Access os5 Manuale Utente
ACCESS VIRUS OS5
37
The Effects
- RATEREDUCER Variable reduction of the
sampling rate; generates digital aliasing ef-
fects.
fects.
- LOWPASS 1-pole lowpass filter; gentle re-
duction of higher frequencies.
- HIGHPASS 1-pole highpass filter; gentle re-
duction of lower frequencies.
The INTENSITY control is used for setting the
degree of distortion (in distortion algorithms) or
the cutoff frequency (in the two filter algo-
rithms). INTENSITY ranges from very slight to
extreme.
degree of distortion (in distortion algorithms) or
the cutoff frequency (in the two filter algo-
rithms). INTENSITY ranges from very slight to
extreme.
PHASER
The Phaser effect produces resonant (or even
cutting) emphasis on certain frequencies within
the signal. The frequencies of these resonances
are shifted around the frequency spectrum,
causing a distinctive movement in the sound.
Tastefully applied, this effect is particularly good
for pad sounds and for authentic traditional
electric piano sounds.
cutting) emphasis on certain frequencies within
the signal. The frequencies of these resonances
are shifted around the frequency spectrum,
causing a distinctive movement in the sound.
Tastefully applied, this effect is particularly good
for pad sounds and for authentic traditional
electric piano sounds.
The pure Phaser signal is the result of a fre-
quency-dependent phase shift together with a
slight pitch modulation from the phaser‘s own
LFO. Typical phaser sounds only appear when
the processed signal is mixed with the dry sig-
nal, usually at the same level. The TYPE/MIX
control is used to set this balance.
quency-dependent phase shift together with a
slight pitch modulation from the phaser‘s own
LFO. Typical phaser sounds only appear when
the processed signal is mixed with the dry sig-
nal, usually at the same level. The TYPE/MIX
control is used to set this balance.
The INTENSITY control changes the level of
feedback in the phased signal. Higher feedback
levels cause higher resonant peaks in the sig-
nal. The FEEDBACK parameter is bipolar, be-
cause positive and negative feedback have
different characteristics.
feedback in the phased signal. Higher feedback
levels cause higher resonant peaks in the sig-
nal. The FEEDBACK parameter is bipolar, be-
cause positive and negative feedback have
different characteristics.
More phaser parameters can be found in the
EDIT menu: RATE and DEPTH control the
speed and intensity of modulation from the
EDIT menu: RATE and DEPTH control the
speed and intensity of modulation from the
phaser‘s own LFO. The other three parameters
affect the general sound of the phaser: FRE-
QUENCY determines the average frequency of
resonant peaks, STAGES is the number of reso-
nant peaks and SPREAD is the distance be-
tween resonant peaks within the frequency
spectrum.
affect the general sound of the phaser: FRE-
QUENCY determines the average frequency of
resonant peaks, STAGES is the number of reso-
nant peaks and SPREAD is the distance be-
tween resonant peaks within the frequency
spectrum.
CHORUS
Chorus has been a popular effect for a long
time, and is often used to make pad sounds
(such as synthetic strings) less static. It is actu-
ally a pair of short delay lines (usually no longer
than 50 ms) with continuously modulated delay
time via dedicated LFO. This modulation caus-
es subtle frequency shifts in the processed sig-
nal, which results in a more complex phasing
between direct and processed signals. Feed-
back in the delay line accentuates the Chorus
effect, and because the left side of the signal is
modulated in the opposite direction to the right
side, the Chorus effect is capable of creating a
stereo signal from a mono input.
time, and is often used to make pad sounds
(such as synthetic strings) less static. It is actu-
ally a pair of short delay lines (usually no longer
than 50 ms) with continuously modulated delay
time via dedicated LFO. This modulation caus-
es subtle frequency shifts in the processed sig-
nal, which results in a more complex phasing
between direct and processed signals. Feed-
back in the delay line accentuates the Chorus
effect, and because the left side of the signal is
modulated in the opposite direction to the right
side, the Chorus effect is capable of creating a
stereo signal from a mono input.
When the basic delay is extremely short, this ef-
fect is called flanging. The feedback parameter
is especially significant here, as higher values
can create dramatic resonances and could
even be considered an additional signal source.
Like in the Phaser, the FEEDBACK parameter is
bipolar, because positive and negative feed-
back have different characteristics. At higher
feedback levels (negative or positive) it be-
comes obvious that the two sides of the signal
are being modulated in opposite directions.
fect is called flanging. The feedback parameter
is especially significant here, as higher values
can create dramatic resonances and could
even be considered an additional signal source.
Like in the Phaser, the FEEDBACK parameter is
bipolar, because positive and negative feed-
back have different characteristics. At higher
feedback levels (negative or positive) it be-
comes obvious that the two sides of the signal
are being modulated in opposite directions.
The TYPE/MIX control in the EFFECTS section
determines the balance between the direct and
processed signals. The RATE and SHAPE pa-
rameters control the dedicated LFO, and are
available in the EDIT menu. Two further parame-
ters in the menu are DELAY and FEEDBACK.
These are used to set the delay time and feed-
back level. The INTENSITY control determines
determines the balance between the direct and
processed signals. The RATE and SHAPE pa-
rameters control the dedicated LFO, and are
available in the EDIT menu. Two further parame-
ters in the menu are DELAY and FEEDBACK.
These are used to set the delay time and feed-
back level. The INTENSITY control determines