Modulation
Modulation Matrix
Section titled “Modulation Matrix”The modulation system makes Cyclosonics able to create complex, shifting soundscapes. It lets you route modulation sources (your throttle and three LFOs) to any synthesis parameter, creating sound that evolves and responds in real time.
What Is an LFO?
Section titled “What Is an LFO?”An LFO (Low-Frequency Oscillator) is a repeating wave that cycles back and forth at a speed you control. Instead of producing audible sound, it’s used to move other parameters up and down automatically — creating motion and variation in your sound over time.
Think of an engine: the RPM produces a cyclical pulse that gives the machine its character. An LFO works the same way. Route it to pitch and you get a sound that rises and falls rhythmically — like a motor turning over. Route it to volume and you get a pulse. Route it to a filter and the brightness sweeps back and forth. The shape of the wave (smooth sine, sharp square, jagged saw) determines the feel of that motion.
This is powerful for vehicle sound design because real engines and motors are inherently cyclical. LFOs let you recreate that repeating, mechanical character synthetically. But they’re also a tool for experimentation — route an LFO somewhere unexpected, combine it with throttle control, and you can create sounds that no vehicle has ever made.
Sources
Section titled “Sources”| Source | Type | Description |
|---|---|---|
| Throttle | Unipolar (0–100%) | Your eBike’s throttle position, read via BLE |
| LFO A | Bipolar | Independent low-frequency oscillator |
| LFO B | Bipolar | Independent low-frequency oscillator |
| LFO C | Bipolar | Independent low-frequency oscillator |
Routing
Section titled “Routing”Any source can be routed to any parameter with a bipolar amount (-100% to +100%):
- Positive amount: Pushes the parameter value up from its base setting as the source increases
- Negative amount: Pushes the parameter value down as the source increases
- Multiple sources can target the same parameter — they are summed to produce the actual modulation value
Example Routes
Section titled “Example Routes”- Throttle → Filter Cutoff (+80%): Sound gets brighter as you accelerate
- LFO A → Wavetable Position (+50%): Timbre morphs continuously on a slow cycle
- Throttle → Reverb Decay (-60%): Reverb tightens at high speed, opens up at idle
- LFO B → Volume (+30%): Subtle tremolo effect
LFO Configuration
Section titled “LFO Configuration”Each LFO has independent settings:
| Parameter | Range | Description |
|---|---|---|
| Shape | 6 types | Sine, Triangle, Saw Up, Saw Down, Square, Sample & Hold |
| Speed | 0.01–30 Hz | Rate of the oscillation |
| Throttle x Speed | -100% to +100% | Throttle controls LFO speed (exponential: 10x at +100%, 0.1x at -100%) |
| Throttle x Depth | -100% to +100% | Throttle controls LFO intensity (linear) |
LFO Shapes
Section titled “LFO Shapes”Each shape produces a different character of motion. The shape you choose determines how the modulated parameter moves over time.
A smooth, continuous wave — the most natural and organic-sounding shape. Ideal for gentle, sweeping modulation like slow filter movement, subtle pitch vibrato, or gradual volume swells. Produces motion that feels fluid and predictable.
Triangle
Section titled “Triangle”Similar to sine but with linear ramps instead of curves — the parameter moves up and down at a constant rate. Slightly more angular than sine. Good for modulation that needs a steady, predictable sweep without the softness of a sine curve.
Saw Up
Section titled “Saw Up”Ramps upward gradually, then drops back instantly. The parameter builds up and then resets.
Saw Down
Section titled “Saw Down”The inverse of Saw Up — drops gradually, then jumps back to the top. Creates a falling character. Good for effects that feel like they’re ‘firing’.
Square
Section titled “Square”Snaps between two values with no transition — the parameter is either fully on or fully off. Creates a rhythmic, pulsing effect. Useful for stutter effects, hard tremolo, or any modulation where you want a stark, mechanical on/off quality rather than a smooth sweep.
Sample & Hold
Section titled “Sample & Hold”Jumps to a random value at each cycle, then holds it until the next jump. Creates unpredictable, glitchy modulation — the parameter steps through random positions at the LFO’s speed. Great for experimental textures, robotic effects, or adding chaotic variation to a sound. The faster the speed, the more frantic the randomness.
Throttle Modifiers
Section titled “Throttle Modifiers”The throttle modifiers let the LFOs respond to your riding:
- Throttle x Speed: At +100%, full throttle makes the LFO run 10x faster. At -100%, full throttle slows it to 0.1x. This creates LFO effects that accelerate with you.
- Throttle x Depth: At +100%, the LFO’s effect is strongest at full throttle and silent at idle. At -100%, the reverse.
Using Modulation
Section titled “Using Modulation”- On the Editor page, tap the modulation icon next to any parameter
- The Modulation Modal opens showing available sources
- Set the slider amount for a Modulation source to apply it to the parameter
- Close the modal — the modulation is active immediately