Microfreak/UG/05 Connections/03 Freaky Ideas

• 05.3 Freaky ideas

  • Modulation often works best below full strength; the right amount can add subtlety and expression to a patch. The Matrix offers many ways to find unusual sounds.
  • Change pitch scope: The keyboard and a sequence already modulate oscillator pitch at one volt per octave. Routing Key/Arp to Pitch can widen sequence steps to two or four semitones; negative modulation can shrink them to microtonal intervals.
  • Sum modulation signals: Combine the Standard and Cycling Envelope outputs at one destination to create a complex control signal for the filter or arpeggiator rate.
  • Mix the Cycling Envelope and LFO: Combining them at Filter Cutoff creates a composite modulation that can behave in surprising ways.
  • Modulate the Digital Oscillator: Let an unsynced LFO and Cycling Envelope control Wave, Timbre, and Shape at different speeds to create evolving timbral patterns.
  • Create regular automatic transpositions: Use the LFO's Random wave to modulate Pitch, or a slow square wave for more regular transpositions. The square-wave approach also works with a sequence.
  • Modulate modulation: Sequencer modulation tracks can change the strength of a Matrix connection. Hold an Assign button, select a Matrix point, then release the button to set that point as a destination. The LFO and Cycling Envelope can also modulate connection strength.
  • Modulate Cycling Envelope timing: Use the LFO to control its own rate, or use the Cycling Envelope to control its own rise time, fall time, or amount.
  • Create circular routings: Let the LFO control the Cycling Envelope's rise or fall time, then let the Cycling Envelope control its own level. The EMS Synthi became known for these distinctive, difficult-to-repeat routings.