Blamsoft VK-1 Viking User Manual Download Page 9 | Manualshive

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Blamsoft VK-1 Viking User Manual Download Page 9

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© 2013 Blamsoft, Inc. All rights reserved.

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

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Summary of Contents for VK-1 Viking

Page 1: ...1 0 6 User Manual ...

Page 2: ...ing 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 mo...

Page 3: ...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 ...

Page 4: ...mage 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 ...

Page 5: ...s 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 con...

Page 6: ...uency 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 ...

Page 7: ...he 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 modu...

Page 8: ...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 ...

Page 9: ...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 ...

Page 10: ...10 2013 Blamsoft Inc All rights reserved Now the resonance knob has been turned up Notice the peak at the cutoff frequency Gain Frequency ...

Page 11: ...ass mode one of the filters is a highpass filter The two filters are connected in series to create a bandpass filter Here is the highpass filter section Note that the lowpass filter is always the resonant filter The highpass filter does not resonate Frequency Gain ...

Page 12: ...quency of 2 2 kHz and a setting of 7 on the resonance knob The left side of the curve shows the flat response then a peak at the resonant frequency followed by a steady downward slope of 24 dB per octave Half an octave of downward slope is marked on the graph to show that the slope is truly 24 dB per octave 1 2 Octave 1 per 5 divisions 12 dB 10 per division ...

Page 13: ...s from 1 millisecond to 10 seconds Decay Decay is a measurement of the time it takes the envelope to go from the maximum to the sustain level in the second phase The decay time ranges from 1 millisecond to 10 seconds Sustain Sustain is an amplitude measurement It is the settling amplitude of the third phase of the envelope while a key is held Release Release is a measurement of the time it takes t...

Page 14: ...ols the overall volume after mixing and enveloping has occurred Env Mod On the back of the device there is a toggle switch for envelope modification When the switch is in the down position the envelopes behave like analog synthesizer circuits which can often have clicking sounds on quick attacks for highly filtered sounds and bass When the switch is in the up position the clicks are prevented The ...

Page 15: ...put signal may optionally come from a CV input Rate The Rate knob controls the rate of the LFO In free running mode the frequency ranges from 0 2 Hz to 50 Hz In synced mode rhythmic divisions of the current tempo are available LFO Sync LFO Sync can be used to optionally reset the LFO or lock the LFO to the song tempo When Free is selected the LFO is not locked to the tempo When Gate is selected th...

Page 16: ...etuning notes by semitones can create chords Fine adjustments of these knobs can widen or fatten the sound of a patch KB Stretch Keyboard Stretch adjusts the tuning of the keyboard notes Normally each key is one semitone apart Analog keyboards often go out of tune and the keyboard spacing is no longer one semitone The note spacing can be adjusted from 0 98 semitones to 1 02 semitones C5 is at the ...

Page 17: ... the typical amount of modulation But pushing the key down harder will increase the modulation Filt Env uses the Filter Envelope as shaping Velocity uses the MIDI velocity of the current note Pressure uses MIDI aftertouch And PGM mean the option is selected in the programmer Source The busses can be thought of as electrical busses or simply connections to a common circuit The Source selects the in...

Page 18: ...d in the programmer as Filt Env Another trick is to use velocity to control the filter cutoff For this you can use Constant as the Source filter Filt as the Destination and Velocity as the Shaping In general when you want to use the shaping as an effect you may want to choose Constant as the Source If you don t want to use a modulation bus set its Amount to zero or choose the source as PGM with Of...

Page 19: ... filter envelope Filt Env Zero minus the filter envelope or the envelope negated S Filt Env The filter sustain amount minus the filter envelope This results in a positive value initially going to a zero value during the sustain phase then back positive Filt Env S The filter envelope minus the filter sustain amount This results in a negative value initially going to a zero value during the sustain ...

Page 20: ...modulation bus All of the other shaping values are simply knob settings with the same name Filter Programming The filter configuration and DSP algorithm can be modified using these settings The number of poles sets the steepness of the filter frequency response past the cutoff frequency Each pole results in 6 dB per octave slope Fewer poles results in a brighter less filtered sound 1 pole 6 dB per...

Page 21: ... another type of noise commonly used in audio Gate This setting can be used to hold the gate open which would be like always holding down a key Usually this is set to Keyboard so the envelopes are triggered by the notes Keyboard Mode Various monophonic keyboard settings are available to choose from Last the last key pressed sets the pitch Lowest the lowest key pressed sets the pitch Highest the hi...

Page 22: ...or stereo capabilities that might not be obvious when using the Dual Lowpass filter configuration When both jacks are connected one filter is used for the left channel and the other for the right When only the left jack is connected the stereo output is summed so that the output contains a mono signal with the two parallel filters The right jack always has the same output which is from one filter ...

Page 23: ... Pedal Input Modulation Mod 1 This signal can be selected as a source for the Mod Wheel bus Mod 2 This signal can be selected as a source for the On bus Filters Cutoff Controls the cutoff frequency Resonance Controls the resonance amount for the filters LFO Rate Adjusts the rate of the LFO with respect to the current rate Sync A digital signal that on a rising edge causes the LFO waveform to reset...

Page 24: ...ts the panning of the output from left to right Vol Adjusts the Master Volume amount Common Tricks It is often confusing to guess whether CV will completely control a parameter or adjust a parameter based on its internal value In Viking parameters are adjusted based on their internal value so knobs on the front panel still have an effect You may want to turn a knob on the panel fully down so unipo...

Page 25: ...Mod The current Mod Wheel level Press The current aftertouch pressure level Sust The current Sutain Pedal state Modulation bipolar MW Bus The Mod Wheel modulation bus output On Bus The On modulation bus output LFO mixed Tri The LFO triangle wave bipolar Square The LFO square wave unipolar S H The LFO Sample and Hold value bipolar S H Filt The LFO Sample and Hold waveform smoothed by a filter bipol...

Page 26: ...ve 78 three_one_fm 14 external_mix 81 external_on 15 osc1_mix 82 osc1_on 16 osc2_mix 83 osc2_on 17 osc3_mix 84 osc3_on 18 noise_mix 85 noise_on 19 cutoff 20 spacing 21 resonance 22 kb_cont_amount 86 mode 23 filter_attack 24 filter_decay 25 filter_sustain 26 filter_release 27 filter_amount 28 volume_attack 29 volume_decay 30 volume_sustain 31 volume_release 7 master_volume 36 pitch_range 37 lfo_rat...

Page 27: ...ape MShp mw_amount Mod Wheel Amount MW Amt MAmt on_source On Source On Src OSrc on_destination On Destination On Dest ODes on_shaping On Shaping Shaping OShp on_amount On Amount On Amt OAmt osc1_octave OSC 1 Octave OSC1 Oct Oct1 osc1_wave OSC 1 Wave OSC1 Wav Wav1 one_two_sync OSC1 OSC2 Sync Sync 1 2 OSyn osc2_freq_normal OSC 2 Frequency OSC2 Fre Fre2 osc2_freq_sensitive OSC 2 Frequency Sensitive O...

Page 28: ...mount to Filter Filt Amt Amt volume_attack Vol Attack Vol A VolA volume_decay Vol Decay Vol D VolD volume_sustain Vol Sustain Vol S VolS volume_release Vol Release Vol R VolR master_volume Master Volume Volume Vol mw_pgm_source MW PGM Source MW PGM S MPS mw_pgm_dest MW PGM Destination MW PGM D MPD mw_pgm_shaping MW PGM Shaping MW PGM H MPH on_pgm_source On PGM Source On PGM S OPS on_pgm_dest On PG...

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