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Message: [QUOTE="Bombastus, post: 91579, member: 2178"] Discovery Pro 9.3 lets LFO 1 and LFO 2 track keyboard pitch from C3, with five named tracking modes plus custom percentages. Full tracking makes the LFO rate double one octave above that reference, while Invert sends the movement the other way. It is a small control with a fairly big effect on how a chord moves. Older Discovery Pro patches do not suddenly start breathing differently after the update. Key Tracking defaults to Off, keeping the shared per-layer LFO behavior used before 9.3. Existing pads can retain the synchronized sweep they had when you saved them. Switch tracking on, and the LFO behavior moves down to individual voices. Notes inside the same chord can then hit different points in the waveform at once, which helps when a perfectly locked wobble sounds too rigid. The [B][URL='https://goldmidi.com/community/threads/discodsp-rolled-out-discovery-pro-9-3-and-schroeder-3-0.76909/']Discovery Pro 9.3 modulation changes[/URL][/B] also let the Mod Env alter either LFO rate independently on each note. [HEADING=2]C3 becomes the center of the LFO rate map[/HEADING] C3 is the reference note for key tracking, so moving around the keyboard changes rate relative to that point. Half, Full, Double, and Invert give you quick shapes for the relationship, while custom tracking accepts values from -200 to 200 percent. You do not have to rebuild a patch just to make upper notes move faster or lower notes feel less busy. Full is the easiest setting to hear and understand. Play one octave above C3 and the LFO runs at twice the reference rate, giving higher notes quicker movement while the lower register stays broader. Invert reverses the direction, so rising pitch slows the modulation instead of accelerating it. Half and Double are useful when Full feels either too obvious or not dramatic enough. A bass-and-lead split inside one patch can benefit from a gentler rate slope, while twitchy upper-register movement may want the stronger setting. Custom percentages let you land between the named settings or push farther in either direction. Pitch is not the only useful destination. LFO 1 can drive FM, filter cutoff, oscillator pitch or pulse width, while LFO 2 can drive oscillator pitch, amplitude or cutoff. Key tracking changes the speed of those movements across the keyboard, not the modulation amount itself. Host sync puts a hard boundary around all of this. When an LFO is host-synced, Discovery Pro ignores key tracking, keeping the musical division tied to project tempo. You can have keyboard-dependent free-running rates or clock-locked divisions, but the two behaviors are not blended. [HEADING=2]Per-voice LFOs stop chords moving as one block[/HEADING] Per-voice operation matters most when you start playing several notes together. Every voice gets its own phase and its own Poly Aftertouch or MPE pressure. A held voicing can therefore move less mechanically without adding another modulation source. Per-note pressure fits naturally here because MPE is designed to keep expressive control separate for individual sounding notes. Work on [B][URL='https://www.nime.org/proceedings/2018/nime2018_paper0011.pdf']independent per-note pressure control[/URL][/B] has explored continuous pressure and pitch control attached to individual notes rather than one channel-wide gesture. Discovery Pro uses that separation inside its own modulation behavior when per-voice LFO operation is active. You can hear the distinction most clearly on sustained material. A shared LFO makes notes crest together, which suits a deliberate pulse, while independent phases loosen the movement without random modulation. Short plucks may hide much of the difference because the envelope is over before the LFO relationships have much time to spread. [HEADING=2]Mod Env links can bend LFO speed on every note[/HEADING] Discovery Pro 9.3 also allows the Mod Env to link directly to LFO 1 Rate or LFO 2 Rate with positive, negative, or custom amounts. A fast attack followed by a short decay can start a note with rapid modulation and let it settle toward the rate-knob value. Reverse the amount, and the same envelope can begin slower before pushing the LFO faster. Key tracking and Mod Env rate links can run together, and both force the relevant LFO into per-voice operation. One note can therefore begin with an envelope-driven burst while its final LFO speed still depends on keyboard position. It gives you two independent reasons for the rate to change, one coming from pitch and the other from the note’s envelope movement. Limits appear once sync or arp mode enters the patch. Mod Env rate links are ignored while the LFO is host-synced, just like key tracking. An LFO 2 rate link is also ignored in arpeggiator mode, while bypassing the Mod Env removes its scaling without dismantling the routing. [/QUOTE]

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