AWM2 ...

Under "Element LFO" - which was the entirety of what I covered except for the Part LFO's element speed destination - I see no "tempo sync" option.

Only "ModControl" -> "Part LFO" has a "tempo sync" option.

I was focused on that Element LFO - those LFOs under a different menu that has no "Tempo Sync" would have to kind of sync to tempo by matching the speed. Either because you don't alter the tempo and can set a speed that's close enough to more-or-less stay in sync or because you tie the Element LFO speed (not Part LFO screen) to a knob/wheel/pedal/etc and chase the tempo manually.

Although the Part LFO can touch the Element LFO (and again, I mean just that other screen that is not in the "common" section) is through setting element speed as the destination. And this is not a sync but an offset. Given the choices, there's not a way to force Element LFOs (that not-"common" screen) to sync to tempo say if you vary the tempo -- things even if they were in pseudo-sync get out of sync now.

Now the Part LFO (the screen that is under "common" ) has the ability to opt in and out each element. If I say "Element LFO" - I don't mean the Part LFO's facility to target LFOs. That Part LFO has the means to opt in (not binary, but by depth) and out and also can phase change each element differently places a lot of element control in the Part LFO section. I think that's great. However, I was describing primarily another menu and what it does or doesn't do. The Element LFO section (not "common" area).

Yes, that Part LFO section has tempo sync and has options for elements. Element LFO doesn't have this. I don't really make a judgement here. I don't think it's good or bad. My goal was to clarify the "element speed" since some may think somehow this is a backdoor to speed control on the ELFOs.

If you want tempo sync, use Part LFOs not Element LFOs. If you use Element LFOs then the closest you can get to sync I've commented on a few ways to approximate or manually dial those in.

... now that you know what I was or was not referring to (how "Element LFO" to me is not the Part LFO section regardless if Part LFOs have element-facing configuration) you can hopefully better relate to what I posted.

The OP may have been aware of all of this. That essentially you have the same destinations in Part LFO (pitch, amplitude, and filter -- although broken out into more granular pieces cutoff and resonance). If not, maybe this discussion is helping. And also they may have known that the Part Level LFO can target individual elements. If they did have this understanding -- which isn't all that unlikely -- then the reason why you go searching for sync on the Element LFO side is because you've got more than 3 element LFOs you want that are different waveforms. The Part level gives you one LFO waveform choice that applies to all the destinations. The Element LFO lets you choose a different waveform for every element (same waveform for all 3 destinations within the Element LFO - but each element gets its own possibly different LFO waveform).

This is where I assume the OP is coming from so I didn't go as far as saying not to dream of Element LFO tempo sync. Even knowing Part LFOs have element options has its resource limitations and one could be looking to Element LFOs.

... and if this is the case - then the suggestions for doing pseudo-sync may offer something useful.

There is a “Tempo Sync” that allows you to delay the Key On command per Element.

Go to any AWM2 Part. Edit ... Touch "Elem1" at the bottom. In the left menus touch "Element LFO".

This screen doesn't have Tempo Sync. It's the foundation of the OP's question. They ask why it's not there. I can't answer that so I explain my take on what you can and cannot do with these LFO destinations (this is the "Element LFO" I keep referring to) related to this LFO's frequency.

I don't agree that the "Element LFO" menu has tempo sync ON/OFF control. It's not there no matter what I do. It's not there for AWM2 or FM-X (here termed 2nd LFO). Drums don't have any "Element LFO" equivalent -- I guess here they would be called "Key LFOs". Those are the only places I can look to try to find tempo sync in something that fits. Back to just AWM2 - no tempo sync option shows up if I change the extended LFO option.

There are these options:
LFO shape (triangle, saw, square)
Extended LFO (on, off)
Speed (never tempo synced in the true sense of this. You're lucky if you happen to have the speed reasonably set to match the current tempo and phase is close enough)
Key On Reset (on, off)
Delay (value to wait until the LFO starts)
Fade in (sort of an attack envelope on the LFO which applies to all 3 destinations)
Pitch Mod (value - depth of pitch modulation. 0 as inactive)
Filter Mod (see above)
Amp Mod (see above, here "Amp" is short for amplitude)

There's Key On Reset. That's not a tempo sync. That's a way to control the phase. The LFO is either free running or resets/starts when you press a key

It doesn't matter if Part LFO Tempo Sync is on or off or if Part LFO has "E.LFO Speed" as a destination. It's never there for me.

Tempo Sync at the part level means that phase and clock are aligned with the MIDI clock/tempo. You can do "Unit Multiply" dividing or multiplying of the clock. Tempo Sync syncs to the tempo. It's in the upper right of your display. It can change if you tell it (MIDI commands) or if slave to an external clock or using audio beat sync or just if you manually change the tempo. Tempo Sync will follow all of this so your LFO will be synchronized to other synchronized events like arpeggios and motion sequence that uses tempo sync itself (and not the stand-alone timing option).

The start of the oscillator - it's phase relative to anything else - is affected by the key on reset feature. If it's off the LFO keeps running at a steady rate and doesn't change its phase relative to the main clock (speed or tempo sync for Part LFO if you have that on). No matter when you press any key you'll pick up on the LFO wherever it's at. If you use the key on feature then you restart the LFO for those notes that follow. An interesting property is that if you start notes and hold them with the LFO - those notes will be in a certain phase with respect to the LFO speed/clock/tempo and (with key on reset each note) your next notes can be out of phase. Starting a new/different phase or start of the LFO doesn't make the 1st notes you press that are running with the LFO change their timing. You can hear this best by slowing the speed way down (or tempo if tempo sync'd) and press one key then the next chromatic key. Vary when you press it. Sometimes you can catch it so both keys have the LFO "rising" together (I use a triangle wave) and sometimes you can catch it so they're running opposite. You'll start to hear double-time because of the phase relationship. I use pitch because it's easy to hear.

The timing of when the LFO starts occurs when you press a key if that's how you have it setup. You don't have to in which case the phase of the clock will be random vs. when you start playing.

The sync CAN happen on the first downbeat that starts your arpeggio (say you have drums and want the LFO in sync with this). You would set the Key On Reset to first on. Now your LFO starts and runs "forever" gated by your first keypress. Your arps (those drums) are probably set to start the same way so the first keypress lines up your drums and the LFO.

Yes, "Tempo Sync" under the Osc/Tune doesn't relate to LFO at all. You can either delay key on by a fixed amount that never changes when your tempo changes or you can make your note-on delay have a musical amount of time that's relative to tempo.

You'll see a lot of overloading of terms and different screens where the same terms are used. This can be confusing and manifests (causes comprehension issues) differently depending on the particulars. I think generally you run into these as you explore, get the battle scars, make notes in your notebook of gotcha's, then move on and eventually accumulate a lot of tribal knowledge if sticking to it.

The only screens I've discussed here are the "Part LFO" and "Element LFO" screens. Mostly "Element LFO".

[quotePost id=119049]I believe he's referring to the info on the screenshot he posted in your previous thread right below where he says:

In the screenshot below from Single Part Performance - "Da Thumperz": we are looking at a Single Part with 3 AWM2 Elements active (fyi)

That screen shows 3 destinations: Cutoff, Pitch, InsB LvlOffs but if you select one of those destination buttons a popup will show you ALL of the destination options and they include several for Element level parameters.

Then you would set a common 'Depth' and could set individual 'Element Depth Ratio' values.[/quotePost]I believe you mean the Common>Part LFO screen which has Destination options including Element LFO Speed. Did you also mean that when the Part LFO is set to Tempo Sync and the Destination is set to E.LFO Speed, the latter parameter is upsynced to the Part LFO and thereby to the external tempo? As no Yamaha manual gives this level of detail, I tried it out and it works as I thought: the Part LFO modulates the speed of the Element LFO; it does not lock the tempo of the Element LFO to the Part LFO. It's a fun option, though, making the Element LFO get faster and slower. Still a shame that there is no option for locking an Element LFO directly to an external clock.

Which makes you wonder whether all those phase settings for the elements are actually useful..
Seems to me that 'phase' of an element is rather meaningless except in relation to a specific point in time. And if you can't control that specific point what does it mean?

It is NOT “‘phase’ of an element”… it is the phase of the Element’s LFO and, again, as I mentioned in the other thread…it makes huge difference. You can offset the phase in 90, 120, 180, 240 or 270 degree increments.

Quick and Easy experiment:
Recall the Single Part (single Element) synth lead sound called “Feeling”
Select the Part (Part 1)
Press [EDIT]
Along the bottom tap “Elem1” to view its parameters.

While the Element is selected press [SHIFT] + [EDIT]
COPY Part 1/Element 1 to Part 1/Element 2 so we have a duplicate in Element 2
(Adding a duplicate does nothing except slightly increase output level, until we change something about it.) Detune? sure, everyone knows detune…

Now let’s navigate to the Part Common, “Part LFO”
Touch the blue “Common” in the lower left corner
Touch “Mod/Control” > “Part LFO”

There is already a Triangle LFO Wave selected
“Speed” = 39
“KeyOnReset” = 1st-On and it is set to “Loop”… fine

The first Destination is set to “Cutoff” — fine, this will make it easy to hear.
Find the DEPTH = 0 on the Cutoff line
Increase this to 100+

What you hear is the Triangle LFO Wave being applied equally to both Element 1 and 2

Move the cursor up to highlight the overall Phase current 0 degrees
At 0 degrees the filter Cutoff rises first then falls for both Elements
Change the overall Phase to 180 degrees… the filter Cutoff falls first then rises for both Elements.
when you move the parameter you can see the change in the graphic (it is dynamic - showing you the direction of movement from first note on).

Return the overall Phase to 0, for the next experiment.

Set the “Element Phase Offset” for Element 1 to 180 degrees, while Element 2 remains at 0 degrees.
Retrigger a Note (very important) to hear this change.

Experiment set each “Element Phase Offset” to differing values… be sure to retrigger a note with each setting change (it starts/resets with the “1st-On”)

Experiment with PAN (switch from Cutoff to Pan)… see if you can make one Element ‘chase’ the other around your headphones. We highly recommend switching from one CUTOFF to PAN, so you can appreciate exactly what you’re doing.
Experiment with differing Phase offsets applied to PITCH for each Element. Send the Pitch of each Element in opposite directions…
Experiment with the Loop On and Off. See how you can create dramatic one-shot movements (as well as the typical looping stuff).
Experiment with the overall Phase and use it simultaneously with different Element Phase Offsets.
Experiment with Tempo Sync values if working in context with rhythm tracks.

“KeyOnReset” set to “Each-On” probably works better with polyphonic sounds, but it’s programmer’s preference.

BTW: some elaboration on what I said before because I didn't spell it out about 1st-On and how it relates to your arpeggios. I said using 1st-On would line this up and this is true but to keep the sync going you would also need to keep the 1st note on held down. Because 1st-On says that as long as you are holding notes the LFO will not reset. When you are playing zero notes the LFO resets and without also holding the 1st LFO trigger note - you'll lose sync the next time you present a new "1st-note". What you could do is create a user ARP that holds a note forever. You can set Arp Loop to off if it's long enough to cover the entire song or make sure the note takes a full measure for the last measure then press a note again. This would limit the window of rearming (resetting) the LFO down to a measure downbeat (the "1" ) so it would help keep things aligned musically. Also set Arp Hold to ON so the ARP continues to run after you stop playing keys. And last, set the key mode to Direct+Sort such that the note will be played and also your direct keys will pass through to the tone generator.

The user Arp you create I would set as fixed and have the note a MIDI C-2 note (the lowest note). I would then take amplitude scaling and force the volume scale for C-2 as the minimum value. Therefore, C-2 will be silent and other notes will not be.

So Key On Reset (with element phase values all the same and main phase values all the same) and Part LFO tempo sync ON ...

Off - All elements' LFO clock will always be in phase with each other. Musically, the phase of the start of your music may not line up with the element LFO (it matters when you start playing relative where the LFO is at that moment. However, still all notes will have the LFO phase tracking with a constant difference between the LFO and your music and will not get off those (train) tracks.

1st-Note - All elements' LFO clock will always be in phase with each other. Musically, the phase of the LFO may not track a downbeat. If you start your 1st note on an upbeat or on a syncopated 16th or on the 2nd or 3rd note of a triplet -- then your LFO can be mis-aligned with your underlying music (say arpeggios). As long as you're holding down keys after playing the 1st note, your LFO doesn't reset.

Each-Note - The elements may not be in phase with each other. The first note you play resets the LFO for that note - the second note you play resets the LFO for that 2nd note and does not impact the LFO of the 1st note played ... and so on.

... now - one cool thing about LFOs vs Motion Sequence is that the LFO reset doesn't reset the LFOs of currently sounding elements with LFOs running. This is where Each-Note becomes a powerful tool that's not available to Motion Sequence (despite it having the same options -- the impact on the destination offsets are different). For motion sequence you are impacting say for amplitude the level/volume of all of the notes. Not only the notes that were triggered with the reset of the motion sequence - but all the currently sounding notes too. Here I'm speaking of Each-On. The reason for this is because we are offsetting the volume levels for the entire Part (including if we have element volumes as the destination) and also because past motion sequences before the motion sequence reset do not continue to run. With Each-On LFOs the LFOs follow the notes and will not be impacted by new notes. In this respect, the LFO acts like an AEG if amplitude is the destination. Motion Sequence acts differently and can't be a full "replacement" for LFOs - but ballpark you could try using MS to approximate.

When key on reset is off I am saying that every note you play will be in phase with each other. The LFO is free running. All together all notes played may not necessarily be in phase with your music (arpeggios, etc) as this depends on when those start relative to where the LFO happens to be at the time.

You can't reset the LFO when Key On Reset is off. There's no midstream reset available. Therefore all of the notes will be in sync with each other. While all of those notes in a group may or may not be in sync with the music (like an arpeggio) and depends on where the LFO happens to be when the music starts.

Only Each-On allows for currently triggered elements to have different LFO clocks running at the same time. The LFO reset follows each note and previous notes held do not have their clock/phase impacted by new notes.

1st-On doesn't let the LFO reset until you lift off all the keys. And here also all of the elements stop being triggered/sustained. Maybe there will be tails in release so my previous comments are most ideal with no release. Aside from that - when you lift off the keys all of the elements stop sounding so the next time you press a key for its "1st on" - the LFO starts over and there are no currently sounding notes sounding (because you let off the keys by definition). And therefore this mode will not have notes in the same Part out of sync with each other. All notes will run together with the same LFO clock in phase (again simplifying to the case where you have not intentionally set different elements out of phase using the Part LFO phase options).

And, to hopefully curtail confusion - when I say above that elements or notes are in sync or start together or anything regarding timing -- this is all about the LFO not the samples themselves. That's a different dimension. Something like LFO Key On Reset OFF is going to be very likely to have the start of the note be out of phase with the LFO. This start of the note (sample) is what I'm getting at when I start comparing the LFO's phase with the "musical" stuff like arpeggios -- or just where you place the downbeat when you start the tune. The "notes" can all be in phase together (talking about the LFO phase and nothing else -- all the notes have the same phase of LFO) -- and they will always have this property with Key On Reset OFF. Simultaneously the music itself may be out of phase with these LFO clocks.

You can only affect the reset by using a non-OFF option and I've submitted that 1st-On is the best tool to line up your LFO with your music if that's what you want.

You often do not want (or "need" or "care about" ) this -- which is a different story and a different thread (the OP wants tempo sync which is why my comments mostly focus on this use case).

Here's a picture.

And again - reading my comment "All notes are in phase with each other" is referring to the phase of the LFO for each note. All notes have the LFO phase in phase with all other note's LFO phase.

Also, a detail I didn't convey explicitly: the Key On Reset as OFF will start the LFO when the Performance is loaded. This is the only reset the LFO gets. It will start at the left-hand side of the graphical representation of the LFO wave (assuming all programmable phases are 0). If you save a performance with a Part LFO set at a speed of 3 (not tempo sync'd) triangle wave and destination 1 as pitch with a maximum depth on the main depth and all elements (only element 1 is needed though when using Init Normal (AWM2) since it has only one element). Save that so you can recall it. Switch out of this Performance and switch back (using the Data Dial aka jog wheel) and immediately press middle C. You'll hear the middle C (or very close to it depending on how aligned your note is with the load of the Performance). When you hear the "C" you are at the zero line of the LFO (no pitch offset). And then you will start to hear the pitch rise up. This tells you that you are starting at what would be the "reset" of the LFO say if you had key on reset as each note (or 1st note and are playing the 1st note). So the LFO is reset when the Performance is loaded. You can repeat this experiment multiple times and will always hear that notes played right on the Performance load will always have the LFO starting at the same place.

Next, do the Data Dial dance and this time wait a second or two. Press middle C. You probably won't hear the "C" - but it will already be pitch offset way high or way low. And maybe you will hear the note on its way down in pitch on a falling edge of the triangle wave. Depending on how long you wait - you'll end up in any which place the LFO happens to be. The only synchronization of the reset of the LFO is with the Performance load and of course you may start your musical time at any random time relative to the LFO's wave.

If musical sync is a goal where you place the start of the LFO waveform not just aligned with the time that the Performance is loaded but with your music then you would want to use one of the key on reset other than OFF. There are implications to each choice -- and those have been explained.

This is answering the question - if the "Key On Reset = OFF" LFO isn't reset by keys - then is it reset at all. And if so, by what?

Yes, the "Key On Reset = OFF" LFO is reset but only by the Performance load.

[quotePost id=119079]Do you have a specific use case in mind, even if you don't want to disclose it, for syncing an element LFO or were just exploring possibilities?[/quotePost] Just exploring possibilities. As the wording of my original comment here states, I'm curious as to the reasons that Yamaha refuses to allow Element LFOs to be externally clocked as (a) it would expand the uses for those LFOs and (b) be simple to implement while not taxing the CPU more.

(b) be simple to implement while not taxing the CPU more.

This is difficult for anyone except the design engineers to determine. The simplicity part. Because I imagine what you mean is that it would be "simple" to add to the current generation and tempo sync element LFOs in a firmware update.

Neither of us know if that's possible or not. The reason is that neither of us know if the element LFO sync is part of a hardened core inside an ASIC (that can't change no matter what the firmware programs) or not. That's one possibility that would severely change the "simple" designation -- it would be impossible in this case.

Another possibility is that element LFOs are implemented in programmable logic (fused, DSP, CPU, etc). And although now we enter into the realm of possibility - we don't know the rest of the system architecture to know if this would be a "simple" task or not.

We don't know if the ELFO meets timing closure using the CPU at all or not. We don't really know where exactly this lives. At least I don't. Others have looked at more patents and are exposed to more information that I have. They may have a sense - but I don't think either one of us have this sense enough to assign which resources would be required for this change and if there are free units of this resource, if it's a resource that's immovable (fixed), etc.

I do not know of another Yamaha synth that has tempo sync for the element LFO. Motif Classic didn't have this. The predecessor to the Motif line, EX7/5(R) didn't have tempo sync for the LFOs at all. The SY99 didn't have tempo sync for LFOs either. The DX1 didn't have any tempo sync. The FS1R's analogous LFOs didn't have tempo sync at all. Only the formant sequencer had options to sync to the tempo (MIDI clock).

I cannot say why it hasn't been done - but it's part of the "DNA" of the synths I'm aware of (at least from spot checking a few over the decades). Although I don't know what this means - so many generations have had the same basic structure (at least since Motif Classic to Motif ES (MO6/8), Motif XS (MOX6/8), Motif XF (MOXF6/8), Montage (MODX inc + ). Motif classic didn't have LFO depth split up differently per element. That was something rolled in. But other than that (and maybe something else minor I missed) the Motif Classic has an identical LFO configuration as the latest generation (Y) synths.

I also see this topic has been at least vocalized a handful of times on the previous forum - motifator. The wondering of why ELFO doesn't have tempo sync was never addressed. It reads like a rhetorical question in context of having no answer. And those who wondered didn't press. However, I know that Yamaha is both aware of their own architecture and also aware that customers have been wondering about this for a while.

The original question was “Why…?” Not “If…?
“Why” and “How Come” questions are mostly endless, time consuming discussions that go nowhere. And whether one believes it would be a simple thing to implement (or not) is based on pure conjecture (not any facts, at all) — it’s fun to speculate, however… I get it!

but …if/when it turns into thinking the engineers must be dumb or the product is somehow defective, crippled or somehow lacking a key feature for synthesis… well, then it’s just a rant with no real solution or satisfaction. Make your case on IdeaScale - that is just the kind of thing it exist for… not that you’ll get an answer to WHY, but you might get in sight into why such a thing is either not necessary or was tried and discarded because it just wasn’t as cool as once thought… or who knows…

The best thing to do is get in there and experiment. There is plenty to dig into… this is why it is such a great ‘desert island’ synth — you can sit and continue to discover ways to accomplish things… but, just a suggestion be goal oriented. And if you don’t have a Tempo Sync parameter on each Element, find a way to accomplish this another way.

Points of Order: “Element Phase Offset” on the Part LFO screen refers to how each of the 8 Elements relates to the Phase of the Part LFO, (not the Element LFO) — The thread begins with the established fact that to sync a program’s LFO you would do so at the Part LFO, not the Element LFO (a look at the two screen areas will tell you this, immediately). If you want to address all 8 Part Elements together with an LFO, you do so at the Part level of the architecture. That’s how it works. The eight ELFO are designed (originally) to be used for PMD (vibrato), FMD (wah), AMD (tremolo)… they expanded (extended) the LFO Speed well into the audible frequency range!

Thinking that the Part LFO would be used for vibrato, tremolo, and wah, hints at why/how the confusion began. However, in reality, it is the Element LFO that was designed for this task. The Part LFO is more for is more for integrating the Insertion Effect into the program (in addition to the usual suspects, Cutoff, Resonance, Pitch, Pan, Level, and ELFO Speed

On the Part LFO screen each Element has a Depth settings parameter… which can be set to: Off, 0-127.
“Off” is different from “0” in how the parameter behaves.
“Off” is a setting where you are opting out on the Element participating in any dynamic overall Depth changes
“0”, the sonic result represents the minimum movement, the Depth can be dynamically changed - it will participate in dynamic changes of overall Depth (which is assignable to a Controller). 127 is the maximum participation in the overall Depth being applied

Not every Element needs an LFO applied, for example, an Element assigned to be a KeyOffSound or a noise component, or a non-pitched component… you may not want it to participate in any low frequency oscillation. It will vary depending on what you’re doing.

Insertion Effect connection__ There are plenty of Tempo Driven (Insertion) Effects… which naturally have a built-in clockable LFO. The parameters within any of the Tempo-driven Types offer a variety of possibilities. Often you can use the Insertion Effect’s LFO without applying the Phaser, Flanger, or whatever the particular main function is doing.
You can individually route each Element to one, the other, both or neither of the Insertion Effects. Depending on what you are trying to accomplish you have many things to discover.

The most important thing is to have fun!

[quotePost id=119098][quotePost id=119079]Do you have a specific use case in mind, even if you don't want to disclose it, for syncing an element LFO or were just exploring possibilities?[/quotePost] Just exploring possibilities. As the wording of my original comment here states, I'm curious as to the reasons that Yamaha refuses to allow Element LFOs to be externally clocked as (a) it would expand the uses for those LFOs and (b) be simple to implement while not taxing the CPU more.[/quotePost]

A more cynical view might be that the existence of envelope followers, motion sequences and superknob assignability to macro virtual knobs that can be modulated by these all tend to indicate that they were trying to solve the problems of NOT being able to EASILY sync Element level LFOs by other means, and at some point someone decided that those solutions could be marked as Unique Selling Points, and promoted as features rather than mere remedies. Probably about the same time they realised the limitations of these approaches and whatever they really wanted to do would not be possible with the intended generation of hardware and existing software teams.

Lemonade from lemons, much like the Morph feature for FM-X parts, but on a product initiative scale.

I tend to think that just about everything that can be done on custom hardware chips (with regards both FM and AWM2) is done on the chips, in specialised ways that are optimal from a hardware point of view but largely old fashioned and antiquated in terms of modern synth expectations (modern meaning anything after about 1988). Their chips seem like very old designs benefitting from more modern manufacturing techniques and that they can at least make quite cheaply and efficiently. The MODX uses a tiny amount of energy, for what it is, I think.

Why and how did Yamaha get into this situation? I'd suggest the economic collapse in 1989, which caused ripples throughout the world, and changed corporate planning and investment in Japan more than anywhere else. It aligns with the advancement reduction that seems to be inherent in these chip designs. Yamaha was much more globally exposed to this than other Japanese music makers, and is an inherently conservative company. Perhaps they stalled and/or mothballed an enormous amount of research and development at this time, and haven't significantly restarted it since. Nor taken on new teams in software, let alone hardware design at the chip level, which was probably a step too far, at any rate.

Similarly, the 2007/8 crash caused China to recalibrate in ways we still don't yet fully understand, but not least of which you've probably heard referred to as the Belt and Road Initiative. They've attempted to shore up their business world such that it ensures the survivability of economic growth in China almost regardless of what happens to the rest of the world... and in a situation where something even worse than what might be anticipated, like the world shutting down for a virus and the climate cooling (yes, cooling, not warming, is their big fear), they've ensured that they'll have sufficient pathways to food from warmer climes such that their people don't starve and their civilisation survive.

For those of us in western economies, we try to consider economic collapses to be transitory stages of decline that we can "bounce back from" despite their being no evidence of this. Most societies and civilisations with more tangible and linear reach through the annals of world history are less optimistic and far less naive about what each stuttering and subsequent shuttering of economic systems means.

Hope the discussion about how what's available works has been helpful to some. I know I learned a bit more about some novel possibilities with LFOs that I didn't have at top of mind before really digging in. I've used LFOs in the past but I primarily will reach for, today, Motion Sequence as my LFO-ish workhorse. However, neither is a replacement for the other and I feel, for my own programming, I've breathed new life into the arena of possibilities. Since these are finer details - no telling if I will modify existing User content to utilize this or build a new one anytime soon. However, being more solid on the possibilities can't hurt to serve next time I'm creating a new sound.