Specifications

PARAMETER REFERENCE MANUAL18
OSCILLATORS
¦ Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
This parameter can be modulated via the Mod Matrix and the LFO’s - please select ‘Wavetable 1/2 Index’
from the list of available destinations
Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no ef-
fect on it.
¦ Wavetable
Selects the current Wavetable - each being a unique collection of different waves from which all manner of
different timbres may be achieved.
¦ Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator sync, and can be useful for both extreme lead sounds (try broad sweeps!), as well
as subtle timbral variations.
The movement within a wavetable will still be recognisable as you sweep through the Index points, but you
will notice a very different character to the same table as played by the standard Wavetable oscillator.
A useful property of the Simple version is that the fundamental frequency can always be heard, no matter
where you set Formant Shift.
This parameter can be modulated via the Mod Matrix and the LFO’s - please select Osc1/2 Formant from
the list of available destinations.
Hint: Use the Simple modes where possible if polyphony is a concern - they eat a lot less DSP power than
the ‘Complex’ modes.
¦ Interpolation
Use this parameter to determine how smoothly the different waves are blended you sweep the index param-
eter.
¦ Semitone
-48 to +48 semitones: Adjust the pitch of oscillator1 in semitones. Modulation destination “Osc1Pitch“.
¦ Key Follow
-64 to +31, Norm, +33 to +63: How much the pitch of oscillator1 follows the keyboard (i.e. MIDI note
number). Press both VALUE buttons at the same time for normal tuning (Norm).
Hint: If you do not make use of either the PulseWidth or Detune parameters, switch back to Wavetable mode
to save on DSP and increase polyphony!
Tips for auditioning the Wavetables
As with the majority of the Wavetable content, it is advisable to audition them at relatively low pitch (we sug-
gest setting Oscillator Semitone to -24). This is because the lowest audible frequency (the fundamental) in
any table is always pitched to middle C3, but in many of the brighter-sounding tables, the fundamental plays
little part in the overall timbre, and the upper harmonics (often where all the action is) can be very difcult to
perceive at high pitch, or are simply ltered out altogether.
Since there are many differences between the tables in terms of their spectral dynamics, it is a good idea
to audition them all in a variety of different ways. Simply sweeping through the Index by hand is one way,
but can give very misleading impressions as to the usefulness of the table. Try rst with a slow LFO (triangle
wave) and then a fast envelope sweep in both directions to get a better idea of what the table may or may
not be good for.
Remember, for those tables with several contrasting waves, subtle modulation is often the key.
Don’t forget to try them all with different settings of the new Interpolation parameter.
Oscillator1(SimpleGrainTable)
The remaining oscillator modes all make use of a new technology for the Virus TI, called Grain Table.
The basic idea behind this technology, is to take the existing wavetables, and apply similar techniques
as those used in some granular sampling and pitch-shifting algorithms to open up a whole new world of
possibilities. Each of the two main types: Grain Table and Formant Table are presented in both Simple
and Complex formats. In each case, the Simple mode offers fewer parameters, and a higher polyphony
than Complex, with the values of parameters common to each mode remaining constant.
It’s important to note that the characteristics of the Grain Table and Formant Table oscillators are quite
different to those of traditional “granular” sampling/synthesis techniques, which tend to be associ-
ated with other-worldly “clouds” of sound. In the Virus TI, we have instead employed the technology to
achieve a very musical result which should prove every bit as useful as the other oscillator types in all
manner of musical projects.
¦ Mode
Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator.