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VIRUS Owner’s Manual
8
FALL), then the level drops off at an increasing rate towards the minimum level much in the manner you
just experienced with the DECAY pot; If you turn the pot clockwise to the right (towards RISE), the level
rises at an increasing rate to maximum and remains there until you release the key.
just experienced with the DECAY pot; If you turn the pot clockwise to the right (towards RISE), the level
rises at an increasing rate to maximum and remains there until you release the key.
The final pot, RELEASE, determines the speed or rate at which the volume decreases when you release
the key: At low values the sound ends relatively abruptly, at high values, the sound fades out more
gradually and softly. The length of the RELEASE phase also depends on which level the amplifier curve is
at when you release the key: The lower the level, the shorter the RELEASE phase. If you dialed in a brief
DECAY or SUSTAIN-TIME phase and it ended while you held the key down then of course there will not
be an audible RELEASE phase.
the key: At low values the sound ends relatively abruptly, at high values, the sound fades out more
gradually and softly. The length of the RELEASE phase also depends on which level the amplifier curve is
at when you release the key: The lower the level, the shorter the RELEASE phase. If you dialed in a brief
DECAY or SUSTAIN-TIME phase and it ended while you held the key down then of course there will not
be an audible RELEASE phase.
The amplifier envelope can be described as a variable curve which, depending on the type and duration
of attack, hold and release data, automatically influences an imaginary volume pot (turns it up or down).
At the beginning of the note, ATTACK controls the rise or rate of increase to the maximum level. Once
the maximum level is achieved, DECAY determines the fall or rate of decrease to the SUSTAIN value,
which is infinitely variable between the minimum and maximum levels. The amplifier envelope may
remain at this value until the end of the note, fall towards the minimum level as determined by the
variable TIME value, or even rise again towards the maximum level. After the end of the note, RELEASE
controls the fall or rate of decrease to the minimum level. Consequently, the control pots labeled
ATTACK, DECAY, TIME and RELEASE control a speed or rate, where as SUSTAIN actually controls a level.
of attack, hold and release data, automatically influences an imaginary volume pot (turns it up or down).
At the beginning of the note, ATTACK controls the rise or rate of increase to the maximum level. Once
the maximum level is achieved, DECAY determines the fall or rate of decrease to the SUSTAIN value,
which is infinitely variable between the minimum and maximum levels. The amplifier envelope may
remain at this value until the end of the note, fall towards the minimum level as determined by the
variable TIME value, or even rise again towards the maximum level. After the end of the note, RELEASE
controls the fall or rate of decrease to the minimum level. Consequently, the control pots labeled
ATTACK, DECAY, TIME and RELEASE control a speed or rate, where as SUSTAIN actually controls a level.
The First Filter
Now we will take a look at a component of a synthesizer that is generally regarded as the most
important functional unit as it enables drastic sound shaping measures: the filter - or in the case of the
Virus, the two filters.
But first we will concentrate on just one of the two filters.
important functional unit as it enables drastic sound shaping measures: the filter - or in the case of the
Virus, the two filters.
But first we will concentrate on just one of the two filters.
Locate the CUTOFF pot (not to be confused with CUTOFF 2!) in the section labeled FILTERS, directly
above the section labeled AMPLIFIER. Rotate the pot to the left and right and note how the sound
becomes muddier and clearer in response to the direction in which you turn the pot. (To ensure this
effect and the following aural experiments are most pronounced, adjust the amplifier envelope so that
the Virus generates a constant level while you hold a key down).
above the section labeled AMPLIFIER. Rotate the pot to the left and right and note how the sound
becomes muddier and clearer in response to the direction in which you turn the pot. (To ensure this
effect and the following aural experiments are most pronounced, adjust the amplifier envelope so that
the Virus generates a constant level while you hold a key down).
This is how a low pass filter works: it suppresses, or in technical jargon, attenuates the higher
frequencies in a signal and allows the lower frequencies through. Think of the CUTOFF pot as a bouncer
and the Virus as your pub. You can tell it which frequencies to let in and which frequencies to keep out.
The frequencies above the so-called cutoff or filter frequency are suppressed, those below it remain
unaffected.
frequencies in a signal and allows the lower frequencies through. Think of the CUTOFF pot as a bouncer
and the Virus as your pub. You can tell it which frequencies to let in and which frequencies to keep out.
The frequencies above the so-called cutoff or filter frequency are suppressed, those below it remain
unaffected.