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ACCESS VIRUS OS4

Oscillators

quency sounds than it is with 
higher-frequency sounds. This is 
due to the fact that the LFO fre-
quency does not follow the pitch. 
You can compensate for this effect 
by activating and adjusting the 
function LFO1 KEYFOLLOW. When 
you set LFO1 KEYFOLLOW to a value 
of 127, the LFO rate will follow 
whatever pitch you play precisely 
(in octaves).

To come up with a fatter sound, 
you should also dial in the second 
oscillator (set OSC BALANCE to the 

center position) and use DETUNE 
to do just that to its pitch (relative 
to the first oscillator).

Next to LFO1, LFO3 is also able to 
generate pulse width modulation. 
However, unlike LFO1, LFO3’s mod-
ulation algorithm was tweaked 
specifically to deliver what we con-
sider hip pulse width modulations. 
Note that LFO3 PWM often delivers 
smoother results, particular a 
softer, tighter sound for pads. 
Another advantage of LFO3 is that 
it frees up LFO1 so that you can use 
it for other sonic chores. By the 
way, KEYFOLLOW should also be 
activated for LFO3.

On the Virus, Oscillator 1 is always 
the component that determines 
the frequency for the two func-
tions oscillator synchronization 
(SYNC) and frequency modulation 
(FM). This means that you can use 
both of these options at the same 
time. With frequency modulation, 
you can create extremely complex 
spectra, whereby inharmonic fre-
quency components are filtered 
out (so to speak) in the course of