Access virus indigo ii Manuale Utente

CHAPTER 4
Introduction

of the oscillator mix. When you run into this
type of problem, check out the signal routing,  if
any configurations conflict with each other and
memorize the situation, problem and solution. If
you make a habit out of this, you won’t panic
when you run into similar situations; instead
you’ll keep your cool, analyze the unexpected
sound and fix the mix.

You are currently using a triangle as the LFO
waveshape. You shouldn’t have any problem
associating the periodic up and down fluctua-
tion of the target parameter with this wave-
s h a p e .   N o w   a c t i v a t e   t h e   o t h e r   a v a i l a b l e
waveshapes for LFO 1 and try to picture the re-
spective waveshape and associate it with the
results of the modulation. 

The third waveshape is a descending sawtooth
wave. You can convert it into to an ascending
sawtooth by simply dialing in the requisite neg-
ative modulation intensities (AMOUNT).

In the WAVE setting, you have access to 64
LFO waveshapes. Select these in the display
section using the VALUE buttons:

-  S&H  (Sample and Hold) is a structured ran-

dom modulation. Here random modulation
values are generated. The value is held until
the next beat impulse, then it abruptly jumps
to a new random value.

-  S&G  (Sample and Glide) is a continual ran-

dom modulation. Here the random values
glide seamlessly into one another, the rate of
which is determined by random modulation of
the RATE value.

The following 62 waveshapes are identical to
the oscillator section’s digital waves. These can
be used to create interesting rhythmic effects.

Continued your experiments with different LFO
waveshapes. Note that after a while you no
longer consciously hear minimal modulation in-
tensities - depending on the waveshape and
modulation target (e.g. S&G +1 on OSC 1 or 2).
However they do pep up the sound of lend it a
certain vitality. The key to many great sounds
are these types of minimal modulations.

You may have gathered that the LFOs of the VI-
RUS are polyphonic:
If several notes are played simultaneously,
these are controlled by dedicated LFOs, each
with a slightly varied rate. This effect livens up
the sound of chords, especially when they are
sustained. To enhance this effect, activate the
LFO 1 KEY FOLLOW  in the LFO-EDIT-Menu. 

This function enables you to control the rate of
the LFOs via the pitch, or more accurately, via
the MIDI note number, so that higher notes gen-
erate faster LFO rates. As result, when you
press and hold several notes you will hear all
kinds of substantially different periodic fluctua-
tions.

Finally, the LFOs can also be used as additional
envelopes. The control feature for this effect is
the ENV MODE button. When you press this
button, two things occur: For one, the LFO no
longer initiates its cycles periodically, but only
once at and in sync with the start of a note, and
for the other, the active range of the LFO is
switched from bipolar (in both directions from
the zero position) to unipolar (from zero in one
direction only). Please note that this applies to
the modulation target but not the modulation in-
tensity. Here you can still determine a value in
the entire bipolar range.

This effect is especially prominent when used in
conjunction with the sawtooth wave, which en-
ables a fade-out type of effect (when you dial in
a positive AMOUNT value) or a volume-swell
type of effect (negative AMOUNT) for the availa-
ble modulation targets. Using the LFO Curve