synthesizers, whatever you use. If you have doubts about what we have explained or related questions, you can leave us a comment below. You must be logged in to post a comment.
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Post by h3rtz » Fri Sep 21, pm. Post by zelnik » Fri Sep 21, pm. Post by Vios » Fri Sep 21, pm. Ableton Forum. Quick links. LFO on Audio effect Discussion of music production, audio, equipment and any related topics, either with or without Ableton Live.
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