>Step by step
Enter the Modulation Matrix
1
To start with, open Logic’s EXS24 sampler. You‘ll see the modulation matrix in the centre of the plugin, consisting of 10 possible modulation slots, all of which will give you the option of a Destination, Source and controller assignment. You can see there are a few that are already used as standard in order to achieve the default sound.
2 The first section within this matrix is the Destination section. Here you can choose which parameter you wish to be modulated. This will completely depend on the plugin you are using. For the EXS24 you get to choose parameters from the various sections of the synth, whether it be the sampler’s transposition and glide or the filter and LFO/envelope parameters.
3 The next section is the Source. Here is where you choose which modulator you wish to use. These are usually envelopes and LFOs, however, they can also be things like velocity and aftertouch. Above this you can see there is a Via section. Here you can choose a controller, like a modwheel, to bring the amount of modulation in and out.
4 Now let’s look at a third-party modulation matrix. Here I am using Omnisphere, and as you can see, again there is a Source and Target (Destination). However, here we have a small magnifying glass that takes us to the expanded modulation matrix view, giving us so much more control over multiple assignments, as well as better visual feedback.
5 Let’s start by making a modulated patch. First I will select LFO1 as the source and make the target the filter’s cutoff. I can now adjust the amount of modulation, using the Amount slider, as well as the starter position of the filter, by altering the Target Parameter slider. You will also notice I have the option to invert these settings.
6 Next I will choose a new Modulation slot and use a different source, in this case LFO2, to control the pitch of the oscillator. Now we have two separate LFOs working at differing rates but controlling different parameters. This is where things can start to get interesting and possibilities become more apparent.
7
To ensure diversity in your modulations when using LFOs, make sure that they all have varying rates. Some can be synced to tempo, whereas others can be based on a frequency. Things like unison can really benefit from this and give a more organic and natural movement through the parameter, instead of being to the BPM.
8 Serum also has a very impressive modulation matrix with real-time visual feedback, helping you see exactly how the parameter you have chosen is being affected. It has the same layout as Omnisphere, with options for Source, Destination and amounts. It also offers a curve in the modulation, much like the smoothness control in Omnisphere.
9 Serum also gives you the option to draw in your LFO curve so you are not just limited to the standard waveforms. This now means that you can have complex LFO shapes that work much like multi-point envelopes, but will oscillate continuously. Here I have automated the pitch to modulate erratically with a custom LFO shape.
10 Another great option to try is modulating the rate of one of your modulation LFOs with another LFO. This may take some time to get your head around, but once you do it you will create some ever-changing modulation assignments that work both with and against one other.
11 All synths have different options for the destinations and sources. These will depend entirely on the functionality of the synthesiser you are using. As you can see, here in Logic’s ES2 there are options to use X and Y pads to control functions, which in turn can be modulated with LFOs and Envelopes etc.
12 Lastly, try to incorporate a controller to use in conjunction with the amount for a specific modulation assignment. In Logic’s ES2 and EXS24 you can assign this in the Via column mentioned earlier. This just gives you extra hands-on control over the modulation that can also be automated to taste.