Access virus os4 Manual De Usuario
26
CHAPTER
4
Introduction
open, the filter frequency cannot
be increased regardless of how
high you set the ENV AMOUNT.
be increased regardless of how
high you set the ENV AMOUNT.
Go ahead and spend some experi-
menting with different ENV
AMOUNT
menting with different ENV
AMOUNT
, CUTOFF and RESO-
NANCE
settings for the diverse fil-
ter operating modes. Also try
varying the settings for the ampli-
fier envelope. You will find that
with just these few parameters
you are able to come up with a vast
amount of sound settings. If you
are among the many musicians
who are associative listeners, you
might say many of the settings
produce sounds reminiscent of
stringed-instruments; some sound
picked, plucked or snapped, others
sound bowed.
varying the settings for the ampli-
fier envelope. You will find that
with just these few parameters
you are able to come up with a vast
amount of sound settings. If you
are among the many musicians
who are associative listeners, you
might say many of the settings
produce sounds reminiscent of
stringed-instruments; some sound
picked, plucked or snapped, others
sound bowed.
For your next experiment set the
amplifier envelope so that you
hear a constant level when you
press and hold a note. Now deacti-
vate the filter envelope by setting
the ENV AMOUNT to 0. Set Filter-
1Filter-1 to low pass mode and
decrease the filter frequency until
you just barely hear a muddy sig-
nal when you play notes in the
mid-range.
amplifier envelope so that you
hear a constant level when you
press and hold a note. Now deacti-
vate the filter envelope by setting
the ENV AMOUNT to 0. Set Filter-
1Filter-1 to low pass mode and
decrease the filter frequency until
you just barely hear a muddy sig-
nal when you play notes in the
mid-range.
Now play a few higher and lower
notes. You will find that the lower
notes have a greater overtone con-
tent, whereas the higher notes
sound muddier and their volume
decreases until the notes are com-
pletely inaudible. You might
already suspect what this is all
about: As the notes are transposed
ever lower, more portions of the
signal fall below the cutoff fre-
quency, whereas with the notes
that are transposed ever higher,
more portions of the signal rise
above the cutoff frequency and
subsequently are suppressed until
the root note and the last audible
portion of the signal is silenced.
notes. You will find that the lower
notes have a greater overtone con-
tent, whereas the higher notes
sound muddier and their volume
decreases until the notes are com-
pletely inaudible. You might
already suspect what this is all
about: As the notes are transposed
ever lower, more portions of the
signal fall below the cutoff fre-
quency, whereas with the notes
that are transposed ever higher,
more portions of the signal rise
above the cutoff frequency and
subsequently are suppressed until
the root note and the last audible
portion of the signal is silenced.
To avoid this effect - or if desirable,
to amplify it - you have the option
of influencing the cutoff frequency
via the pitch of the note, i.e. the
note number. The degree of influ-
ence is determined by the KEY FOL-
LOW pot.
to amplify it - you have the option
of influencing the cutoff frequency
via the pitch of the note, i.e. the
note number. The degree of influ-
ence is determined by the KEY FOL-
LOW pot.
Please note that KEY FOLLOW is a
so-called bipolar parameter: Its
control range is not limited to the
positive end of the spectrum (0 to
a maximum of 127). Bipolar con-
trols effect negative values as well,
in this case from the negative
so-called bipolar parameter: Its
control range is not limited to the
positive end of the spectrum (0 to
a maximum of 127). Bipolar con-
trols effect negative values as well,
in this case from the negative