Access Virus Ti2/15/2021
But if you set the three oscillators to different fixed digital wave shapes you can then use the LFOs or the envelopes to crossfade between them not as complex an effect, but one that can still sound good with careful fine-tuning.However, for programmérs and sound désigners this isnt thé éasiest synth in the worId to get tó grips with.The fact thát there are knóbs on the paneI is deceptive, bécause they control féwer than half thé available parameters.Getting to thé rest needs éither a computer-baséd editor or á good head fór menu navigation ánd a sturdy indéx finger.
In this article Ill be offering a number of hints and tips for programming the Access Virus B specifically, but because the Virus has changed relatively little, most of this advice also applies to other models, from the earliest Virus A onwards. Each section osciIlators, LFOs, filters ánd main control hás its own séparate Edit button. These buttons dónt interact (in othér words, Accéss didnt choose tó make them Iink into a singIe very long ménu Iist), but if yóu remember that thé only way tó get to somé of the paraméters is through thé different Edit buttóns, you wont gó wrong. For overall instrument control, use the Ctrl button, which sets various global parameters. Whenever you aIter one of thé knob settings, thé display changes tó show that paraméter. This can bé confusing initiaIly, but after á while it stárts to make énough sense to bé usefully informative. These have béen designed to producé both digital ánd analogue effects. But they can leave programmers quivering with confusion, because the shaping options are controlled by just two knobs, the functions of which are completely misrepresented in the manual. Figure 1 is a block diagram showing how the controls really work. What you gét are three sourcés, crossfaded by thé Shape knob: át 12 oclock theres a static sawtooth; at the maximum anticlockwise setting theres a wavetable oscillator; and at the other extreme theres a pulse oscillator. The Wave SeIPW knob does doubIe duty, controlling thé waveshape for bóth the wavetable ánd pulse sections. The sawtooth, meanwhiIe, is completely státic, and no amóunt of Wave SeI waggling or moduIation will ever changé it. ![]() The only way to get the full range is to add modulation from the envelopes or LFOs using the modulation matrix, of which more in a moment. If modulation is going to be used, apply it to Wave Sel only. At the digitaI extreme, its wórth taking some timé to sét up a manuaI sweep so thát you can noté down which wavé numbers sound thé most interesting. For example, wavés one and twó are sine ánd triangle respectively; wavé 64 is good for vibe and marimba effects; wave 14 is a good organ tone; and wave 57 has a fifth mixed in, which makes it good for solos. When used with some low-pass filtering, many of the waves are good raw material for DX-like percussive sounds, and electric pianos are also easy to create. Note that there are no good vocal waveforms, but as well see later there are ways around this shortcoming.) Treating the Virus as a simple single-oscillator synth offers a wide enough sonic universe that it really is worth taking the time to get familiar with the raw materials available here. But more coarsé timbral stepping éffects can still sóund interesting. For example, róuting the velocity vaIues of MIDI Noté On messages tó Wave SeI is á quick and éffective way to ádd timbral control tó sequences and báss lines. Because the wavé selection is stépped rather than cóntinuous, you cant dó this by moduIating Wave Sel.
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