oh that one is easy. all oscillators on, oscillators 1 and 2 set to saw. 3rd oscillator set to slave. mix them all in equally. adjust the envelope shape to taste. using both LFOs modulate the oscillator pulse width of oscillator 1 and oscillator 2 in opposite directions. and max it out. i.e. +63 for osc 1 and -63 for osc 2. set the LFO rate of osc 1 about double the speed of osc 2. (about 90 and 45). the LFO shape for both is set to triangle. set the detune around 40 to 50. enough so that you start to hear a prominant fifth. now turn up the punch intensity up to max (127) and turn on unison. i usually never go over unison x4 because it starts to sound messy beyond that. set unison detune to 90.
you now have the rough shape of that sound. set up the filter as series 4 and adjust the keyfollow to get just the right amount of brightness out of it. i have both filters selected and the resonance fairly low (i used 28 for that patch) because it sounds very odd with high resonance. i configured filter 2 so that when filter 1 is fully closed you can still hear the fundamental. both low pass. both filters are mixed in 50/50 (i.e. filter balance is set to 0). env amount is maxed out at 127.
i also tend to add a tiny tiny bit of noise (4) and noise colour (2) just to fuzz it up a bit. to make it brighter add filter saturation. either soft or rectified but use it sparingly. similarly you can use this in conjunction with a bit of ring modulation to harden up the sound in an attempt to make it more 'JP' like' but i tend to like my trance sounds darker and more subtle. i also mixed the sub oscillator in a tiny bit (15) to give it just a little weight of bass and make it sound moodier.
use chorus to fatten and fuzz it up a bit and an external ping pong delay and you are nearly there.
lastly, its the mod matrix. use this to add more movement to the sound. i typically have the slower LFO (in this case LFO 2) modulating the pitch of oscillator 1. i have LFO 3 randomly modulating osc3 detune for some random, alive movement. then in that patch i used the filter envelope to recursively modulate filter envelope attack to take the edge of the punch intensity.
hope that helped.
the key thing is that the sound from a virus doesnt start to sound alive until you are modulating parts of the sound 7 ways till sunday. its sometimes disconcerting when you work on building a sound for an hour and it still sounds crap up until you get to the mod matrix adjustments and the LFOs and everything starts to come together.
for those interested in making string sounds, the patch i used makes use of wavetables 19 (osc1) and 32 (osc2), 3rd oscllator slaved with oscillator balance set to -25.
and i filled up all the mod matrix slots on my virus b using that one. if you listen out you can detect many elements moving but ill save you the trouble of trying to figure them out and tell you what they are:
LFO1 is modulating the pulse width of osc1 positively along a triangle wave.
LFO 2 is modulating the pulse width of osc2 negatively along a triangle wave.
LFO 2 is also set to control left/right pan.
contr9 is the first source in the mod matrix and its destination is osc1plswdh
the second source is filtenv and that is controlling filter attack and decay
assign 3 has LFO1 set as the source and is modulating osc1shpvel, patch volume and osc3 detune.
i would need a virus c in order to assign controls to mod wheels and pedals (just for the extra assign slots im beginning to think its worth the difference in price). that patch seriously needs a pitch bend in it too.
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