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Now when you play different sounds, you'll will find that the intensity of the modulation is consider-
ably greater with low-frequency sounds than it is with higher-frequency sounds. This is due to the
fact that the LFO frequency does not follow the pitch. You can compensate for this effect by activat-
ing and adjusting the function LFO1 KEYFOLLOW. When you set LFO1 KEYFOLLOW to a value of
127, the LFO rate will follow whatever pitch you play precisely (in octaves).
To come up with a fatter sound, you should also dial in the second oscillator (set OSC BALANCE to
the center position) and use DETUNE to do just that to its pitch (relative to the first oscillator).
Next to LFO1, LFO3 is also able to generate pulse width modulation. However, unlike LFO1, LFO3's
modulation algorithm was tweaked specifically to deliver what we consider hip pulse width modula-
tions. Note that LFO3 PWM often delivers smoother results, particular a softer, tighter sound for
pads. Another advantage of LFO3 is that it frees up LFO1 so that you can use it for other sonic
chores. By the way, KEYFOLLOW should also be activated for LFO3.
OSCILLATOR SYNC/FM
On the Virus, Oscillator 1 is always the component that determines the frequency for the two func-
tions oscillator synchronization (SYNC) and frequency modulation (FM). This means that you can
use both of these options at the same time. With frequency modulation, you can create extremely
complex spectra, whereby inharmonic frequency components are filtered out (so to speak) in the
course of synchronization. An infinite number of new harmonic spectra can be thus generated with
the parameters FM AMOUNT and OSC2 SEMITONE. Moreover, these spectra can be modulated
continuously via envelopes and LFOs. FM and SYNC will of course also work with the 64 digital
waveforms.
OSCILLATOR 3
The Virus offers a third master oscillator per voice that you can activate whenever you need it. It lets
you come up with even more complex sounds by adding more oscillations and spectra to the sig-
nal. When Oscillator 3 is switched on, (i.e. Oscillator 3 mode is not set to the OFF position), the
polyphony of the Virus decreases by up to six voices, depending on how many voices use the third
oscillator in MULTI mode.
The second position of Oscillator 3 mode is called SLAVE. Here Oscillator 3 is active, but – just like
when it is set to the OFF position – no further parameters are available and visible. In this operating
mode, Oscillator 3 is the "twin" of Oscillator 2. It adds further oscillations, thus making the sound
fatter and more animated. Oscillator 2 and 3 are handled collectively using Oscillator 2's control fea-
tures just as if the two were a single oscillator. All settings that you dial in for Oscillator 2 apply to
Oscillator 3, with one exception – DETUNE. This parameter runs counter to that of Oscillator 2.
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