Access os5 Manuale Utente
ACCESS VIRUS OS5
65
Filter-Edit-MenuFilter Envelope
longer it takes for the envelope to fall from its
current level to the minimum level, when the key
is released.
current level to the minimum level, when the key
is released.
TIME
Sets the bipolar time parameter for the filter en-
velope. It determines the envelope’s response
once it reaches the SUSTAIN phase (see appro-
priate section): If the knob is set to the center
position (12 o’clock) indicated by the mathe-
matical infinity symbol, then the SUSTAIN level
remains constant through to the end of the
note; if you turn it counter-clockwise to the left
(towards FALL), then the level drops off at an in-
creasing rate towards the minimum level; If you
turn the knob clockwise to the right (towards
RISE), the level rises at an increasing rate to
maximum.
velope. It determines the envelope’s response
once it reaches the SUSTAIN phase (see appro-
priate section): If the knob is set to the center
position (12 o’clock) indicated by the mathe-
matical infinity symbol, then the SUSTAIN level
remains constant through to the end of the
note; if you turn it counter-clockwise to the left
(towards FALL), then the level drops off at an in-
creasing rate towards the minimum level; If you
turn the knob clockwise to the right (towards
RISE), the level rises at an increasing rate to
maximum.
The parameter Sustain Time is localed in the
main edit menu
FILTER-EDIT-MENU
SATURATION CURVE
The SATURATION stage in the filter section of-
fers a selection of different saturation or distor-
tion characteristics. You can use these to add
overtones to a sound. Beyond that, you are free
to radically bend sounds using further DSP ef-
fects. The intensity of the distortion or DSP ef-
fects can be varied considerably via the second
half of the OSC VOL control range. For the dis-
tortion curves, this intensity range is equivalent
to a gain boost of 12 decibels, in the case of the
fers a selection of different saturation or distor-
tion characteristics. You can use these to add
overtones to a sound. Beyond that, you are free
to radically bend sounds using further DSP ef-
fects. The intensity of the distortion or DSP ef-
fects can be varied considerably via the second
half of the OSC VOL control range. For the dis-
tortion curves, this intensity range is equivalent
to a gain boost of 12 decibels, in the case of the
”Digital” curve as much as 24 decibels. A spe-
cial feature of the VIRUS’ SATURATION stage is
that, despite the fact that its gain is boosted,
the signal level is kept constant via OSC VOL so
that only the tonal color or timbre of the sound
is varied.
cial feature of the VIRUS’ SATURATION stage is
that, despite the fact that its gain is boosted,
the signal level is kept constant via OSC VOL so
that only the tonal color or timbre of the sound
is varied.
The SATURATION stage is always downstream
of (post) Filter-1 irrespective of the given filter
routing. Consequently, in serial filter modes, the
SATURATION stage is always located between
the two filters. You can thus filter the oscillator
signal conventionally with the first filter, distort
the signal, and process the distorted signal via
the second filter as you see fit.
of (post) Filter-1 irrespective of the given filter
routing. Consequently, in serial filter modes, the
SATURATION stage is always located between
the two filters. You can thus filter the oscillator
signal conventionally with the first filter, distort
the signal, and process the distorted signal via
the second filter as you see fit.
The Effects section of the VIRUS features a fur-
ther distortion module called DISTORTION. Its
design is largely identical to that of the SATU-
RATION, except for one major difference:
whereas SATURATION affects each voice sepa-
rately, DISTORTION processes all voices col-
lectively in the effects section. This makes a
huge difference in tone.
ther distortion module called DISTORTION. Its
design is largely identical to that of the SATU-
RATION, except for one major difference:
whereas SATURATION affects each voice sepa-
rately, DISTORTION processes all voices col-
lectively in the effects section. This makes a
huge difference in tone.
Let’s take look at the SATURATION modes:
- OFF The signal is not processed.
- LIGHT, SOFT, MIDDLE, HARD Different an-
alog distortion curves with different charac-
teristics and intensities.
teristics and intensities.
- DIGITAL Digital distortion with hard clipping.
- SHAPER Sine characteristic curve with sev-
eral wave cycles. With the Shaper, you can
drastically warp signals. In some cases, the
results are similar to the spectra of linear fre-
quency modulations.
drastically warp signals. In some cases, the
results are similar to the spectra of linear fre-
quency modulations.
- RECTIFIER Continuous rectification of the
signal; this type of distortion is independent
of the given level.
of the given level.
- BITREDUCER Continuous reduction of the
digital signal’s bit depth; generates digital
quantization noise.
quantization noise.