There isn’t really any such thing as an “audio-rate” or “video-rate” LFO.
LFO’s are by definition low frequency, often going from low end bass frequencies down to multiple second or even minute long period times.
(LZX-style) Video level outputs/inputs is a useful distinction (Do i need to have a translation module / do i get reduced “useful knob range” on the attenuators)
“oscillators” is not necessarily the best term here?
Maybe “independent source” or something like it is better.
I think i’d sort them into:
- Video rate oscillators
- Noise sources
- Ramps
- Audio rate/“Vertical rate” oscillators
- LFO’s (And other slow modulation sources)
I’d argue that a camera/screen feedback loop fits into this somewhere, maybe even replacing at least 2-3 oscillators/“sources” in a complex setup.
Another interesting thing to try is to just patch raw sound into video as vertical modulation. (e.g. have a hard key against a horizontal ramp modulated by something with a clean synth bass.)
I haven’t really started playing with sequencers and controllers in video yet, but they, and anything else that lets you change variables over time will be interesting modulation. Don’t forget the “poor musicians LFO” (e.g. wiggling a knob with your hand).
These are of course rules of thumb. As with audio synthesis, having interesting processing: keys/ mappers/ colorizers/ folders in video, reverb/ delay/ high resonance filters/ and so on in audio will allow you to get more complexity with less input.