![]() ![]() At the digital extreme, it's worth taking some time to set up a manual sweep so that you can note down which wave numbers sound the most interesting. If modulation is going to be used, apply it to Wave Sel only. So, as a rule of thumb, the best way to get interesting effects from the oscillators is to leave the Shape parameter alone, usually at one extreme or the other. 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. Another 'gotcha' is that the pulse-width range available via the Wave Sel knob is limited to 50-100 percent, rather than the 0-100 percent range you might want. One obvious limitation of the way the controls work is that you can't hear pulse and wavetable outputs together - perhaps not a major drawback, but it's as well to be aware of it. Here you can see the way in which the Wave Sel and Shape knobs affect the oscillator output. The sawtooth, meanwhile, is completely static, and no amount of Wave Sel waggling or modulation will ever change it.įigure 1. The Wave Sel/PW knob does double duty, controlling the waveshape for both the wavetable and pulse sections. What you get are three sources, crossfaded by the Shape knob: at 12 o'clock there's a static sawtooth at the maximum anticlockwise setting there's a wavetable oscillator and at the other extreme there's a pulse oscillator. Figure 1 is a block diagram showing how the controls really work. 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. These have been designed to produce both digital and analogue effects. With those basics in mind, let's take a closer look at the oscillators. This can be confusing initially, but after a while it starts to make enough sense to be usefully informative. Then it snaps back to whatever was being shown before. Whenever you alter one of the knob settings, the display changes to show that parameter. The other confusing feature is display snap. All the other Edit buttons are patch specific. ![]() For overall instrument control, use the Ctrl button, which sets various global parameters. ![]() These buttons don't interact (in other words, Access didn't choose to make them link into a single very long menu list), but if you remember that the only way to get to some of the parameters is through the different Edit buttons, you won't go wrong. Each section - oscillators, LFOs, filters and main control - has its own separate Edit button. In this article I'll 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. Getting to the rest needs either a computer-based editor or a good head for menu navigation and a sturdy index finger. The fact that there are knobs on the panel is deceptive, because they control fewer than half the available parameters. However, for programmers and sound designers this isn't the easiest synth in the world to get to grips with. The Access Virus is one of the more successful virtual analogue synths, and its ballsy, punchy sound has been enthusiastically adopted by musicians working in a wide variety of musical styles. We show you how to uncover the hidden possibilities. Although the Access Virus features one of the most knobby control surfaces amongst virtual analogue synths, there's a lot of programming flexibility available which isn't immediately obvious. ![]()
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