Access os5 Manual De Usuario
26
CHAPTER 4
Introduction
Introduction
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 de-
termining 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 varie-
ty of material to work with.
the portion of a signal that a filter allows to
pass. And of course you also need a tool for de-
termining 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 varie-
ty of material to work with.
The VIRUS is has two main oscillators and a so-
called suboscillator. Let‘s take a look at Oscilla-
tor 1, the one you have already heard in action
during your experiments so far:
called suboscillator. Let‘s take a look at Oscilla-
tor 1, the one you have already heard in action
during your experiments so far:
Start with the same basic sound you used at
the very beginning. Now modify the amplifier
envelope to make the sound less grating, but
hold back on any other filter or saturation modi-
fications for the moment so you can hear the
pure, unadulterated oscillator.
the very beginning. Now modify the amplifier
envelope to make the sound less grating, but
hold back on any other filter or saturation modi-
fications for the moment so you can hear the
pure, unadulterated oscillator.
Oscillator 1, the one you have already heard in
action during your experiments so far:
action during your experiments so far:
Start with the same basic sound you used at
the very beginning. Now modify the amplifier
envelope to make the sound less grating, but
hold back on any other filter or saturation modi-
fications for the moment so you can hear the
pure, unadulterated oscillator.
the very beginning. Now modify the amplifier
envelope to make the sound less grating, but
hold back on any other filter or saturation modi-
fications for the moment so you can hear the
pure, unadulterated oscillator.
Press the OSC 1 button in the OSCILLATORS
section to enter the edit pages for oscillator 1.
Directly above this button are the SHAPE and
WAVE SEL/PW controls which determine the
waveform and therefore the basic sound of os-
cillator 1. The SHAPE parameter is currently set
to the exact center (value 64), and if you look at
the panel directly above the SHAPE conrol, you
will see a symbol representing a sawtooth
wave.
section to enter the edit pages for oscillator 1.
Directly above this button are the SHAPE and
WAVE SEL/PW controls which determine the
waveform and therefore the basic sound of os-
cillator 1. The SHAPE parameter is currently set
to the exact center (value 64), and if you look at
the panel directly above the SHAPE conrol, you
will see a symbol representing a sawtooth
wave.
You can definitely see why this waveshape
bears the name “sawtooth.” Press and hold a
key and slowly turn the pot clockwise. You
should be able to hear how the tone becomes
increasingly more hollow-sounding. You might
say this effect thins the sound out, but in any
case, the entire tonal spectrum is affected by an
equal measure, which is an audio result filters
are unable to achieve.
bears the name “sawtooth.” Press and hold a
key and slowly turn the pot clockwise. You
should be able to hear how the tone becomes
increasingly more hollow-sounding. You might
say this effect thins the sound out, but in any
case, the entire tonal spectrum is affected by an
equal measure, which is an audio result filters
are unable to achieve.
The waveshape that is audible when you turn
the SHAPE pot to the far right is a so-called
pulse wave. The graphical representation of this
waveshape on the control panel gives you a
good idea of its appearance. It is unique be-
cause the duration of the negative pulse is
equal to the duration of the positive pulse: It has
a so-called pulse width of 50%. The tone of a
pulse wave is different to that of a sawtooth
wave because it does not contain all overtones
in the natural overtone scale, only the odd-
numbered tones, i.e. the first (the root note that
determines the pitch), third, fifth, and so forth.
By turning the SHAPE pot from the sawtooth
control range towards the pulse control range,
you are actually dialing every other overtone out
of the mix, which explains why the sound be-
comes thinner.
the SHAPE pot to the far right is a so-called
pulse wave. The graphical representation of this
waveshape on the control panel gives you a
good idea of its appearance. It is unique be-
cause the duration of the negative pulse is
equal to the duration of the positive pulse: It has
a so-called pulse width of 50%. The tone of a
pulse wave is different to that of a sawtooth
wave because it does not contain all overtones
in the natural overtone scale, only the odd-
numbered tones, i.e. the first (the root note that
determines the pitch), third, fifth, and so forth.
By turning the SHAPE pot from the sawtooth
control range towards the pulse control range,
you are actually dialing every other overtone out
of the mix, which explains why the sound be-
comes thinner.
You can continue modifying the sound by re-
ducing the symmetrical width of the pulse
wave. In the VIRUS, you can execute this
sound-shaping measure via the WAVE SEL/PW
ducing the symmetrical width of the pulse
wave. In the VIRUS, you can execute this
sound-shaping measure via the WAVE SEL/PW
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