Access virus os2 Manuale Utente
11
The Saturation Stage
In the signal chain of the Virus, Filter 1 is followed by a saturation stage. It enables you to add overtones
to the filtered signal via distortion. Locate and press the button labeled SATURATION in the FILTERS
section. The display will read "SATURATION CURVE OFF", which means exactly what it says. With the
VALUE buttons or the VALUE pot, you can now select from a number of saturation/distortion curves.
Once you have selected a curve, the SATURATION button LED illuminates.
Regardless of what the display might indicate at any given time, this LED will always illuminate when you
have activated a saturation curve.
to the filtered signal via distortion. Locate and press the button labeled SATURATION in the FILTERS
section. The display will read "SATURATION CURVE OFF", which means exactly what it says. With the
VALUE buttons or the VALUE pot, you can now select from a number of saturation/distortion curves.
Once you have selected a curve, the SATURATION button LED illuminates.
Regardless of what the display might indicate at any given time, this LED will always illuminate when you
have activated a saturation curve.
At this point we would like to mention the OSC VOL pot in the MIXER section. The portion of the
control range from the far left to the center position (12 o’clock) determines the volume of the filter
section’s input signal. The portion of the control range located to the right of the center position (12
o’clock) does not achieve any increase in volume; it simply intensifies the degree of saturation or
distortion. This effect is only achieved when you have activated a saturation curve.
control range from the far left to the center position (12 o’clock) determines the volume of the filter
section’s input signal. The portion of the control range located to the right of the center position (12
o’clock) does not achieve any increase in volume; it simply intensifies the degree of saturation or
distortion. This effect is only achieved when you have activated a saturation curve.
Feel free to experiment with the diverse saturation curves and be sure to vary the OSC VOL settings.
Note how the different CUTOFF and RESONANCE settings influence the saturation curve.
Note how the different CUTOFF and RESONANCE settings influence the saturation curve.
The Second Filter
You probably noticed that by a adding a bit of saturation to the signal you can come up with a pretty
heavy, aggressive sound - especially with a low filter frequency level and high resonance. You’re
probably thinking these types of sounds could do with some more filtering. We had the same idea,
which is one of the reasons why we equipped the Virus with another filter per voice.
heavy, aggressive sound - especially with a low filter frequency level and high resonance. You’re
probably thinking these types of sounds could do with some more filtering. We had the same idea,
which is one of the reasons why we equipped the Virus with another filter per voice.
The technical design of this second filter is identical to the first, so we won’t discuss it in as much detail
as we did the first filter. However, there are few differences in how you handle the second filter: Only
two control features of the Virus are allocated exclusively to Filter 2: CUTOFF 2 and FILT 2 MODE. The
RESONANCE, ENV AMOUNT and KEY FOLLOW pots can be allocated to either of the two filters or both
simultaneously. Use the two SELECT buttons located at the far right of the FILTERS section to select the
desired operating mode. For instance, if you press the FILT 2 SELECT button, then the values you set via
the RESONANCE, ENV AMOUNT and KEY FOLLOW pots apply exclusively to Filter 2. The
corresponding parameters of Filter 1 remain unaffected. On the other hand, if you press both SELECT
buttons at the same time, the values that you dial in apply by the same measure to Filters 1 and 2.
as we did the first filter. However, there are few differences in how you handle the second filter: Only
two control features of the Virus are allocated exclusively to Filter 2: CUTOFF 2 and FILT 2 MODE. The
RESONANCE, ENV AMOUNT and KEY FOLLOW pots can be allocated to either of the two filters or both
simultaneously. Use the two SELECT buttons located at the far right of the FILTERS section to select the
desired operating mode. For instance, if you press the FILT 2 SELECT button, then the values you set via
the RESONANCE, ENV AMOUNT and KEY FOLLOW pots apply exclusively to Filter 2. The
corresponding parameters of Filter 1 remain unaffected. On the other hand, if you press both SELECT
buttons at the same time, the values that you dial in apply by the same measure to Filters 1 and 2.
In the sound program we are using for our experiments, the LEDs of both buttons are illuminated, so that
all adjustments to the given parameters affect both filters. However, you have yet to actually hear the
effect of Filter 2 on the signal because it is mixed out of the audible signal path of the Virus.
all adjustments to the given parameters affect both filters. However, you have yet to actually hear the
effect of Filter 2 on the signal because it is mixed out of the audible signal path of the Virus.
Before we get started with our next experiment, deactivate SATURATION, set the ENV AMOUNT of the
filter envelope to zero and set CUTOFF 2 to the center position (12 o’clock) so that Filter 2 always has
the same cutoff frequency as Filter 1 (we’ll explain CUTOFF 2 a bit later). Set CUTOFF to a medium or
middle value and turn the RESONANCE pot counter-clockwise to the far left to achieve a relatively
muddy sound. Now locate the FILTER BALANCE pot at the upper right hand of the control panel and
rotate it from the left to the right. You will note the sound becomes muddier as you turn the pot towards
the center position (12 o’clock) and that the sound is somewhat brighter at the far right of the control
range then at the far left.
filter envelope to zero and set CUTOFF 2 to the center position (12 o’clock) so that Filter 2 always has
the same cutoff frequency as Filter 1 (we’ll explain CUTOFF 2 a bit later). Set CUTOFF to a medium or
middle value and turn the RESONANCE pot counter-clockwise to the far left to achieve a relatively
muddy sound. Now locate the FILTER BALANCE pot at the upper right hand of the control panel and
rotate it from the left to the right. You will note the sound becomes muddier as you turn the pot towards
the center position (12 o’clock) and that the sound is somewhat brighter at the far right of the control
range then at the far left.
The reason for this effect is that when you turn the FILTER BALANCE pot to the far left, only Filter 1 is
audible. When you rotate the pot to the right, Filter 2 is blended in so that it follows Filter 1 in the signal
audible. When you rotate the pot to the right, Filter 2 is blended in so that it follows Filter 1 in the signal