On the 2nd LFO, FM Part, set Amplitude to max for each operator, and use a square wave, and slow beat, like a rate of 8.

This is so you can distinctively hear what the LFO is doing.

Turn OFF "Key on Reset"... you'd think this would be free running and aligned... it's not.

The LFO's are being somewhat generated, in a pool, that means if you mash a HUGE chord, they'll all line up. But if you play in, sequentially, the pool will be all over the place in terms of phase, and any subsequent massive chord will also inherent all these out-of-phase characteristics... but, sometime later, the pool seems to reset, and you can align them once more.

Thanks, Andrew.

Yes, the Part LFO is well behaved as I've described before and the element LFO doesn't have any synchronization even with itself. At the element or LFO2 level, you get two choices. Key On Reset is either on or off. With off one would expect there's only one clock to rule them all. Not so. Each note pressed still gets a pseudo-random start to the ELFO or LFO2. If you have any two notes in sync no matter what you do, you're lucky.

Slow ELFOs/LFO2s are not very useful if sync from note to note is your goal.

If you make the Part monophonic then you can also hide the lack of alignment because you'll avoid having two notes playing simultaneously.

If what you want is a randomized, hardly ever sync'd ELFO/LFO2 from note to note played then this is provided in spades.

We just need 21 more Part LFO destinations (slots) because those are well behaved and would give all 8 elements a "good" LFO for the Amp/Pitch/Filter to pick up the slack of the synchronization that's a bit wonky on the Element LFO/LFO2 side. Somewhat tongue in cheek given how unlikely this is.

I'm not saying anything Andrew didn't already say.