Access os5 Manuale Utente

CHAPTER 12
Tips and tricks

TION) within a wide range of 12 decibels, , with-
out increasing the volume level. At 24 decibels,
the control range of the "Digital" SATURATION
Curve is even greater. The OSC VOL knob re-
tains its function as a volume control in Input
mode as well as in Vocoder mode.

The Shaper’s saturation response differs from
that of the other SATURATION Curves. Its char-
acteristic curve is a sine wave with several cy-
cles. The Shaper lets you radically bend signals,
whereby the results are at times reminiscent of
the spectra of linear frequency modulation. The
response of the Shaper depends largely on the
input signal. This means that the Filter-1 set-
tings have a profound impact on the outcome.
You should use Filter-2 independently of Filter-1
in order to further process the raw output signal
of the Shaper. As is the case with the other
SATURATION Curves, the OSC VOL knob is
used to tweak the characteristics that shape its
timbre . In particular in the case of the Shaper,
this knob influences the complexity of the gen-
erated sound to a considerable degree.

 

In addition to their standard function as low fre-
quency oscillators, LFO 1 and 2 can also serve
as additional, albeit simple, envelopes. When
you activate ENV mode within thr LFO EDIT
menu, the selected LFO waveform will cycle
through just once when you play a note. This
lets you use a sawtooth wave to create a ramp,

the shape of which you can vary from linear to
exponential by means of LFO Curve in the LFO
EDIT menu. The polarity of the respective
AMOUNTs determines if you end up with an as-
cending or a descending ramp. If, on the other
hand, you choose a triangle for your waveform,
you will end up with an ascending phase (at-
tack) and a descending phase (decay). The LFO
Curve parameter also lets you determine the
relative rates of the attack and decay phases.
The absolute rate of the envelope is determined
with the LFO RATE knob.

You can set the LFO Mode parameter so that
the LFOs are polyphonic or monophonic. In Po-
ly mode, the LFOs of several voices have differ-
ent phase positions. This lets you cr eate
complex modulations for pad-like sounds, and
puts an end to the sonic monotony of a “wob-
bly” monophonic LFO. In SINGLE mode, one
LFO controls several voices so that the modula-
tion will affect several voices in the same way.
This which will make the effect stand out in the
mix.

01111111111111111112

 1 LFO1
 Mode       Poly≤   

61111111111111111154

When this function is activate, the given LFO
will no longer oscillate freely; instead, it restarts
its wave cycle at the beginning of each note.

Next to the obligatory OFF position, this param-
eter has 127 further increments. These let you
chose different positions within the wave cycle
at which the LFO will start oscillating at the start
of each note.