Low-frequency oscillation

At the top will be a tab which will take you to your effects, and then you can do routing to your effects.

And then more often than not, you can, you've got your LFOs at the bottom, and you can drag and drop your LFOs going to your envelopes and vice versa.

So the way they're all laid out is quite similar.

It's just-

Because if it...

I don't think that Omnisphere has a randomizer like the way that Serum does where you can attach an LFO and then it has to.

I can't imagine Serum does something that Omnisphere doesn't.

But my guess is...

I think it's some other setting that's making it do that.

I'm not sure.

Yeah, it might be an LFO or something like that.

The other option would be to render it to audio, you know, maybe a couple of passes and then just kind of stitch together what works.

Because, of course, you can modulate the frequency of an oscillator.

With LFOs.

With an LFO or with another audio frequency oscillator in the analog world.

But the real difference with the sound of FM synthesis was it was completely digital system.

And so you can get these cybernetic, very... everything is kind of interrelated patches really easily.

And he was sort of saying that when he was early on in Eurorack and he had slightly less stuff, he had like a Batumi and one of the, it was like an LFO and this other thing.

And because he was almost trying to eke as much out of everything as possible, everything by nature started to become interrelated because it was like well i still have these outputs and i still have these inputs that i'm not currently using so what happens if i start adding those two in together if you have another lfo if you if you just have more multiples of everything you never really have to worry about things being interrelated yeah and that actually ends up in a slightly again you might need it to be not related and that might be a creative decision but having things be interrelated is actually really interesting.

Yeah.

And Arthur Baper walked in and he started to sequence a sync track.

You know, he was like pulsing the sync track with LFOs and he was just completely nuts, you know.

So that was fantastic.

Meeting him and working with him was like, you know, a real highlight really.

Like, no one... that's not, no one else is really doing that or whatever, you know? Whereas an

LFO, you can do an expression control with a very specific niche.

Whereas, you know, just, you know, Hey, these devices make sounds.

Do you want to hear it? Like that's, that's, that's the use case.

In fact, I've got a video coming out for the Splice YouTube channel about doing that very thing, which is taking like a Splice.

I love like taking Splice vocal, like vocal drones, bringing them into serum and like using granular synthesis or a spectral synthesis to create like a really eerie bendy pad with LFOs and everything.

Yeah, I love that.

But also recording your own sounds.

Modular synthesizers offer almost infinite routing possibilities for feedback loops.

Patch cables let you send oscillator output to an LFO, then back into the voltage control of the same oscillator, creating self-modulating waveforms that never repeat.

Coupled with a VCA that receives the processed signal as its own drive input, you end up with a generator that keeps morphing itself.

Nope, input mixers are my playground for total creative freedom.