Auto-faders, visualized.

Use LFO Rack to solve a variety of creative problems.

Horses gallop around the audience.

QLab's Spatial unit moves a proximity point around a circular path. Whichever crosspoint sits nearest that point plays loudest, and its immediate neighbors pick up the rest — so as the point completes a lap, the sound gallops from speaker to speaker around the room, the way hoofbeats would pass a grandstand.

Crickets and katydids trade off after dark

Two phase-inverted LFO lanes, each insect owning its own speakers — crickets on 1/4/6, katydids on 3/5/7. The fader never drops below 40%: a nighttime bed like this never actually goes silent, it just recedes and lets the other layer come forward.

Subtle shifts in daytime ambience.

Two Multi units drive all 7 crosspoints at once, phase-offset from each other — every fader carries two ticks that sit exactly opposite one another, but the wave itself rolls across faders 1→7 rather than all seven moving together. Same mechanism as the nighttime bed, different cast and a much slower rate.

The frequency spectrum breathes as tracks trade off.

Two identical tracks, one filtered low-pass and one high-pass, crossfade against each other on inverse LFO lanes. As Track A LPF rises the top end opens up; as Track A HPF rises the low end thickens back in — the spectrum tilts back and forth instead of a simple volume swap.

Design Applications:

• Using random offset LFO shapes are especially effective in creating movement and interest in soundscapes without being distracting — a "how did you do that?" effect.
• Add subtle sweeping interest to ambient sounds — city rumble, room tone, suburban, or forest sounds.
• Create subtle musical filter sweeps in underscore, background music, or pedal tones.