The 10 misc effects of the Motif ES at their default settings, one per row. Every column uses one scale from top to bottom, so anything that looks bigger, faster or brighter in one row than in another really is.
In plain terms: read across a row to get one effect's character, read down a column to compare them all on one quality. Click a column title to sort by it; click a row to open that effect's controls. Under the board: each effect's controls setting by setting, then 4 detailed charts, closed until you open them.
Miscclick a row for its controlsFor the equalisers: each band's gain at its lowest and at its highest setting, drawn against the flat default. Bass on the left, treble on the right; above the middle line is boosted, below is cut. One colour per band.The pitch of the ring modulator's own tone, which the sound is multiplied by, as OSC Freq Coarse goes from lowest to highest (LFO off). Read from a 440 Hz sine: the two tones that come out sit the carrier's pitch either side of 440 Hz. Fine is the range of the Fine control at the default Coarse.The effect's tone at its default settings: bass left, treble right; above the line is boosted, below is cut.+1 = the same on both sides (sits in the middle), 0 = unrelated (wide), below 0 = opposite. The mark is 0.
sort by:
2-Band EQ
EQ bands, full cut and full boost
-12 to +13 dB
Carrier pitch
—
Tone
Left against right
+0.79
3-Band EQ
EQ bands, full cut and full boost
-12 to +19 dB
Carrier pitch
—
Tone
Left against right
+0.79
Ambience
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
-0.70
Beat Change
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
+0.89
Dynamic Filter
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
+0.81
Dynamic Ring Modulator
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
+0.76
Harmonic Enhancer
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
+0.88
Ring Modulator
EQ bands, full cut and full boost
—
Carrier pitch
Coarse 6 Hz to 8.6 kHz · Fine 70 Hz to 170 Hz
Tone
Left against right
+0.79
Talking Modulator
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
+1.00
Voice Cancel
EQ bands, full cut and full boost
—
Carrier pitch
—
Tone
Left against right
+0.14
Controls, setting by setting
One sheet per effect. Every tested setting of a control sits next to the others on the same axes, with the default setting drawn as a thin line inside each cell, so a small difference between two settings is two neighbouring cells, not two screens.
ring colour: barely changes the soundchanges it a lot▬ first 200 ms after a click▬ tone against the default
2-Band EQevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
EQ High Gain
all settings together
low → high
52
58
64 · default
70
76
raises everything above ~102 Hz by up to 24 dB
EQ Low Gain
all settings together
low → high
52
58
64 · default
70
76
raises everything below ~154 Hz by up to 16 dB
EQ bands moving
EQ High Freq
low → high
EQ Low Freq
low → high
The EQ frequency and width controls, each stepped with its own band at full boost (at flat gain they have nothing to move). Every tested setting is overlaid, low setting cyan to high setting amber, against the same band at flat gain: bass left, treble right, top and bottom are 24 dB up and down. Where a peak could be followed, the cell after it gives its pitch or width at each end of the control.
two controls together
EQ Low Gain, with EQ High Gain low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
3-Band EQevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
Input Mode
all settings together
low → high
0
1 · default
side-signal survival -55 → -0 dB
EQ Low Gain
all settings together
low → high
52
58
64 · default
70
76
raises everything below ~117 Hz by up to 16 dB
EQ High Gain
all settings together
low → high
52
58
64 · default
70
76
raises everything above ~102 Hz by up to 24 dB
EQ Mid Gain
all settings together
low → high
52
58
64 · default
70
76
raises a band around 978 Hz by up to 17 dB (~1.3 octaves wide)
EQ bands moving
EQ High Freq
low → high
EQ Low Freq
low → high
EQ Mid Freq
low → high
EQ Mid Freq
109 → 15,894 Hz at the peak
EQ Mid Width
low → high
EQ Mid Width
6.22 → 0.546 octaves wide at half height
The EQ frequency and width controls, each stepped with its own band at full boost (at flat gain they have nothing to move). Every tested setting is overlaid, low setting cyan to high setting amber, against the same band at flat gain: bass left, treble right, top and bottom are 24 dB up and down. Where a peak could be followed, the cell after it gives its pitch or width at each end of the control.
two controls together
EQ High Gain, with EQ Low Gain low / high
one changes the other
EQ Mid Gain, with EQ High Gain low / high
one changes the other
EQ Mid Gain, with EQ Low Gain low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Ambienceevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
Stepped with these probes too, and the reading did not move: Delay Time.
two controls together
EQ High Gain, with EQ Low Gain low / high
one changes the other
EQ High Gain, with Delay Time low / high
they simply add
Wet Output Phase, with EQ High Gain low / high
they simply add
Wet Output Phase, with Delay Time low / high
neither changes the tone
EQ Low Gain, with Delay Time low / high
they simply add
Wet Output Phase, with EQ Low Gain low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: EQ High Freq, EQ Low Freq.
Beat Changeevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
DryWet
all settings together
low → high
1
32
64
95
127
early energy arrives by 0 → 25 ms by raw 32, then early energy arrives by 25 → 0 ms by raw 127
Beat Change
all settings together
low → high
0
31
63
95
127
modulation depth 0.22 → 0.62 by raw 63, then modulation depth 0.62 → 0.22 by raw 127; also early energy arrives by 33 → 136 ms
Pitch Change
all settings together
low → high
0
31
63
95
127
modulation depth 0.23 → 0.61 by raw 63, then modulation depth 0.61 → 0.22 by raw 127; also early energy arrives by 135 → 30 ms
EQ Gain
all settings together
low → high
52
58
64 · default
70
76
stereo width 0.19 → 0.47; also raises a band around 327 Hz by up to 13 dB (~1.1 octaves wide)
Accuracy Type
all settings together
low → high
0
1
2
3
4 · default
5
6
7
8
stereo width 0.24 → 0.35
measured as
Pitch Change
5.77 → 8.19 Hz LFO rate
What each control does in physical units, from the probes made for it: the line is the reading as the control goes from its lowest setting (left) to its highest (right), and the numbers under it are the reading at those two ends. Each cell has its own height scale.
two controls together
Pitch Change, with Beat Change low / high
one changes the other
Beat Range, with Beat Change low / high
one changes the other
Accuracy Type, with Beat Change low / high
one changes the other
EQ Gain, with Pitch Change low / high
one changes the other
EQ Gain, with Beat Change low / high
one changes the other
Beat Range, with Pitch Change low / high
one changes the other
Accuracy Type, with Pitch Change low / high
one changes the other
Accuracy Type, with EQ Gain low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Beat Range, EQ Freq, EQ Width, Pitch Range.
Dynamic Filterevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
Dyna Level Offset
all settings together
low → high
0
31
63
95
127
raises a band around 7.1 kHz by up to 28 dB (~2.9 octaves wide); also changes output level by +16.0 dB
EQ High Gain
all settings together
low → high
52
58
64 · default
70
76
raises everything above ~217 Hz by up to 24 dB; also changes output level by +11.7 dB
Resonance
all settings together
low → high
0
31
63
95
127
3rd harmonic -48 → -19 dB; also early energy arrives by 0 → 1 ms
EQ Low Gain
all settings together
low → high
52
58
64 · default
70
76
raises everything below ~144 Hz by up to 16 dB; also changes output level by +7.9 dB
Direction
all settings together
low → high
0 · default
1
early energy arrives by 0 → 0 ms; also raises everything above ~8.8 kHz by up to 17 dB
Filter Type
all settings together
low → high
0 · default
1
2
3
4
5
stereo width 0.31 → 0.07 by raw 3, then stereo width 0.07 → 0.36 by raw 5; also lowers a band around 694 Hz by up to 23 dB (~3.1 octaves wide)
DryWet
all settings together
low → high
1
32
64
95
127
raises a band around 3.6 kHz by up to 17 dB (~1.4 octaves wide); also early energy arrives by 0 → 0 ms
Dyna Threshold
all settings together
low → high
0
31
63
95
127
spectral tilt 0.03 → -0.28 dB/oct
Sensitivity
all settings together
low → high
0
31
63
95
127
how much louder plucks brighten the sound 0.01 → 0.11 oct per 10 dB
two controls together
Direction, with Sensitivity low / high
one changes the other
Resonance, with Sensitivity low / high
one changes the other
Direction, with Resonance low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Attack Time, EQ High Freq, EQ Low Freq, Release Curve, Release Time.
Dynamic Ring Modulatorevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
Dyna Level Offset
all settings together
low → high
0
31
63
95
127
early energy arrives by 0 → 135 ms
LPF Cutoff Freq
all settings together
low → high
34
40
47
53
60 · default
early energy arrives by 0 → 177 ms
DryWet
all settings together
low → high
1
32
64
95
127
early energy arrives by 0 → 176 ms; also 2nd harmonic -77 → -26 dB
EQ High Gain
all settings together
low → high
52
58
64 · default
70
76
raises a band around 2.6 kHz by up to 24 dB (~0.4 octaves wide); also changes output level by +9.9 dB
Sensitivity
all settings together
low → high
0
31
63
95
127
lowers a band around 2.7 kHz by up to 32 dB (~0.7 octaves wide)
EQ Low Gain
all settings together
low → high
52
58
64 · default
70
76
lowers a band around 2.2 kHz by up to 21 dB (~0.6 octaves wide); also changes output level by +9.3 dB
HPF Cutoff Freq
all settings together
low → high
0 · default
13
26
39
52
changes output level by -8.9 dB; also stereo width 0.35 → 0.13
Direction
all settings together
low → high
0 · default
1
lowers a band around 2.7 kHz by up to 30 dB (~0.7 octaves wide)
LPF Cutoff Freq, with Dyna Level Offset low / high
one changes the other
Dyna Threshold, with Sensitivity low / high
one changes the other
Sensitivity, with LPF Cutoff Freq low / high
one changes the other
Release Time, with Attack Time low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Harmonic Enhancerevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
Drive
all settings together
low → high
0
31
63
95
127
THD at full input -100 → -39 dB
Mix Level
all settings together
low → high
0
31
63
95
127
THD at full input -98 → -43 dB
HPF Cutoff Freq
all settings together
low → high
0
14
29
43
58
THD at full input -49 → -98 dB
measured as
Drive
-103 → -55.3 dB THD
Drive
-86.6 → -47.2 dB intermodulation (two tones at −30 dBFS)
What each control does in physical units, from the probes made for it: the line is the reading as the control goes from its lowest setting (left) to its highest (right), and the numbers under it are the reading at those two ends. Each cell has its own height scale.
two controls together
Mix Level, with Drive low / high
one changes the other
HPF Cutoff Freq, with Mix Level low / high
one changes the other
HPF Cutoff Freq, with Drive low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Ring Modulatorevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
DryWet
all settings together
low → high
1
32
64
95
127
THD at full input -99 → 12 dB
OSC Freq Coarse
all settings together
low → high
0
31
63
95
127
THD at full input -50 → 39 dB
OSC Freq Fine
all settings together
low → high
0
31
63
95
127
THD at full input 9 → 37 dB
LFO Depth
all settings together
low → high
0
31
63
95
127
THD at full input -10 → 10 dB
LPF Cutoff Freq
all settings together
low → high
34
40
47
53
60 · default
early energy arrives by 59 → 16 ms; also raises a band around 5.1 kHz by up to 23 dB (~2.9 octaves wide)
LFO Speed
all settings together
low → high
0
31
63
95
127
THD at full input -8 → 0 dB
EQ Low Gain
all settings together
low → high
52
58
64 · default
70
76
THD at full input 17 → 10 dB
EQ High Gain
all settings together
low → high
52
58
64 · default
70
76
THD at full input 5 → 12 dB
HPF Cutoff Freq
all settings together
low → high
0 · default
13
26
39
52
THD at full input 12 → 18 dB
EQ Low Freq
all settings together
low → high
0
10
20 · default
30
40
3rd harmonic -39 → -44 dB by raw 20, then 3rd harmonic -44 → -39 dB by raw 40; also 2nd harmonic -40 → -36 dB by raw 20, then 2nd harmonic -36 → -38 dB by raw 40
LFO Wave
all settings together
low → high
0 · default
1
THD at full input 8 → 12 dB
EQ High Freq
all settings together
low → high
0
14
29
43
58
THD at full input 14 → 11 dB
measured as
LFO Depth
58.8 → 76.9 cents pitch swing
LFO Speed
0.283 → 5.2 Hz LFO rate
OSC Freq Coarse
25.1 → 6.75 Hz LFO rate
OSC Freq Fine
3.57 → 2.1 Hz LFO rate
What each control does in physical units, from the probes made for it: the line is the reading as the control goes from its lowest setting (left) to its highest (right), and the numbers under it are the reading at those two ends. Each cell has its own height scale.
two controls together
LPF Cutoff Freq, with OSC Freq Coarse low / high
one changes the other
LFO Depth, with OSC Freq Coarse low / high
one changes the other
LFO Depth, with LFO Speed low / high
one changes the other
OSC Freq Fine, with OSC Freq Coarse low / high
one changes the other
LPF Cutoff Freq, with OSC Freq Fine low / high
one changes the other
LFO Depth, with OSC Freq Fine low / high
one changes the other
LPF Cutoff Freq, with LFO Depth low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Talking Modulatorevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
Output Level
all settings together
low → high
0
31
63
95
127
raw 0 mutes the output; changes output level by +10.0 dB
Vowel
all settings together
low → high
0 · default
1
2
3
4
3rd harmonic -22 → -33 dB; also lowers a band around 10.1 kHz by up to 13 dB (~1.0 octaves wide)
Drive
all settings together
low → high
0
31
63
95
127
lowers a band around 565 Hz by up to 22 dB (~1.1 octaves wide); also early energy arrives by 0 → 0 ms
measured as
Drive
-85.6 → -83.3 dB intermodulation (two tones at −30 dBFS)
What each control does in physical units, from the probes made for it: the line is the reading as the control goes from its lowest setting (left) to its highest (right), and the numbers under it are the reading at those two ends. Each cell has its own height scale.
Stepped with these probes too, and the reading did not move: Drive.
two controls together
Drive, with Vowel low / high
one changes the other
Move Speed, with Vowel low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Move Speed.
Voice Cancelevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch).
High Adjust
all settings together
low → high
0
6
13 · default
19
26
early energy arrives by 0 → 2 ms; also lowers everything above ~7.6 kHz by up to 34 dB
Low Adjust
all settings together
low → high
0
6
13 · default
19
26
side-signal survival 21 → 1 dB
two controls together
High Adjust, with Low Adjust low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Detailed charts
The measurements behind the board, at full size, each with what it shows, how to read it and what it found.
In plain terms: the board gives the comparison at a glance; open one of these when you want the full picture of a single quality.
The pitch of its own tone against the two OSC Freq controls
What it shows. A ring modulator multiplies the sound by a tone of its own, the carrier. This is the carrier's pitch at every tested setting of OSC Freq Coarse and of OSC Freq Fine, with the LFO off so the pitch holds still.
How to read it. The control's setting runs left to right, the carrier's pitch upward, each step up a multiple. The pitch is read from a 440 Hz sine: the two tones that come out sit the carrier's pitch either side of 440 Hz.
What it found.
Coarse takes the carrier from 6.0 Hz at setting 0 to 8,607 Hz at setting 127.
Fine moves it from 70.0 to 169.7 Hz between setting 0 and 127, with Coarse at its default.
2-Band EQ: each EQ band moving, with its gain at maximum
What it shows. The 2-Band EQ's EQ frequency and width controls, each stepped from its lowest to its highest tested setting while its own band is at full boost. At flat gain these controls have nothing to move, which is why they showed no change before.
How to read it. Bass on the left, treble on the right; the height is how much that pitch is boosted compared with the same band at flat gain. One line per control; press play or drag the slider to step every control up together, and the legend gives each one's setting at that step.
What it found.
No peak could be followed cleanly enough to put a number on.
The low and high bands are broad slopes with no single point to follow, so they are drawn and not given a number.
3-Band EQ: each EQ band moving, with its gain at maximum
What it shows. The 3-Band EQ's EQ frequency and width controls, each stepped from its lowest to its highest tested setting while its own band is at full boost. At flat gain these controls have nothing to move, which is why they showed no change before.
How to read it. Bass on the left, treble on the right; the height is how much that pitch is boosted compared with the same band at flat gain. One line per control; press play or drag the slider to step every control up together, and the legend gives each one's setting at that step.
What it found.
EQ Mid Freq moves the peak from 109 to 15,894 Hz as it goes from setting 0 to 58.
EQ Mid Width narrows the peak from 6.2 to 0.5 octaves at half height as it goes from setting 10 to 120.
The low and high bands are broad slopes with no single point to follow, so they are drawn and not given a number.
Which controls depend on each other
What it shows. Every pair of controls that was recorded at all four corners, each control at its low and its high test setting, for the Misc effects. For each pair: what the second control does to the tone with the first one low, what it does with the first one high, and how far apart those two are as a share of the larger.
How to read it. One dot is one pair; hover for which. At the left edge the second control does the same thing wherever the first one is, so the two simply add. At the right edge it does something at one end of the first control and nothing, or the opposite, at the other. The same pairs are drawn as curves on each effect's sheet above, under two controls together.
What it found.
Of 38 pairs in which the second control changes the tone, 35 are ones where the first control changes what the second does.
The pair furthest apart is Direction with Sensitivity on Dynamic Filter.
Tone only is compared, smoothed over about two thirds of an octave, so a change in timing alone does not show here.
On an effect that moves by itself part of any gap is the movement caught at a different moment.
Each effect's written breakdown, its measurement card and every single-control chart are on the
detail page (large).