Access virus kc Manual De Usuario
28
CHAPTER 4
Introduction
Introduction
Locate the pot labeled DETUNE and slowly ro-
tate it to the right from the far left position
(which is preset in the sound program). You can
hear the tone start to waver and as you turn the
pot further to the right, how this vibrato effect
increases until Oscillator 2 sounds distinctly out
of tune with Oscillator 1. This wavering or vibra-
to-type effect has a popular traditional in syn-
thesizers. It is used to achieve chorus effects,
create sounds reminiscent of stringed instru-
ments/ string sections or simply beef up the
sound.
tate it to the right from the far left position
(which is preset in the sound program). You can
hear the tone start to waver and as you turn the
pot further to the right, how this vibrato effect
increases until Oscillator 2 sounds distinctly out
of tune with Oscillator 1. This wavering or vibra-
to-type effect has a popular traditional in syn-
thesizers. It is used to achieve chorus effects,
create sounds reminiscent of stringed instru-
ments/ string sections or simply beef up the
sound.
The SEMITONE pot enables you to transpose
Oscillator 2 by plus/minus four octaves in semi-
tone steps while Oscillator 1 maintains the
pitch. This feature is especially interesting when
used in conjunction with two other oscillator
functions: synchronization and frequency mod-
ulation.
Oscillator 2 by plus/minus four octaves in semi-
tone steps while Oscillator 1 maintains the
pitch. This feature is especially interesting when
used in conjunction with two other oscillator
functions: synchronization and frequency mod-
ulation.
Locate and activate the SYNC button in the
OSCILLATORS section (the LED must illumi-
nate). The synchronization function forces Os-
cillator 2 to restart its wave cycle at the same
time as Oscillator 1 waveshape starts its cycle.
The initial effect of this measure is that the wa-
vering tone that resulted from detuning and
mixing the oscillator signals disappears.
OSCILLATORS section (the LED must illumi-
nate). The synchronization function forces Os-
cillator 2 to restart its wave cycle at the same
time as Oscillator 1 waveshape starts its cycle.
The initial effect of this measure is that the wa-
vering tone that resulted from detuning and
mixing the oscillator signals disappears.
The SYNC effect really becomes interesting
when you transpose Oscillator 2 upwards in
comparison to Oscillator 1 via the SEMITONE
when you transpose Oscillator 2 upwards in
comparison to Oscillator 1 via the SEMITONE
pot. What happens is that the wave cycle of Os-
cillator 2 is interrupted as soon as Oscillator 1
starts its cycle. The pitch of the second oscilla-
tor no longer has the expected effect, instead it
generates special tones, in some cases for lack
of a better description “screaming” type effects.
cillator 2 is interrupted as soon as Oscillator 1
starts its cycle. The pitch of the second oscilla-
tor no longer has the expected effect, instead it
generates special tones, in some cases for lack
of a better description “screaming” type effects.
The other effect that benefits from manipulating
the interval between the oscillators is frequency
modulation (FM). It generates new tonal spectra
in which the signal of the first oscillator controls
the frequency of the second oscillator similar to
the manner in which filters can be controlled via
envelopes. And here too you have a pot which
allows you to control the intensity of: FM
AMOUNT. Basically, this effect is similar to a vi-
brato, although here you’re dealing with an ex-
tremely fast vibrato featuring a frequency within
the range of human hearing. This signal is not
actually audible as a vibrato effect. Instead,
you’ll hear a sound modulation, in some cases,
a very drastic one at that. Choose the pure sine
waveshape for Oscillator 2. In conjunction with
the sine wave, the frequency modulation gener-
ates very clear, in some cases bell-like, spectra.
the interval between the oscillators is frequency
modulation (FM). It generates new tonal spectra
in which the signal of the first oscillator controls
the frequency of the second oscillator similar to
the manner in which filters can be controlled via
envelopes. And here too you have a pot which
allows you to control the intensity of: FM
AMOUNT. Basically, this effect is similar to a vi-
brato, although here you’re dealing with an ex-
tremely fast vibrato featuring a frequency within
the range of human hearing. This signal is not
actually audible as a vibrato effect. Instead,
you’ll hear a sound modulation, in some cases,
a very drastic one at that. Choose the pure sine
waveshape for Oscillator 2. In conjunction with
the sine wave, the frequency modulation gener-
ates very clear, in some cases bell-like, spectra.
In the VIRUS you have the option of combining
the two functions called oscillator synchroniza-
tion (SYNC) and frequency modulation (FM
AMOUNT, to generate new harmonic spectra.
Switch SYNC on and experiment with the FM
AMOUNT. Also try out different SEMITONE set-
tings and the diverse waveshapes of Oscilla-
tor.The VIRUS is equipped with a third master
oscillator that lets you create further oscillations
and spectra. You can access the parameters of
this oscillator, which are described in a later
chapter, via the OSCILLATOR EDIT menu.
the two functions called oscillator synchroniza-
tion (SYNC) and frequency modulation (FM
AMOUNT, to generate new harmonic spectra.
Switch SYNC on and experiment with the FM
AMOUNT. Also try out different SEMITONE set-
tings and the diverse waveshapes of Oscilla-
tor.The VIRUS is equipped with a third master
oscillator that lets you create further oscillations
and spectra. You can access the parameters of
this oscillator, which are described in a later
chapter, via the OSCILLATOR EDIT menu.
48
48
-
0
48
48
DETUNE 2 / 3
DETUNE 2 / 3
SHAPE
SHAPE
/ PW
/ PW
WAVE SEL
WAVE SEL
SEMITONE
SEMITONE
FM AMOUNT
FM AMOUNT
EDIT
EDIT
SYNC
SYNC
SELECT
SELECT
OSC 3
OSC 3
OSC 2
OSC 2
OSC 1
OSC 1
0
6
12
12
0
6
12
12
0
6
12
12
OSC 3
OSC 3
ON
ON
WAVE
WAVE
OSCILLATORS
OSCILLATORS
AUDITION
AUDITION