Waldorf Largo - Manual (Page 86)

Appendix
Largo User´s Manual 86
AE Sustain Sustain (and Sustain 2) level of
Amp Envelope
AE Release Release rate of Amp Envelope
E3 Attack Attack rate of Envelope 3
E3 Decay Decay (and Decay 2) rate of
Envelope 3
E3 Sustain Sustain (and Sustain 2) level of
Envelope 3
E3 Release Release rate of Envelope 3
E4 Attack Attack rate of Envelope 4
E4 Decay Decay (and Decay 2) rate of
Envelope 4
E4 Sustain Sustain (and Sustain 2) level of
Envelope 4
E4 Release Release rate of Envelope 4
M1 Amount Modulation amount of M1
M2 Amount Modulation amount of M2
M3 Amount Modulation amount of M1
M4 Amount Modulation amount of M2
O1 SubDiv, O2
SubDiv Frequency divide of Sub
oscillators
O1 SubVol, O2
SubVol Volume of Sub oscillators
Tips & Tricks
• Noise as FM Source for an oscillator gives a
colored noise output whose character can be
changed with FM Amount, the oscillator waveform
and the pitch of the oscillator.
• Use Envelope 3 or 4 to blend in one of the
oscillators. E.g, if you need a small blip in the
attack phase, just use a free oscillator and a short
percussive envelope to create this effect. You can
do that in the Modulation Matrix by setting the
source to Env3 or Env4, the destination to Osc1,
Osc2 or Osc3 level and setting up a positive
amount. If this blip should be noisy, use FM with
Noise as source for this oscillator to control the
strength of the noise.
• For a classic “Filter Trigger” sound, you don’t need
to actually use a filter. You can also use a sine
oscillator that is pitch modulated by an envelope.
This frees up the two filters and you can use them
to perform other tasks, e.g. filtering noise for a
snare drum sound or the like.
• Use the LFOs as FM Sources. With this technique,
you get up to six oscillators frequency-modulating
each other to create extremely complex timbres.