Access virus os2 Manuale Utente
VIRUS Owner’s Manual
10
determined manually. And it is definitely not always desirable that the filter frequency is brought to the
maximum level.
maximum level.
Consequently, you need a tool that limits the effective range of the filter. This is why we equipped the
Virus with a control labeled ENV AMOUNT (short for Envelope Amount). When the pot is turned
counter-clockwise to the far left, the filter has no effect on the cutoff frequency; the further you turn the
pot to the right, the greater the effect the filter envelope has on the filter frequency. The maximum level
of the envelope may lie outside the audible range when the filter has already been partially opened via
the CUTOFF pot or was manipulated via other control options. In extreme cases where the filter is
already completely open, the filter frequency cannot be increased regardless of how high you set the
ENV AMOUNT.
Virus with a control labeled ENV AMOUNT (short for Envelope Amount). When the pot is turned
counter-clockwise to the far left, the filter has no effect on the cutoff frequency; the further you turn the
pot to the right, the greater the effect the filter envelope has on the filter frequency. The maximum level
of the envelope may lie outside the audible range when the filter has already been partially opened via
the CUTOFF pot or was manipulated via other control options. In extreme cases where the filter is
already completely open, the filter frequency cannot be increased regardless of how high you set the
ENV AMOUNT.
Go ahead and spend some experimenting with different ENV AMOUNT, CUTOFF and RESONANCE
settings for the diverse filter operating modes. Also try varying the settings for the amplifier 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.
settings for the diverse filter operating modes. Also try varying the settings for the amplifier 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 deactivate the filter envelope by setting the ENV AMOUNT to 0. Set Filter 1 to low
pass mode and decrease the filter frequency until you just barely hear a muddy signal when you play
notes in the mid-range.
and hold a note. Now deactivate the filter envelope by setting the ENV AMOUNT to 0. Set Filter 1 to low
pass mode and decrease the filter frequency until you just barely hear a muddy signal 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
content, whereas the higher notes sound muddier and their volume decreases until the notes are
completely 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 frequency, 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.
content, whereas the higher notes sound muddier and their volume decreases until the notes are
completely 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 frequency, 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 influence is determined by the KEY
FOLLOW
via the pitch of the note, i.e. the note number. The degree of influence is determined by the KEY
FOLLOW
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 controls effect negative values as well, in
this case from the negative maximum of -64 through 0 an on to the positive maximum of +63.
Consequently, if this pot is set to the center position (12 o’clock or 0) the pitch of the notes
corresponding to the keys on your keyboard has no effect on the cutoff frequency. If on the other hand
you turn the KEY FOLLOW pot clockwise towards the positive control range, you will find that the filter
opens up increasingly as the pitch increases with higher notes. At lower notes, the filter closes down
again. If you turn the pot counter-clockwise towards the negative control range, the KEY FOLLOW effect
is reversed. With the Virus, you will encounter this feature - intensity control via a bipolar parameter -
again in conjunction with other modulation sources and targets.
positive end of the spectrum (0 to a maximum of 127). Bipolar controls effect negative values as well, in
this case from the negative maximum of -64 through 0 an on to the positive maximum of +63.
Consequently, if this pot is set to the center position (12 o’clock or 0) the pitch of the notes
corresponding to the keys on your keyboard has no effect on the cutoff frequency. If on the other hand
you turn the KEY FOLLOW pot clockwise towards the positive control range, you will find that the filter
opens up increasingly as the pitch increases with higher notes. At lower notes, the filter closes down
again. If you turn the pot counter-clockwise towards the negative control range, the KEY FOLLOW effect
is reversed. With the Virus, you will encounter this feature - intensity control via a bipolar parameter -
again in conjunction with other modulation sources and targets.
Now experiment as much as you like with different KEY FOLLOW settings and tune the settings via the
CUTOFF pot. And remember to bring all of the other parameters you have encountered thus far into
play.
CUTOFF pot. And remember to bring all of the other parameters you have encountered thus far into
play.