Справочник Пользователя для Access virus kc
ACCESS VIRUS OS5
31
The LFOs
Once you have pressed the lower SELECT-
button button, you can scroll forwards or back-
wards through the available modulation destina-
tions with the PARAMETER buttons. When the
EDIT key in this section is held down, modula-
tion destinations can be selected by turning the
SELECT control.
wards through the available modulation destina-
tions with the PARAMETER buttons. When the
EDIT key in this section is held down, modula-
tion destinations can be selected by turning the
SELECT control.
Currently you are unable to hear the effect of
the LFO as its modulation intensity is set to 0 in
the sound program. In order to change this set-
ting, you must access the second SELECT but-
ton which works in conjunction with fi ve
vertically arrayed LEDs labeled OSC 1, OSC 2,
PW 1+2, RESO 1+2, FILTER GAIN and ASSIGN:
Press the SELECT button repeatedly and ob-
serve how the LEDs flash in succession (the
LEDs OSC 1 and OSC 2 flash separately as well
as in unison). The corresponding modulation
targets appear in the display, along with the
modulation intensity values as determined by
the VALUE pot and VALUE buttons. (You can al-
so scroll through the modulation targets via the
PARAMETER button after you have pressed the
SELECT button once.) Once you have dialed in
a value other than 0 for a modulation target, the
corresponding LED illuminates continually. This
feature tells you at a glance that a modulation is
underway even when the display indicates
some other type of operation.
the LFO as its modulation intensity is set to 0 in
the sound program. In order to change this set-
ting, you must access the second SELECT but-
ton which works in conjunction with fi ve
vertically arrayed LEDs labeled OSC 1, OSC 2,
PW 1+2, RESO 1+2, FILTER GAIN and ASSIGN:
Press the SELECT button repeatedly and ob-
serve how the LEDs flash in succession (the
LEDs OSC 1 and OSC 2 flash separately as well
as in unison). The corresponding modulation
targets appear in the display, along with the
modulation intensity values as determined by
the VALUE pot and VALUE buttons. (You can al-
so scroll through the modulation targets via the
PARAMETER button after you have pressed the
SELECT button once.) Once you have dialed in
a value other than 0 for a modulation target, the
corresponding LED illuminates continually. This
feature tells you at a glance that a modulation is
underway even when the display indicates
some other type of operation.
HERE ARE THE DEFINITIONS FOR THE
MODULATION TARGETS:
MODULATION TARGETS:
- OSC-1 refers to the frequency of oscillator 1
- OSC-2 refers to the frequency of oscillator 2
- PW 1+2 means that the pulse widths of both
oscillators are controlled in unison
- RESO 1+2 refers to the resonances of both
filters. Please keep in mind that although
each set of these parameters is assigned a
common modulation intensity, you can still di-
each set of these parameters is assigned a
common modulation intensity, you can still di-
al in different sound-shaping settings manual-
ly. In other words, the audible result of a joint
modulation varies according to the values
you have determined for the other parame-
ters.
ly. In other words, the audible result of a joint
modulation varies according to the values
you have determined for the other parame-
ters.
- FILTER GAIN This is the level of signal en-
tering the filter section and therefore influenc-
e s t h e s u b s e q u e n t s a t u r a t i o n s t a g e .
Modulating FILT GAIN therefore causes a pe-
riodic change in saturation as well as a tremo-
lo i.e. a periodic change in volume. If the
saturation stage is not used, you will only
hear tremolo. The position within the signal
chain (at the input of the filter section) has
been deliberately chosen so that both the vol-
ume and the amount of distortion can be
modulated by the same source, as is often
the case in electromagnetic instruments. Al-
so, rapid LFO movements cause sharp im-
pulses (transients) within the oscillator signal,
which can be used to excite filter resonance.
Filter resonance always dies away freely, as
the filter input is affected by modulating FILT
GAIN, not its output.
e s t h e s u b s e q u e n t s a t u r a t i o n s t a g e .
Modulating FILT GAIN therefore causes a pe-
riodic change in saturation as well as a tremo-
lo i.e. a periodic change in volume. If the
saturation stage is not used, you will only
hear tremolo. The position within the signal
chain (at the input of the filter section) has
been deliberately chosen so that both the vol-
ume and the amount of distortion can be
modulated by the same source, as is often
the case in electromagnetic instruments. Al-
so, rapid LFO movements cause sharp im-
pulses (transients) within the oscillator signal,
which can be used to excite filter resonance.
Filter resonance always dies away freely, as
the filter input is affected by modulating FILT
GAIN, not its output.
- ASSIGN Here you can freely select any mod-
ulation destination.
Modulate these five parameters separately and
in combinations with different intensities. Try to
anticipate the sound you will come up with
when you modulate the first oscillator, the sec-
ond oscillator or both oscillators at once and
see if the results match your expectations. If
you can fairly reliably predict the outcome of
your sound-shaping efforts, you should have a
handle on the information discussed thus far
and can use your knowledge to create specific
sounds you have in mind.
in combinations with different intensities. Try to
anticipate the sound you will come up with
when you modulate the first oscillator, the sec-
ond oscillator or both oscillators at once and
see if the results match your expectations. If
you can fairly reliably predict the outcome of
your sound-shaping efforts, you should have a
handle on the information discussed thus far
and can use your knowledge to create specific
sounds you have in mind.
During the course of your experiments, it is en-
tirely possible that you have generated modula-
tions that have no effect whatsoever on the
sound, for instance if you modulate the fre-
quency of Oscillator 2 although it is dialed out
tirely possible that you have generated modula-
tions that have no effect whatsoever on the
sound, for instance if you modulate the fre-
quency of Oscillator 2 although it is dialed out