Access os5 Manuale Utente
ACCESS VIRUS OS5
155
Volume Control
In contrast to ENV mode (which is available in-
dependently of KEY TRIG PHASE), an LFO with
KEY TRIG PHASE will continue to oscillate once
it has been triggered. In other words, in be-
haves like a “real" LFO rather than an envelope.
dependently of KEY TRIG PHASE), an LFO with
KEY TRIG PHASE will continue to oscillate once
it has been triggered. In other words, in be-
haves like a “real" LFO rather than an envelope.
This triggering option will also work when the
LFO is synced up to the master clock. This
means that synced LFOs can be triggered via
note-on messages. The LFO rate, however, is
still determined via the master clock and/or
MIDI clock.
LFO is synced up to the master clock. This
means that synced LFOs can be triggered via
note-on messages. The LFO rate, however, is
still determined via the master clock and/or
MIDI clock.
01111111111111111112
1 LFO 1
TrigPhase Off≤
TrigPhase Off≤
61111111111111111154
EXTERNAL LFO TRIGGER
You can also trigger an LFO at any time by
means of a controller, in other words, restart its
waveform cycle via remote control. LFO1 mode
(Ctr #70), LFO2 mode (Ctr #82) and LFO3 mode
provision controllers that you can use for this
purpose (Parameter B 9, see the parameter
d o c u m e n t a t i o n i n t h e “ A p p e n d i x ” o n
page 161).
means of a controller, in other words, restart its
waveform cycle via remote control. LFO1 mode
(Ctr #70), LFO2 mode (Ctr #82) and LFO3 mode
provision controllers that you can use for this
purpose (Parameter B 9, see the parameter
d o c u m e n t a t i o n i n t h e “ A p p e n d i x ” o n
page 161).
FILT GAIN
LFO1 lets you modulate the volume of a voice.
You’ll find this function under LFO1 Amount
FILT GAIN in the LFO 1 menu. We deliberately
positioned the point of modulation prior to the
filter section, so that the degree of distortion
can be modulated at the same time when you
have activated the SATURATION unit. Beyond
that, you can use fast LFO cycles to elicit brief
impulses from the oscillator signal (transients) in
order to excite resonance in the filters. In this
You’ll find this function under LFO1 Amount
FILT GAIN in the LFO 1 menu. We deliberately
positioned the point of modulation prior to the
filter section, so that the degree of distortion
can be modulated at the same time when you
have activated the SATURATION unit. Beyond
that, you can use fast LFO cycles to elicit brief
impulses from the oscillator signal (transients) in
order to excite resonance in the filters. In this
case, the filters will fade out freely since their
output signals are not affected by the FILT GAIN
volume modulation.
output signals are not affected by the FILT GAIN
volume modulation.
01111111111111111112
1 LFO 1
FiltGain +2≤
FiltGain +2≤
61111111111111111154
VOLUME CONTROL
Next to the Oscillator Volume knob, the VIRUS
features four other volume stages for every SIN-
GLE or PART:
features four other volume stages for every SIN-
GLE or PART:
Patch VolumeVolume level of the sound pro-
gram. Use Patch Volume to balance out the
fundamental differences in levels between the
different sound programs. The Patch Volume is
stored along with the sound program. The unit
value is 100.
gram. Use Patch Volume to balance out the
fundamental differences in levels between the
different sound programs. The Patch Volume is
stored along with the sound program. The unit
value is 100.
Part VolumeVolume level of the MULTI-PART.
Use Part Volume to balance out the different
levels within a MULTI program. Part Volume is
stored along with the MULTI program. The unit
value is zero since Part Volume is a bipolar, rela-
tive parameter.
Use Part Volume to balance out the different
levels within a MULTI program. Part Volume is
stored along with the MULTI program. The unit
value is zero since Part Volume is a bipolar, rela-
tive parameter.
CHANNEL VOLUME
and ExpressionThese two performance control-
lers (Ctr. #7 and #11) can be used in order to
make temporary changes in signal level via a
sequencer or volume pedal. Like all perform-
ance controllers, these are not stored with the
sound program. The unit value is 127. A dou-
lers (Ctr. #7 and #11) can be used in order to
make temporary changes in signal level via a
sequencer or volume pedal. Like all perform-
ance controllers, these are not stored with the
sound program. The unit value is 127. A dou-