Blamsoft VK-1 Viking Manuel utilisateur

1.0.6 User Manual

Overview

Viking is a monophonic synthesizer. It has three variable wave oscillators, two filters for a Dual

Lowpass or Highpass/Lowpass configuration, a multi-wave LFO, and two modulation busses.

Viking uses state of the art DSP technology to achieve a hardware-like sound without

overheating your CPU.

Patches

Viking comes with 75 patches in the categories Bass, Bright Lead, FX (Effects), Perc Lead

(Percussive Lead), and Soft Lead. These categories are well suited to a monophonic instrument

like Viking.

Performance Control

Patches do not affect the Pitch and Mod Wheels. These performance controls are used in all

patches. The Pitch Wheel affects the pitch of the three oscillators. The Mod Wheel controls the

amount of modulation due to the Mod Wheel modulation bus. The Pitch Range sets the

maximum number of semitones that the Pitch Wheel can adjust the oscillator pitch.

Oscillators

The middle three columns of the front panel control the three oscillators.

Octave

The Octave selector sets the octave of the oscillator. Note that the octave labeled 4’ directly

matches the keyboard pitch.

Frequency

The Frequency knob adjusts the pitch of the oscillator. The knob adjusts the pitch in the range

of -7 to +7 semitones away from the true pitch. When fine frequency adjustment is enabled in

the programmer, the knob adjusts the pitch in the range of -0.7 to +0.7 semitones. The fine

adjustments are useful for subtly fattening the sound of a patch.

Wave

The Wave knob adjusts the waveform of the oscillator. The waveform changes from triangle to

saw to square to PWM as the knob is swept from left to right. A triangle is useful as a mellow

sound, a saw as a bright and buzzy sound, a square as a hollow digital sound, and a PWM as a

thin grainy sound. Since the knob is continuously variable, the in between sounds offer many

possibilities.

This image shows the oscillator with the Wave knob between triangle and saw. The downward

slope of the triangle becomes shorter and lower as the knob moves toward saw.

This image shows the oscillator with the Wave knob slightly past saw toward square. As the

waveform transitions from saw to square the pulse becomes wider and the ramp becomes

lower and shorter.

From square to PWM the waveform looks more typical. The pulse continues to widen past the

square shape and the whole waveform shift downward. What used to be the saw ramp

eventually ends up as a short negative pulse.

1-2 Sync Switch

The 1-2 Sync Switch locks oscillator 2 to the frequency of oscillator 1. This is done by resetting

oscillator 2 to the beginning of its waveform whenever oscillator 1 repeats its waveform.

3-1 FM Switch

The 3-1 FM Switch hooks the output of oscillator 3 into the frequency control input of oscillator

1. Both the waveform and frequency of oscillator 3 can greatly affect the resulting sound.

3 KB Cont

The Oscillator 3 Keyboard Control Switch selects whether or not the keyboard controls the pitch

of Oscillator 3. When set to on, Oscillator 3 tracks the keyboard. When set to off, Oscillator 3 is

a C#3 pitch.

Oscillator 2

Oscillator 1

3 Freq

The Oscillator 3 Frequency Switch selects whether Oscillator 3 is high or low frequency. When it

is set to high frequency, octave 4’ matches the keyboard notes as usual. When it is set to low

frequency, the pitch of Oscillator 3 is six octaves below what it would be in the high frequency

setting.

Mixer

The mixer section is used to adjust the volume of the oscillators and external input. The mixer

sources are summed and output to the filter.

External

The external audio input is available on the back of the

device. The switch turns the input on and the knob adjusts

the level.

Oscillators

The switches enable the audio of each oscillator and the

knobs adjust their level.

Noise

The switch turns on the audio from the noise source and

the knob adjusts its level.

At first it may seem like the switches enable the oscillators

and noise source themselves. But actually the oscillators

and noise are always available as modulation sources.

These switches and knobs control the audio mix.

Filters

The filter in Viking is actually two filters. These filters are modeled after the classic transistor

ladder filter. In Dual Lowpass mode the filters are in parallel in the left and right output

channels. In HP/LP mode the filters are in series, one highpass and one lowpass. The number of

poles is adjustable from 1 to 4. More poles create a steeper slope and a sharper cutoff.

Resonance

The resonance knob adjusts the gain of positive feedback from the output of the filter to the

input. It creates a peak in the filter response at the cutoff frequency. A narrow bandpass filter is

created at that frequency resulting in a ringing sound.

Cutoff

The cutoff frequency is known by many names. It is often

called the 3dB point, transition point, or knee of the filter. It

is where the pass-band ends and the downward slope

begins. In a lowpass filter the response slopes down at 6 dB

per octave per pole above this frequency. You can consider

frequencies above this frequency to be mostly rejected or

“filtered out” by the filter. And in Viking’s band-pass filter

(HP/LP), the cutoff is at the high end of the pass-band since

it is controlling the lowpass part of the bandpass, see

Spacing for more detail.

Spacing

Spacing is where the two filters come into play. Spacing

adjusts the frequency difference, in octaves, between the

two filters. In Dual Lowpass mode, one filter is heard in the

left channel and the other in the right. Spacing adjusts the

cutoff frequency of the left filter with respect to the right.

In Highpass/Lowpass mode, Spacing also adjusts the

difference in octaves. But in this case the two filters are in

mono, and spacing adjusts the highpass filter with respect

to the lowpass. The highpass filter is one octave below the

lowpass when the knob is fully turned to the right, and

decreases in frequency as the knob is turned to the left. So,

turning the knob to the left widens the pass band.

KB. Amount

Keyboard Amount controls the tracking of the filter with respect to the keyboard notes. When

Keyboard Amount is turned to zero, the filter cutoff frequency does not depend on the note

being played. When Keyboard Amount is turned all the way up, the filter cutoff frequency

moves one semitone per key and exactly tracks the keyboard.

Mode

Mode selects whether the filter is Dual Lowpass, one filter in the left channel and the other in

the right, or Highpass/Lowpass, a bandpass filter created by a highpass and lowpass in series.

Frequency Response

This image shows the frequency response of Viking’s 24 dB per octave lowpass filter. The low

frequencies have a flat response and frequencies past the cutoff point are attenuated. When

less the 4 poles are used, the slope is not as steep.

Frequency

Gain

Now the resonance knob has been turned up. Notice the peak at the cutoff frequency.

Gain

Frequency

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