Using the LFO on just about everything, I am curious to know if there is a way to round off the S&H edges so that they are a randomly-shaped sine wave, instead of a randomized square wave shape?
Not sure how rounding off the edges of a S&H would create any difference as S&H reads just one static unmodulated value at time before jumping to the next doesn’t it? As in it doesn’t sweep across a range of values.
Anyway I went ahead and made two quick S&H sine lfo, hopefully it’s what you’re looking for. The first one just selects random points of a custom lfo with sine wave shape. The second works the same as the first, it selects random points of a custom sine shaped lfo, but when the point is selected it then sweeps across the sine wave before jumping to a new point. Although the sweep only happens when the Sine LFO Offset is turned off so you may get 2,3, even 4 randomly selected points before the Sine LFO Offset turns off and the sweep starts.
I’m not doing a great job at explaining, you’ll understand better when you look at the project file
Random Sine LFO.xrns (4.9 KB)
Well, maybe I should clarify - usually the waveform is called “Random LFO” on most every synth I have ever used, and its main difference is that it’s not stepped like a S&H. The usual image provided is something like this:
I tried out your project file, and that’s one of the ways I have used multiple LFOs. It allows for a randomized LFO pattern, but it doesn’t round off the slopes. So, my initial description was wrong. It’s an LFO that looks like a snake, really nice for slow filters that don’t sound rhythmic, or very slight, mutated warbles in pitch. The S&H is just a little too steppy.
Random Sine LFO 2.xrns (603.2 KB)
Two random LFOs assigned to macros set to reset the frequencies of two LFOs in the sampler. Bipolar setting de-selected on both sampler LFOs. LFO 1 set to addition. LFO 2 set to multiplication, and both sampler LFOs amplitudes scaled to 0.5 to keep the resulting waveform within the range of -1/+1.
A new sine wave shape gets generated with each new note. You can scale the intensity of the shape by changing the range of the sample LFOs frequencies in the macros settings. I’ve applied it to the sampler cutoff just to demonstrate but you can apply it to any of the other parameters in the sampler.
If you want to extend it beyond the sampler of a single instrument what you can do is use a simple tone as the main source signal and put signal follower on the track as I’ve done, run it through a hydra which can map the signal to other tracks and fx, and then mute the source signal with a gainer set to -INF after the hydra.
Thank you! Sounds neat, I’ll have to try it out soon. I think this is neat!