This tool can generate 3 LFO's and outputs them to MIDI CC
This tool can generate 3 LFO's and output this data to MIDI CC channels. Each LFO has 6 outputs, assignable to any desired MIDI CC channel (0-127). The LFO's can be crossmodulated, even in a closed loop (LFO2 -> LFO1 -> LFO3 -> LFO2 -> LFO1 ...).
Each CC output channel has an amount (depth), offset (modulation midpoint), and rotation (0°, 90°,180°) selection.
The LFO's are tempo/beat synced (from 64 bars all the way down to 1/64T). Waveforms are standard sine, saw, triangle, pulse and noise with phase and width settings available. It is possible to smoothly transition between all waveforms, and this can be modulated internally. It is also possible to modulate the LFO speed internally.
LFO-to-CC allows you to modulate parameters that otherwise can not be modulated natively (eg. synths that lack an LFO, synths that only have free-running LFO's where you want to temposync the LFO, limited LFO modulation destinations on your vintage synthesizer...) and opens up a world of technical possibilities that are otherwise very time-consuming to program or record manually.
• LFO2 waveform is a rising 16 bar sawtooth -> output 1 (LFO 2) modulates the rate of an arpeggiator, output 2 (LFO 2) modulates the gate of this arpeggiator: the faster the rate, the shorter the gate. Output 3 (LFO 2) smoothly opens up the cutoff frequency of the lowpass filter while output 4 (LFO2) rotated 90° modulates delay feedback for a climactic washout.
But no need to stop there, we can take this further...
• LFO 1 waveform is a 1/2 bar sine wave, of which the speed is modulated by LFO2 -> output 5 (LFO 2) modulates the pitch and cutoff frequency of a second synth to create a riser, output 1 (LFO 1) is modulating this synth's pan position. Output 2 (LFO 1) slightly modulates the amplitude of this sound, creating a subtle gate effect.
You can imagine where this is going.
The beauty of LFO-to-CC is that all LFO's are tempo synced to match the track BPM and the LFO's are synced together as well, starting at the same point every time you press play. Set up the corresponding MIDI CC channels, tweak to perfection and record all CC data into your DAW.
CPU load on my Macbook Pro from mid 2010 was on average under 6%, maxing out around 10% with all 3 LFO's and all 18 outputs active.
I basically designed this after I got stuck on a small Reaktor synth, Mr. Mono (designed by Stephan Becker), a very neat 303 emulator, unfortunately it lacks some LFO modulation capabilities : http://www.native-instruments.com/en/community/reaktor-user-library/entry/show/4493/
Please rate and share your comments. Contributing your snapshots is encouraged. LFO-to-CC is tested primarily in native Reaktor and Live 8 on OS X Mavericks, if you experience problems please report them here or write me an email (jorimvanhove A T gmail DOT com)
- fixed duplicate outputs on CC 15 when CC16 is selected as output (credit to Chris Gibson for debugging this)
- fixed rubbish output on random CC channels
- added custom time signature selection: any combination from 256/1 to 1/256 is possible!
- slower and faster 'Free' LFO rates
- added 128/1 and 256/1 time signatures to 'Beatsync' LFO rates
- expanded Speed Modulation depth
- minor GUI enhancement: 'Active' switch on output channels is now a big button