Modulation is where patches stop behaving like polite presets and start acting like ideas with real character and depth. Anyone can dial in a basic pad or bass. The fun begins when you start asking, “What happens if I send this thing over there?” The Mod Matrix is simply a switchboard for curiosity. Route a slow LFO to pulse width, or a snappy envelope to resonance, or velocity to something that probably should not be velocity-controlled. Suddenly the sound starts to move and misbehave in ways that make you stop, listen, and grin. There is no rocket science here. It is just connecting one motion to another and seeing what happens. Once you see how many ways you can connect one thing to another, it stops feeling like a feature and starts feeling like a playground. You can shape motion, break rules, and build tones that no preset browser has ever seen before.
Each of the four modulation slots includes:
• Select Source
• Select Destination
• Select Via
• Depth Slider
Select Source
Defines what’s doing the modulating: the origin of movement. Available options include LFOs, envelopes, velocity, aftertouch, keyboard tracking, and more. Each behaves differently:
• LFOs provide periodic modulation, perfect for vibrato, tremolo, or rhythmic pulsing.
• Envelopes shape one-shot movements such as filter sweeps or attack transients.
• Performance controls (velocity, aftertouch, mod wheel) introduce dynamic, touch-sensitive expression.
Select Destination
Specifies the parameter being modulated. Nearly any Mercury-8 control can be targeted: oscillator pitch, pulse width, filter cutoff or resonance, VCA level, pan position, or even effects parameters.
Use this to inject movement into your patches. For example, send a slow LFO to filter cutoff, or route an envelope to oscillator pitch for classic analog percussive blips and zaps.
Select Via
Adds an extra level of modulation control. It's essentially a “modulator of a modulator.” It defines how much of the main modulation is applied, based on another control source.
For example:
• LFO → Pitch via Mod Wheel: vibrato that fades in as you move the wheel. (This is actually set up by default under the hood when you create a new patch with the "New" command.)
• Aftertouch → Filter Cutoff via Velocity: harder key strikes increase how sensitive the filter is to pressure.
If you leave the Via slot empty, the modulation depth remains constant according the amount that you have set with the Mod Depth Slider.
Mod Depth Slider
Sets the amount and polarity of the modulation. Move the slider up for positive modulation or down for negative (inverted) modulation. The center position represents zero modulation.
Modulation Routing Examples
The Mod Matrix isn’t just for experimental sounds, though it’s good for those, too. It’s also your tool for classic synth sounds, expressive performance controls, and creating evocative textures.
Here are a few modulation routings to spark some ideas. Be aware that these are just starting points. The Mod Matrix is designed to encourage curiosity. Mix and match sources and destinations, try subtle and extreme amounts, and don’t be afraid to modulate your modulators. The results can be extremely musical and expressive.
1. Aftertouch to Filter Cutoff
Source: Keyboard → Aftertouch
Destination: VCF Cutoff
Why it’s useful: This is a bread-and-butter mod for dynamic expression. Press harder, and the filter opens up. This is a very tactile way to add expression to pads, strings, synth horns, and more.
2. Mod Wheel to Oscillator Pulse Width
Source: Keyboard → Mod Wheel
Destination: VCO 1+2 → VCO 1+2 PW
Why it’s useful: Pulse width modulation adds harmonic movement to static waveforms. Routing it to a wheel gives you hands-on control over the timbre, perfect for expressive sweeps or animated textures in real time. Note that the wave shape
3. Filter Envelope to Oscillator 1 Pitch
Source: Env-1
Destination: VCO 1 → VCO 1Pitch
Why it’s useful: This creates a subtle pitch bend at the start of each note. Use it for analog-style “brass” or “pluck” sounds with just a bit of pitch dip or ramp to add character.
4. LFO (Random) to Filter Resonance
Source: VLFO → LFO Random
Destination: Filters → VCF Resonance
Why it’s useful: Randomized resonance modulation gives your sound a bubbling edge. This is useful for generative-type patches, glitchy effects, or unpredictable sci-fi atmospheres.
5. Aftertouch to Arpeggiator Chance
Source: Keyboard → Aftertouch
Destination: Arpeggiator → Arp Chance
Why it’s useful: Use pressure to add variety to an arpeggio while you hold a note.
6. Noise to Filter Cutoff
Source: White Noise (or Pink Noise)
Destination: Filters → VCF Cutoff
Why it’s useful: A touch of noise modulation applied to filter cutoff can add grit to a sound. Dial it in subtly.
7. Envelope 1 to LFO Rate
Source: Env-1
Destination: LFO Rate
Why it’s useful: This sets up nested modulation. Envelope 1 gradually speeds up or slows down the LFO over time. If you then route the LFO to the VCF (turn up LFO Mod in the VCF section), you will create rhythmic filter modulation that evolves as you play.
8. LFO (Sine) to Pan (VCA)
Source: LFO → LFO Sine
Destination: VCA → VCA Pan
Why it’s useful: A slow triangle wave panning the signal left and right gives instant stereo movement akin to tremolo. This is useful for ambient patches, pads, and soundscapes that travel across the stereo field.
9. LFO (Random) to Arpeggiator Swing
Source: LFO → LFO Random
Destination: Arpeggiator Swing
Why it’s useful: Randomly varying swing gives your arpeggios a quirky, humanized feel that's less rigid and more alive. Especially fun for experimental or generative patches.
Modulation Sources and Destinations
MOD SOURCES
MOD DESTINATIONS
None
None
VCO 1
VCO 1+2 Pitch
VCO 2
VCO 1+2 Fine
White Noise
VCO 1+2 PW (pulse width)
Pink Noise
VCO 1 Pitch
LFO (Sine, Saw, Square, Random)
VCO 1 Fine
Envelope 1
VCO 1 PW
Envelope 2
VCO 1 Cross Mod
Pitch Bend
VCO 2 Pitch
Mod Wheel
VCO 2 Fine
Keyboard
VCO 2 PW
Glide
VCO Source Mix
Velocity
Filters - HPF Cutoff
Aftertouch
Filters - VCF Cutoff
Mono Random
Filters - VCF Resonance
Poly Random
VCA - Volume
+10V DC
VCA - Pan
Arpeggiator CV
Unison Detune
Sequencer Lowest Note CV
ENV-1 - Attack
Sequencer Highest Note CV
ENV-1 - Decay
FX Upper LFO
ENV-1 - Sustain
FX Lower LFO
ENV-1 - Release
FX GLobal LFO
ENV-2 - Attack
ENV-2 - Decay
ENV-2 - Sustain
ENV-2 - Release
Upper/Lower Balance
Arpeggiator - Swing
Arpeggiator - Chance
Arpeggiator - Feel
Arpeggiator - Speed
Sequencer - Swing
Sequencer - Chance
Sequencer - Feel
Sequencer - Speed
FX Upper LFO Rate
FX Upper Level
FX Lower LFO Rate
FX Lower Level
FX Global LFO Rate
FX Global Level
FX Level
FX Stereo Width