Now we’re cooking. In this example, the LFO is controlled by another LFO. LFO inception! In fact, why not have two meta-LFOs: one for modulating the rate (beats) and one for depth (gain)? Even better, their own rates differ, so the relationship between depth and rate evolves over time too.
<gain-blam gain="0.5">
<lfo-blam prop="gain" gain="0.5" beats="0.25">
<lfo-blam prop="beats" gain="0.25" beats="4"></lfo-blam>
<lfo-blam prop="gain" gain="0.4" beats="5"></lfo-blam>
</lfo-blam>
</gain-blam>
That’s much better than waggling the depth and rate controls manually and giving myself a sore wrist.
To further demonstrate the flexibility of HYPERBLAM LFOs, a companion LFO is used to control (sweep) the pan parameter of the <pan-blam> element. Dynamic panning is the kind of studio effect Jimi Hendrix employed liberally and has since gone out of favour. Probably because it makes you lose your balance when listening on headphones.