Access virus os4 사용자 설명서
44
CHAPTER
4
Introduction
the sound, for instance if you mod-
ulate the frequency of Oscillator 2
although it is dialed out of the
oscillator mix. When you run into
this type of problem, check out the
signal routing, if any configura-
tions 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, ana-
lyze the unexpected sound and fix
the mix.
ulate the frequency of Oscillator 2
although it is dialed out of the
oscillator mix. When you run into
this type of problem, check out the
signal routing, if any configura-
tions 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, ana-
lyze the unexpected sound and fix
the mix.
You are currently using a triangle
as the LFO waveshape. You
shouldn’t have any problem asso-
ciating the periodic up and down
fluctuation of the target parame-
ter with this waveshape. Now acti-
vate the other available
waveshapes for LFO 1 and try to
picture the respective waveshape
and associate it with the results of
the modulation.
as the LFO waveshape. You
shouldn’t have any problem asso-
ciating the periodic up and down
fluctuation of the target parame-
ter with this waveshape. Now acti-
vate the other available
waveshapes for LFO 1 and try to
picture the respective waveshape
and associate it with the results of
the modulation.
The third waveshape is a descend-
ing sawtooth wave. You can con-
vert it into to an ascending
sawtooth by simply dialing in the
requisite negative modulation
intensities (AMOUNT).
ing sawtooth wave. You can con-
vert it into to an ascending
sawtooth by simply dialing in the
requisite negative modulation
intensities (AMOUNT).
In the WAVE setting, you have
access to 64 LFO waveshapes.
Select these in the display section
using the VALUE buttons:
access to 64 LFO waveshapes.
Select these in the display section
using the VALUE buttons:
S&H (Sample and Hold) is a struc-
tured random 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.
tured random 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 con-
tinual random modulation. Here
the random values glide seam-
lessly into one another, the rate of
which is determined by random
modulation of the RATE value.
tinual random modulation. Here
the random values glide seam-
lessly 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.
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 modula-
tion intensities - depending on the
waveshape and modulation target
(e.g. S&G +1 on OSC 1 or 2). How-
ever they do pep up the sound of
different LFO waveshapes. Note
that after a while you no longer
consciously hear minimal modula-
tion intensities - depending on the
waveshape and modulation target
(e.g. S&G +1 on OSC 1 or 2). How-
ever they do pep up the sound of