Access Virus Rack User Manual page 45

Modulate the five parameters separately
and in combinations with different
intensities. Try to anticipate the sound
you will come up with when you modu-
late the first oscillator, the second oscilla-
tor or both oscillators at once and see if
the results match your expectations. If
you can fairly reliably predict the out-
come 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 entirely possible that you have gener-
ated modulations that have no effect
whatsoever on the sound, for instance if
you modulate the frequency of Oscillator
2 although it is dialed out of the oscilla-
tor mix. When you run into this type of
problem, check out the signal routing, if
any configurations conflict with each
other and memorize the situation, prob-
lem 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, analyze the unexpected
sound and fix the mix.
You are currently using a triangle as the
LFO waveshape. You shouldn't have any
problem associating the periodic up and
down fluctuation of the target parame-
ter with this waveshape. Now activate
the other available waveshapes for LFO 1
and try to picture the respective wave-
shape and associate it with the results of
the modulation.
The third waveshape is a descending
sawtooth wave. You can convert it into
to an ascending sawtooth by simply dial-
ing in the requisite negative modulation
intensities (AMOUNT).
S&H (Sample and Hold) is a struc-
tured random modulation. Here ran-
dom modulation values are generated.
The value is held until the next beat
impulse, then it abruptly jumps to a
new random value.
(Sample and Glide) is a continual
S&G
random modulation. Here the random
values glide seamlessly into one
another, the rate of which is deter-
mined by random modulation of the
RATE value.
The following 62 waveshapes are identi-
cal to the oscillator section's digital
waves. These can be used to create inter-
esting rhythmic effects.
Continued your experiments with differ-
ent LFO waveshapes. Note that after a
while you no longer consciously hear
minimal modulation intensities -
depending on the waveshape and modu-
lation target (e.g. S&G +1 on OSC 1 or 2).
However they do pep up the sound of
lend it a certain vitality. The key to many
great sounds are these types of minimal
modulations.
You may have gathered that the LFOs of
the Virus are polyphonic:
If several notes are played simulta-
neously, these are controlled by dedi-
cated LFOs, each with a slightly varied
rate. This effect livens up the sound of
ACCESS VIRUS RACK 43
The LFOs