Access virus os4 Benutzerhandbuch
34
CHAPTER
4
Introduction
THE FIRST OSCILLATOR
To this point, we have turned our
attention exclusively to sound-
shaping functions and have always
started with the same basic mate-
rial: a so-called sawtooth wave.
This waveshape is especially well-
suited as a neutral starting point
as it contains all of the so-called
natural scale of overtones, which
give the filter plenty of quality
material to work with.
attention exclusively to sound-
shaping functions and have always
started with the same basic mate-
rial: a so-called sawtooth wave.
This waveshape is especially well-
suited as a neutral starting point
as it contains all of the so-called
natural scale of overtones, which
give the filter plenty of quality
material to work with.
The filters, with the exception of a
notch filter or band stop (BS), trim
the far reaches of the tonal spec-
trum, so for instance a signal
sounds muddier after it has been
routed through a low pass filter.
You can well imagine that this type
of sound modification is substan-
tial but insufficient for shaping
more subtle differences in tone.
For instance the tone of a trumpet
differs significantly from that of a
saxophone even though no one
would seriously claim that either
of the instruments has a muddier
tone than the other.
notch filter or band stop (BS), trim
the far reaches of the tonal spec-
trum, so for instance a signal
sounds muddier after it has been
routed through a low pass filter.
You can well imagine that this type
of sound modification is substan-
tial but insufficient for shaping
more subtle differences in tone.
For instance the tone of a trumpet
differs significantly from that of a
saxophone even though no one
would seriously claim that either
of the instruments has a muddier
tone than the other.
What you need is a sound-shaping
option for the portion of a signal
that a filter allows to pass. And of
course you also need a tool for
determining the pitch of a signal.
In synthesizers, both of these tasks
are executed by oscillators. They
oscillate at a variable pitch that
can be modulated and they also
generate different waveshapes
which give the filters a wider vari-
ety of material to work with.
option for the portion of a signal
that a filter allows to pass. And of
course you also need a tool for
determining the pitch of a signal.
In synthesizers, both of these tasks
are executed by oscillators. They
oscillate at a variable pitch that
can be modulated and they also
generate different waveshapes
which give the filters a wider vari-
ety of material to work with.
The Virus is equipped with two
main oscillators and a so-called
suboscillator. We will first take a
look at Oscillator 1, which is the
oscillator you have already heard
in action during your experiments
thus far.
main oscillators and a so-called
suboscillator. We will first take a
look at Oscillator 1, which is the
oscillator you have already heard
in action during your experiments
thus far.
Dial in the same basic sound that
you started with at the very begin-
ning. Now modify the amplifier
envelope so you are working with
a less grating sound, but hold back
on any other filter or saturation
modifications so you can hear the
purest oscillator signal possible.
you started with at the very begin-
ning. Now modify the amplifier
envelope so you are working with
a less grating sound, but hold back
on any other filter or saturation
modifications so you can hear the
purest oscillator signal possible.
Locate the section labeled “1”, it is
bordered off in a separate area at
the far left of the section labeled
OSCILLATORS
bordered off in a separate area at
the far left of the section labeled
OSCILLATORS
. No check out the two