Access virus os4 Manuale Utente
12
CHAPTER
3
Prologue
With the benefit of two external
audio inputs, the Virus may also
serve as an FX device and signal
processor that you can use cre-
atively to come up with all kinds of
effects. External signals can be
processed with filter, gate and lo-fi
effects, routed to the Virus effects
section and serve as a modulation
source for frequency and ring mod-
ulation.
audio inputs, the Virus may also
serve as an FX device and signal
processor that you can use cre-
atively to come up with all kinds of
effects. External signals can be
processed with filter, gate and lo-fi
effects, routed to the Virus effects
section and serve as a modulation
source for frequency and ring mod-
ulation.
Beyond that, you can use internal
or external signals as sources for
the Virus’ on-board vocoder serve.
The vocoder works with up to 32
filter bands and offers diverse
manipulation and modulation
options.
or external signals as sources for
the Virus’ on-board vocoder serve.
The vocoder works with up to 32
filter bands and offers diverse
manipulation and modulation
options.
The three main oscillators produce
66 waveshapes, three of which are
dynamically mixable so that spec-
tral effects are possible within the
confines of a single oscillator. In
conventional synthesizers, this
type of effect requires several oscil-
lators. Synchronization, frequency
modulation and ring modulation
between the audio oscillators
delivers additional complex spec-
tral effects that you can use for all
kinds of sound shaping purposes.
66 waveshapes, three of which are
dynamically mixable so that spec-
tral effects are possible within the
confines of a single oscillator. In
conventional synthesizers, this
type of effect requires several oscil-
lators. Synchronization, frequency
modulation and ring modulation
between the audio oscillators
delivers additional complex spec-
tral 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.
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.
The LFOs feature 68 continuous
variable waveshapes each, includ-
ing a triangle with variable sym-
metry and infinitely variable
aperiodic oscillations for random
variation of the controlled parame-
ters. The LFOs are capable of poly-
phonic as well as monophonic
oscillation. In other words, if sev-
eral voices are active, the LFOs can
run independently or in sync. A
number of keyboard trigger
options enable you start LFO wave-
shapes with variable phase lengths
at the beginning of a note and/or
to cycle once only, like an envelope.
variable waveshapes each, includ-
ing a triangle with variable sym-
metry and infinitely variable
aperiodic oscillations for random
variation of the controlled parame-
ters. The LFOs are capable of poly-
phonic as well as monophonic
oscillation. In other words, if sev-
eral voices are active, the LFOs can
run independently or in sync. A
number of keyboard trigger
options enable you start LFO wave-
shapes with variable phase lengths
at the beginning of a note and/or
to cycle once only, like an envelope.
Next to the numerous ”hard-
wired” or fixed modulation config-
urations, you can assign three
modulation sources to up to six
different modulation destinations
wired” or fixed modulation config-
urations, you can assign three
modulation sources to up to six
different modulation destinations