42
Restore ROM-A127. Transpose down an octave. Select
MID EQ in the EFFECTS section. The three knobs now control
EQ GAIN, EQ FREQ and EQ Q-FACTOR respectively. Experi-
ment with these knobs to change the character of the raw
oscillator sound for a while, then try this:
Make sure MID EQ is still selected, press EDIT and set the Q-
Factor to maximum (15.4). Set Gain to maximum (+16) and
Frequency to around the centre (747.8). The sound should now
be rather nasal. Press LFO1 SELECT repeatedly until you see
the page containg the Assign Target parameter. Change this to
"EQ Mid Frequency" and Amount to +32. The result is an auto-
matic wah-wah effect which is independant of the filter section
– try adjusting CUTOFF, RESONANCE and ENV AMOUNT...
The following effects are accessed using the lower half of the
effects section.
Distortion
Especially if you remember your experiments using Saturation,
this effect should be fairly obvious – the names of the distor-
tion types are the same.
The difference between (filter) Saturation and (effect) Distortion
is that the former is applied to each individual voice, whereas
the latter is applied to the sound as a whole. This means that if
you would like e.g. to emulate the sound of an overdriven gui-
tar amplifier, you should use Distortion, not Saturation.
Analog Boost
Analog Boost is a special type of equalization used to emulate
the tonal characteristics of real analogue synthesizers. These
tend not to have a flat response. The difference is often subtle,
but well worth trying out after you have programmed a basic
sound.
Chorus
Chorus is especially useful to give “pads” more movement. In
combination with Feedback, the Chorus in your Virus is also
capable of Flanging and other related effects:
Restore ROM-A126, select CHORUS and turn the MIX level up
to 64 (via the TYPE/MIX knob). Experiment with the INTENSITY
knob (controls Feedback). Press the lower EDIT button once
and try out all those other parameters...
Phaser
This is a very good emulation of a multi-stage analogue phaser
using up to six so-called “All-pass filters”. The parameters are
similar to those for Chorus, but here you cannot select a Mod
Wave (it is always Triangle). The Stages parameter specifies
the number of allpass filters used, and the Spread parameter
sets how far apart their cutoff frequencies are.
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