Access virus os2 Manuale Utente
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INTRODUCTION
Dear Virus Owner,
Congratulation on your choice, the new Virus. You have purchased a cutting-edge synthesizer that
comes fully loaded with several revolutionary features. Here are just a few of the highlights:
comes fully loaded with several revolutionary features. Here are just a few of the highlights:
•
The Virus delivers the sound characteristics and tone of traditional analog synthesizers - for instance
the Prophet 5 or Memorymoog to name just two popular examples of the species - in a previously
unparalleled level of quality and handling ease. We're not kidding, the Virus actual delivers the
authentic response of an analog synth via a digital signal processor chip, although the sound
shaping and voicing options out-perform those of it historical predecessors by a considerable
margin.
the Prophet 5 or Memorymoog to name just two popular examples of the species - in a previously
unparalleled level of quality and handling ease. We're not kidding, the Virus actual delivers the
authentic response of an analog synth via a digital signal processor chip, although the sound
shaping and voicing options out-perform those of it historical predecessors by a considerable
margin.
•
The Virus offers a maximum of twelve voices. In Multi Mode, these can be allocated dynamically to
sixteen simultaneously available sounds.
sixteen simultaneously available sounds.
•
You have no less than two audio oscillators plus one suboscillator, a noise generator, two Multi
Mode filters, two envelopes, a stereo VCA, three LFOs and a saturation stage (SATURATOR) for
cascade filtering, tube and distortion effects.
Mode filters, two envelopes, a stereo VCA, three LFOs and a saturation stage (SATURATOR) for
cascade filtering, tube and distortion effects.
•
Two of the three oscillators produce 66 waveshapes, three of which are dynamically mixable so that
spectral effects are possible within the confines of a single oscillator. In conventional synthesizers,
this type of effect requires several oscillators. Synchronization and frequency modulation between
the audio oscillators delivers additional complex spectral effects that you can use for all kinds of
sound shaping purposes.
spectral effects are possible within the confines of a single oscillator. In conventional synthesizers,
this type of effect requires several oscillators. Synchronization and frequency modulation between
the audio oscillators delivers additional complex spectral effects that you can use for all kinds of
sound shaping purposes.
•
The filters can be switched in series or in parallel within the voices via several options. When you
switch the filters in series, the saturation stage is embedded between the filters. Consequently, an
overdriven filter resonance can be re-filtered within the same voice! A maximum of six filter poles
(36 dB slope!) enables radical tonal manipulations. And if for some reason these options are
insufficient for what you have in mind, the Virus features a well-engineered signal routing system
that allows you to patch the voices to the filters of other voices in parallel or in series for further
sound shaping.
switch the filters in series, the saturation stage is embedded between the filters. Consequently, an
overdriven filter resonance can be re-filtered within the same voice! A maximum of six filter poles
(36 dB slope!) enables radical tonal manipulations. And if for some reason these options are
insufficient for what you have in mind, the Virus features a well-engineered signal routing system
that allows you to patch the voices to the filters of other voices in parallel or in series for further
sound shaping.
•
You can also process two external audio signals - either two independent mono signals or a
combination stereo signal - via the filters, VCAs of the voices and the Virus' internal effects in
virtually any manner you see fit.
combination stereo signal - via the filters, VCAs of the voices and the Virus' internal effects in
virtually any manner you see fit.
•
Four of the sixteen sounds in Multi Mode feature individual (!) chorus/flanging units. You also have
a delay at your disposal. It can be routed to all sixteen sounds via the internal FX loop. All effects
process stereo signals.
a delay at your disposal. It can be routed to all sixteen sounds via the internal FX loop. All effects
process stereo signals.
•
The LFOs feature five waveshapes each, including a triangle with variable symmetry and infinitely
variable aperiodic oscillations for random variation of the controlled parameters. The LFOs are
capable of polyphonic as well as monophonic oscillation. In other words, if several voices are
active, the LFOs can run independently or in sync. A number of keyboard trigger options enable you
start LFO waveshapes with variable phase lengths at the beginning of a note and/or to cycle once
only, like an envelope.
variable aperiodic oscillations for random variation of the controlled parameters. The LFOs are
capable of polyphonic as well as monophonic oscillation. In other words, if several voices are
active, the LFOs can run independently or in sync. A number of keyboard trigger options enable you
start LFO waveshapes with variable phase lengths at the beginning of a note and/or to cycle once
only, like an envelope.
•
Sounds and effects are patched out via six audio outputs which of course can also be used to route
three stereo signals out.
three stereo signals out.