Audio Damage Ronin - Manual (Page 32)

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The connections in the modulation matrix are a little more complicated. LFOs 1 and 2 are connected so that
they modulate the frequencies of the filters. Notice that the depth controls for both filters are moved to their
far right position, so that the LFOs create large changes in the frequencies of the filters. The LFOs are also
connected to the two Pan modulation destinations. The Pan controls are at their center positions, but their
depth controls are also at the far right. Since the LFOs are bipolar, their modulation signals will cause the
plug-in’s output signals to move back and forth in the stereo field.
Finally, the output of LFO 1 is connected to the rate modulation destination of LFO 2, and vice versa. The
depth controls for these two parameters are turned up only slightly. Connecting the LFOs to each other in this
manner causes both of their outputs to vary in an unpredictable manner, making the effects of their
modulation more interesting (or at least less predictable).
Try running a signal with a wide range of frequencies, such as a bright synthesizer pad or a guitar sound,
through Ronin. You’ll hear the output signal get brighter and darker, and move around, as the LFOs change
the frequencies of the filters and the pan positions of the outputs.
The filters are set to their low-pass modes, with the resonance controls turned up somewhat. This gives them
a familiar “synthesizer-like” sound. Try moving the Mode sliders to their other positions to hear the effects of
the different response modes. The Bandpass mode can be particularly effective in this preset.
If you want to make the panning and filtering move in time with your song’s tempo, turn on the Sync switches
for both LFOs, and turn off the connections to the LFO rate modulation destinations in the modulation matrix.