LinPlug Spectral - Manual (Page 101)

Effects All continuous parameters of all 6 effects slots can be
addressed here. Keep in mind this is a modulation shared
by all notes (the effects are not per note!), so its usually a
good idea to only use modulation sources which are too
shared by all notes (e.g. a mono LFO or the Modulation
Wheel) or with a Mono-preset (Voices being set to Mono).
You can also use other modulation sources, like an
envelope, the Fx-Wet is then determined by the last note
being played, so if you play a chord (in chronological
order) C-G-E, then the envelope of the E will control the
Fx-Wet. If you release only the E, the G will take over the
modulation of Fx-Wet and so on.
Appendix D: Matrix Modulation of Volume
This is an in-depth description of the specifics of modulating volume. If you
are not interested in every detail this short summary will do:
Most of the modulation in the Matrix is applied on and “additive” way, so
when you apply an LFO to the Filter Frequency it will periodically raise and
lower the Filter Frequency, which happens internally by adding the LFO
waveform (multiplied by the Matrix Depth value) to the Filter Frequency.
For all kinds of amplitude modulation this is however, slightly different and
this leads to some effects worth explaining. Amplitude modulation is
“multiplicative”, so the modulation value is not added, but multiplied with the
modulation destination.
Why is that so ? Most of all it makes a couple of modulations easier to
adjust and behavior much more “as expected” than additive modulation. To
stay with the LFO example, we this time apply It to the Main Amplitude, and
to point out the advantage we assume main amplitude is –9 dB:
When using the Modulation Wheel or Aftertouch for Volume Modulation,
use the “Sub” variant (e.g. “Mod Wheel Sub”) to control the Amplitude
from silence to the Modulation Destinations parameter value.