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Message: [QUOTE="Bombastus, post: 92315, member: 2178"] Flite V2 adds Draw, Sample and Hold, Smooth Random, and Evolving LFO modes, alongside skew and evolve controls with animated feedback. The update also reworks macro and modulator assignment, so ranges are visible and assignments can be made in both directions instead of disappearing into a menu. The practical change is speed. [B][URL='https://goldmidi.com/community/threads/wavea-brought-flite-v2-with-200-new-features.77655/']Flite V2's rebuilt modulation workflow[/URL][/B] gives you more ways to create movement, but it also makes that movement easier to inspect once a patch starts getting complicated. Three LFOs, four assignable envelopes, parameter sequencers, eight macros, MIDI CC assignment, and MPE can all feed a sound, so knowing what controls what matters as much as adding another modulation source. [HEADING=2]The modulation overhaul makes movement easier to read[/HEADING] Older modulation systems often become annoying once several sources touch the same control. You remember that a macro changes filter cutoff, but forget whether an LFO also moves it, how wide either assignment is, or which direction the range travels. Flite V2 addresses that workflow problem with visible assignment ranges and clearer feedback around macro and modulator connections. Bidirectional assignment is the other useful part. You can work from the destination toward a modulator or from the modulation side toward the parameter, rather than following one fixed route every time. It sounds minor until a patch contains several moving filters, oscillator controls, effect parameters, and sampler settings. Expanded automation support pushes the same idea outside the instrument. More of the controls you shape inside Flite can be exposed to the host, while full MIDI CC assignment gives hardware controllers another route into the patch. MPE adds per-note expression for compatible controllers, which is especially useful when a static macro move would affect every held note in the same way. Visible ranges also make restraint easier. A modulation assignment does not need to sweep an entire parameter just because the source travels from minimum to maximum. Small ranges can add pitch drift, filter movement, stereo motion, or FM variation without turning the patch into an obvious effect. [HEADING=2]New LFO modes cover repetition, randomness, and drift[/HEADING] Draw mode is the most direct addition because you can create a custom modulation contour instead of choosing a fixed oscillator shape. It suits movement that needs a specific rise, dip, pause, or repeated contour rather than a conventional sine or triangle cycle. The result can then become part of the same assignment system as Flite's other modulators. Sample and Hold behaves differently. It produces stepped changes rather than a continuously moving curve, making it useful for abrupt parameter jumps, scattered filter values, pitch offsets, or effect changes. Smooth Random keeps the unpredictable character but removes the hard edges, so movement can wander without sounding like a row of discrete switches. Evolving mode is built for motion that should not repeat too neatly. Skew and evolve controls let the LFO shape change its balance and behavior, while animated feedback makes the resulting motion visible instead of forcing you to guess what a control is doing. Slow settings can give a pad or granular layer movement that takes several bars to reveal itself. LFO-driven processing is well established beyond synthesizer modulation. [B][URL='https://arxiv.org/abs/2305.13262']Modulation Extraction for LFO-driven Audio Effects[/URL][/B] deals with arbitrary LFO shapes across phaser, flanger, and chorus processing, including quasiperiodic and distorted control signals. The useful connection here is straightforward. An LFO does not have to be a clean repeating wave to produce musically useful movement. [HEADING=2]Parameter sequencers handle changes an LFO should not[/HEADING] Flite V2 also lets parameters be assigned to sequencers, which matters when movement needs exact steps rather than a continuous curve. Preset patterns and data modifiers can create repeated changes across a 32-step lane, while probability, playback direction, and other sequencer behavior can make those movements less predictable. A parameter sequencer is better suited to deliberate events. You might want distortion to jump only on certain steps, a filter to open at the end of a phrase, or an FM control to switch between a handful of values. An LFO can approximate some of those moves, but the sequencer keeps them tied to specific positions. The cleanest patches usually divide the work. Use an LFO for motion that should breathe continuously, a parameter sequencer for timed changes, envelopes for note-shaped movement, and macros for controls you actually want under your hand. Combining every source on every destination makes editing harder and often produces motion with no clear musical purpose. Flite V2's assignment feedback helps once those systems overlap. You can keep a slow random LFO moving one narrow range, let a sequencer make larger timed changes to the same area, then reserve a macro for manual control without losing sight of the relationships. Small assignments remain useful because they can be seen, adjusted, and removed without dismantling the rest of the patch. [/QUOTE]

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