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CHAPTER 7
Main Edit Menu
Main Edit Menu
PHASE pertains to all LFOs and does not impair
the phase response of the LFOs within either of
the two voices.
the phase response of the LFOs within either of
the two voices.
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1 UNISON
LFO Phase 48≤
LFO Phase 48≤
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PUNCH INTENSITY
Here you can influence the attack of the amplifi-
er envelope to enhance the sound with a more
percussive, snappy kind of feel. You may have
guessed that PUNCH INTENSITY determines
the intensity of this effect. PUNCH is only effec-
tive when you have dialed in fairly short ATTACK
rates for the amplifier envelope.
er envelope to enhance the sound with a more
percussive, snappy kind of feel. You may have
guessed that PUNCH INTENSITY determines
the intensity of this effect. PUNCH is only effec-
tive when you have dialed in fairly short ATTACK
rates for the amplifier envelope.
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1 PUNCH
Intensity 64≤
Intensity 64≤
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ENVELOPE SUSTAIN TIME
Sets the bipolar time parameter for the amplifier
envelope. It determines the envelope’s re-
sponse once it reaches the SUSTAIN level (see
appropriate section): If the knob is set to the
center position (12 o’clock) indicated by the
envelope. It determines the envelope’s re-
sponse once it reaches the SUSTAIN level (see
appropriate section): If the knob is set to the
center position (12 o’clock) indicated by the
mathematical 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.
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.
ANALOG INPUTS
INPUT MODE
In the VIRUS you have the option of using the
external analog inputs instead of the internal
oscillators as signal sources that can be proc-
essed by the filters, envelopes and the internal
effects. In addition to the external analog in-
puts, you also have two inter nal stereo aux
paths or subgroups available as signal sources
in MULTI MODE. The output signals of other
PARTs can be routed via their respective OUT-
PUT SELECTs (see appropriate section) to
these aux paths.
external analog inputs instead of the internal
oscillators as signal sources that can be proc-
essed by the filters, envelopes and the internal
effects. In addition to the external analog in-
puts, you also have two inter nal stereo aux
paths or subgroups available as signal sources
in MULTI MODE. The output signals of other
PARTs can be routed via their respective OUT-
PUT SELECTs (see appropriate section) to
these aux paths.
You can chose from:
- OFF The PART is not assigned an external
input but works with its own sound sources
(the oscillators and the Noise Generator) in
the manner of a conventional analog synthe-
sizer.
(the oscillators and the Noise Generator) in
the manner of a conventional analog synthe-
sizer.
- DYNAMIC Instead of the inter nal sound
sources, an external signal source is routed to
the filter section. The envelopes remain func-
tional so you have to play notes in order to
hear the external signal source. For instance
in this mode you can manipulate the volume
to “chop up” the input signal much the way a
the filter section. The envelopes remain func-
tional so you have to play notes in order to
hear the external signal source. For instance
in this mode you can manipulate the volume
to “chop up” the input signal much the way a