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68

CHAPTER 7

The Parameters

FILTER 2

KEY FOLLOW

same as FILTER 1

MODE

same as FILTER 1

ENV POLARITY

Switches back and forth between positive
(POS) and negative (NEG) ENV AMOUNTs for
Filter-2 (see appropriate section).

01111111111111111112

1 FILTER2
EnvPolarity Pos≤

61111111111111111154

CUTOFF LINK

Switches the knob and the parameter CUTOFF
2 (see appropriate section) back and forth be-
tween two operating modes:

- ON

In this mode, CUTOFF 2 operates rela-

tively to the CUTOFF knob value rather than
absolutely (OFFSET): The cutoff frequency of
the second filter is - like the first filter - deter-
mined by the CUTOFF value. However you
can dial in an offset (relative ascending or de-
scending deviation) of the frequency via the
CUTOFF 2 knob. At the center position (12
o’clock) of CUTOFF 2, the frequencies of the
two filters are identical.

- OFF

Now,the CUTOFF and CUTOFF 2 knobs

are no longer linked and CUTOFF 2 operates
absolutely in a control range of 0 to 127. In
this case the CUTOFF and CUTOFF 2 knobs
are two independent control features that de-
termine the respective cutoff frequencies for
Filter-1 and 2. CUTOFF LINK pertains exclu-
sively to the CUTOFF 2 knob and the corre-
sponding parameter. CUTOFF 2 has no
influence on the other parameters of the sec-
ond filter.

01111111111111111112

1 FILTER2
CutoffLink On≤

61111111111111111154

FILTERS

BALANCE

Has different functions depending on the FIL-
TER ROUTING setting (see appropriate section
as well): In the parallel FILTER ROUTING oper-
ating modes PAR 4 and SPLIT, it controls the
balance of volume levels between the two filters
- or in actuality SATURATION and Filter-2.

Technically, in the serial FILTER ROUTING oper-
ating modes SER 4 and SER 6, the left half and
the right half of the control range address differ-
ent parameters: When the knob is set to the far
left position, you will hear Filter-1/Saturation ex-
clusively, whereas Filter-2 is blended into the
mix as you rotate the knob towards the center
position. When the knob is set to the far right
position, you will hear Filter-2 exclusively,

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Summary of Contents for Virus Rack XL

Page 1: ...ENGLISH VERSION ...

Page 2: ...accuracies that may appear in this book Except as permitted by such licence no parts of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical record ing or otherwise without the prior written per mission of Access Music GmbH VIRUS is a trademark of Access Music GmbH All other trademarks contained herein are the property of ...

Page 3: ......

Page 4: ...Memory 46 Random Patch Generator 47 Modmatrix And Soft Knobs 49 Master Clock And Midi Clock 50 The Effects Section 51 Audio Inputs 51 Audio Routing 53 Sound Categories 53 Additional Functions 54 THE PARAMETERS OSC SECTION ENCODER 58 Oscillator 1 58 Oscillator 2 58 Oscillator 3 59 Sub Oscillator 60 OSC SEKTION MENU 61 Oscillator 1 61 Oscillator 2 61 Oscillator 3 63 Oscillators 64 Ringmodulator 64 N...

Page 5: ... The parameters of the Virus vocoder 131 Notes about the vocoder 132 THE VIRUS AND SEQUENCERS Parameter Control via MIDI 136 Organizational Information 136 Handling MIDI Parameter Control 137 Notes on Adaptive Parameter Smoothing 138 Problems Related to Parameter Control 139 Dump The Sound in the Song 140 TIPS TRICKS WORDS OF WISDOM TIPS AND TRICKS 144 All abouts Inputs 145 About Effects 145 Oscil...

Page 6: ...TER 2 Content MIDI Implementation Chart 182 FCC Information U S A 184 FCC Information CANADA 184 Other Standards Rest of World 185 Declaration of Conformity 186 Warranty 187 Many thanks to 187 INDEX INDEX 190 ...

Page 7: ...ACCESS VIRUS RACK XL OS5 7 PDF VERSION RESTRICTIONS APPLY ...

Page 8: ...e exclusively the included mains power supply adapter Plug the device only into mains sockets that are properly grounded in compliance with statu tory regulations Never modify the included power cord If its plug does not fit the sockets you have available take it to a qualified electrician Always pull the power plug out of the mains socket when you won t be using the device for prolonged periods N...

Page 9: ...it to a shop that disposes of batteries properly Before you have the battery changed save the entire memory content of the RAM by loading it to a sequencer via Total Dump Be advised that RAM content is lost when the battery is swapped Midi Dump TX on page 122 CARE Do not open the device it is not equipped with any user serviceable parts Repair and maintenance may only be carried out by quali fied ...

Page 10: ...10 CHAPTER 3 ...

Page 11: ...Prologue ...

Page 12: ...is a 6 stage Phaser and a patch Distortion You also get a global reverb delay unit that lets you create high quality reverb ef fects and rhythmic delay taps Delay time can be synced up to MIDI clock With the benefit of two external audio inputs the Virus may also serve as an FX device and signal processor that you can use creatively to come up with all kinds of effects External sig nals can be pro...

Page 13: ...d manage sounds on a large scale user interface You can access every sound parame ter of the Virus rack XL directly via mouse click When you edit a parameter the Virus will render the changes immediately in real time Accord ingly every parameter change that you make using the encoder knobs those knobs without left and right control range limits on the Virus rack XL appears immediately on the scree...

Page 14: ...14 CHAPTER 4 Prologue ...

Page 15: ...Introduction ...

Page 16: ... in its entirety from the start rather than begin with a subsection that is of particular interest to you A fitting metaphor for the basics discussed in this section might be a house where each bit of information in a sub section is a brick that builds on a preceding brick and interlocks with those next to it You want your knowledge base to be a sound struc ture so you won t run into problems when...

Page 17: ...is inactive in this operating mode In order to hear the sound programs in banks B to H simply use the PARAMETER BANK but tons to step from one program bank to another You ll find that some sound programs are la beled with the abbreviations INP or VOC These use the external audio input as a signal source for the filter section INP or vocoder VOC This means that you won t hear anything until you rou...

Page 18: ...d start im mediately after you press a key and sustain in definitely for as long as you hold the key down As soon as you release the key the sound should end abruptly This sound is not designed to be especially pleasant it is intended to be as neutral as possible to give you a basis from which you can begin creating or shaping your own sound THE AMPLIFIER ENVELOPE Long term exposure to this sound ...

Page 19: ...her words in this situation the DECAY encoder is ineffective The individual functions of a synthesizer are designed to interact many functions are de pendent on other functions In a number of ca ses this means that some functions are subordinate to others i e the effectiveness of a control feature is altered modified or even ne gated completely by other related functions The final encoder RELEASE ...

Page 20: ...T The second encoder knob in this row is labeled CUTOFF not to be confused with CUTOFF 2 Rotate the encoder to the left and right and note how the sound becomes muddier and clearer in response to the direction in which you turn the encoder To ensure this effect and the following aural experiments are most pronounced adjust the amplifier envelope so that the Virus generates a constant level whi le ...

Page 21: ...n with different CUTOFF settings You will find the effect that the RESONANCE encoder achieves is markedly different for the band stop filter in comparison to the effect it has on the other filter types as the resonance increases the bandwidth of the notch decreases in other words more frequen cies on both sides of the filter frequency are al lowed to pass FILTER MODULATION Of course we don t want ...

Page 22: ...ddy signal when you play notes in the mid range Now play a few higher and lower notes You will find that the lower notes have a greater over tone content whereas the higher notes sound muddier and their volume decreases until the notes are completely inaudible You might al ready suspect what this is all about As the notes are transposed ever lower more portions of the signal fall below the cutoff ...

Page 23: ...acti vated a saturation curve Feel free to experiment with the diverse satura tion curves and be sure to vary the OSC VOL settings Note how the different CUTOFF and RESONANCE settings influence the saturation curve THE SECOND FILTER You probably noticed that by a adding a bit of saturation to the signal you can come up with a pretty heavy aggressive sound especially with a low filter frequency lev...

Page 24: ...center position 12 o clock as we mentioned before the two filters are routed in series which means they re spond as if they were a single filter with 6 poles and consequently a great deal of slope This is why the input signal is trimmed substantially when you set the parameter to this position Experiment with the diverse FILTER BALANCE values to get a feel for the different degrees of slope Rotate...

Page 25: ...ll not generate an audible signal when you set FIL TER BALANCE to the center position 12 o clock FILTER ROUTING The final parameter we ll discuss for the time being is FILTER ROUTING This feature offers several filter routing options which allow you to operate the filters in series i e patch one after the other in the signal chain or in parallel which means side by side in the signal chain SER 4 T...

Page 26: ...26 CHAPTER 5 Introduction Her is the filter routings capabilities of the Virus ...

Page 27: ... you have already heard in action during your experi ments thus far Dial in the same basic sound that you started with at the very beginning A127 START To this end first press the SINGLE button in order to return to Play mode from the selected para meter section In Play mode you can switch sounds via the VALUE buttons Now modify the amplifier envelope so you are working with a less grating sound b...

Page 28: ...and check out the different wavesha pes The second of the 64 waves is a triangle wave the remainder of the waveshapes are each a unique tonal blend After you have fami liarized yourself with this raw material experi ment with the parameters of the FILTERS and AMPLIFIER sections you have dealt with thus far don t forget about SATURATION and the corresponding function of the OSC VOL para meter to ge...

Page 29: ...to Oscillator 1 via the SEMITONE encoder What happens is that the wave cycle of Oscillator 2 is interrupted as soon as Oscilla tor 1 starts its cycle The pitch of the second oscillator no longer has the expected effect in stead it generates special tones in some cases for lack of a better description screaming type effects The other effect that benefits from manipulating the interval between the o...

Page 30: ...lators is mul tiplied to create interesting sounds with rich en harmonic overtones These overtones are highly dependent on the frequency coherence of both oscillators and it s waveforms The frequency coherence can be changed for instance use the OSC2 SEMITONE parameter To blend in the ring modulator use EDIT RINGMODULA TOR VOLUME in OSCILLATOR EDIT Menu If the RINGMODULATOR VOLUME is zero the ring...

Page 31: ...n the sound program In order to change this set ting you must access the five parameters called LFO AMOUNT button which works with the modulation destinations Oscillator1 Oscillator2 PulseWidth1 2 Resonance1 2 und FilterGain THE MODULATION TARGETS OSCILLATOR1 refers to the frequency of oscillator 1 OSCILLATOR2 refers to the frequency of oscillator 2 PULSEWIDTH1 2 means that the pulse widths of bot...

Page 32: ...c effects Continued your experiments with different LFO waveshapes Note that after a while you no longer consciously hear minimal modulation in tensities depending on the waveshape and modulation target e g S G 1 on OSC 1 or 2 However they do pep up the sound of lend it a certain vitality The key to many great sounds are these types of minimal modulations You may have gathered that the LFOs of the...

Page 33: ...rols can be de fined within the Edit menu SOFT KNOB 1 2 MODE There are two parameters one global and one local i e applying only to the current SINGLE program which will override the global definition if defined SOFT KNOB 2 doubles as a value control and therefore only works as a SOFT KNOB when the Virus is in Play mode i e no Edit menu is selected For each SOFT KNOB you can choose a short descrip...

Page 34: ...01111111111111111112 1 VELOCITY Osc1Shape 0 61111111111111111154 There you will find the modulation intensities for which you can manipulate independently of one another in the familiar bipolar control range A light key attack generates a low velocity value for the given note a heavy touch generates a high velocity value UNISON MODE When we talked about the oscillators we men tioned that by subtly...

Page 35: ... is played THE EFFECTS DISTORTION The Distortion effect is actually a collection of several different algorithms which are selecta ble via the TYPE MIX control OFF No distortion LIGHT SOFT MIDDLE HARD Four analog distortion curves with differing characteris tics and intensities DIGITAL Digital distortion with hard clipping Shaper Sine characteristic with multiple wave cycles Signals sent through t...

Page 36: ...to approx 50 ms which is varied periodically By modulating the delay the delayed signal is slightly detuned to the input signal the so called Doppler effect This incon sistency in pitch between the original and ef fects signal is the source of the chorus effect Feedback in the delay line enhances this effect The left signal side is automatically modulated in a different manner than the right so a ...

Page 37: ...y time and FEEDBACK DAMPING sets the amount of high frequency damping 01111111111111111112 1 DELAY EffectSend 0 61111111111111111154 THE ARPEGGIATOR The ARP section located inconspicuously be low the main volume control is the Virus ar peggiator This section only has an ON OFF button and an EDIT button which opens the ar peggiator menu Arpeggiators break chords into individual notes which are usua...

Page 38: ...and com plete overview of all parameters and their val ues so this is a practical alternative to the Virus user interface especially when your unit is not very accessible e g when built into a 19 rack SoundDiver communicates via MIDI with the Vi rus and requires two way connections i e both the MIDI INs and OUTs must be connected be tween the Virus and the computer running the software SoundDiver ...

Page 39: ...Concept and Operation ...

Page 40: ...ed PARTS In MULTI MODE the actual sound parameters are augmented with other functions that deal with how the involved SINGLE programs are structured or organized These include the vol ume levels of the single programs their MIDI channels output assignments etc THE MULTI SINGLE MODE While being in MULTI Mode you re unable to change the SINGLE programs directly which would admittedly be a handy opti...

Page 41: ...uencer Here the PART numbers are identical to the MIDI channels of the PARTs Now when you work in MULTI SINGLE mode the Virus responds as if it were in SINGLE mode except that you have 16 sounds available simultaneously on 16 MIDI channels Use the PART buttons to select these sounds You only need to exit MULTI SINGLE mode when you want to store the MULTI program for example to save the current glo...

Page 42: ...he MULTI edit buffer The MUL TI program in turn contains address information for the SINGLEs involved in other words the bank and program numbers These addresses are also copied from the SINGLE banks into the 16 SINGLE edit buffers for the PARTs When you store a MULTI program only the ad dresses of the SINGLE programs original slots are saved but not however the sound data in the 16 SINGLE edit bu...

Page 43: ...is knob is not labeled on the panel with a pa rameter name that indicates its purpose In stead the name of the parameter and its function is shown in the display Apart from the envelope section each of the parameter groups features these peripheral parameters that are grouped in menus These are ancillary parame ters that complement the directly accessible parameters They may be selected via the PA...

Page 44: ... use these labeled knobs to control the functions LFO Rate Shape Contour and Keyfollow for LFO 2 you must use the PARAMETER buttons in the display to dial in one of the parameters of LFO 2 This selected parameter may then be edited via the VALUE knob At the same time you can control LFO 2 s Rate Shape Contour and Key follow via the four remaining knobs Once you ve selected a parameter group or sec...

Page 45: ...nt and will no longer appear in the menu In other words when the chorus is disabled you can t view its parameters The reason for this is to make menus clearer and less cluttered The VALUE buttons let you change the value of the selected parameter in steps When you hold one of these buttons down the value changes automatically and the longer you hold the button the faster the pace of the value chan...

Page 46: ... remain intact when you turn a knob ON The lower row of the display is being overwritten by the parameter s value SHORT When you turn a knob the current contents of the lower display line are briefly overwritten by data representing the change in parameter value once the action is com pleted the original contents reappear in the lower display line LONG Same as SHORT except that you guessed it the ...

Page 47: ...er you have programmed or edited a SINGLE sound Com pare mode lets you hear the unedited sound that was originally stored in this memory slot Press UP or DOWN repeatedly to switch back and forth between the Compare sound and the edited sound so that you can surprise sur prise compare the two sounds Use the PA RAMETER BANK buttons and the VALUE buttons to step through the bank and program numbers o...

Page 48: ...u enter a low value for PAR DEPTH just a few parame ters will be modified Beyond that the manner in which the few parameters are edited assures that the sound is manipulated organically This simply means that it isn t bent radically so that for example the given sound can still be played tonally As you increase the values for PAR DEPTH oth er parameters that have a greater impact on the timbre of ...

Page 49: ...e the keyboard s modula tion wheel to the desired parameter You can also chose to use the sound generator s internal modulators such as LFOs and envelopes as modulation sources The control range of the source may be limited via the AMOUNT values or inverted so that the modulation occurs strict ly within the desired value range for the target parameter For your target parameters you can chose from ...

Page 50: ...generator works either inter nally with a freely variable speed or it can in turn by synced up to the MIDI clock of an ex ternal sequencer This synchronization occurs automatically when the device receives a MIDI clock signal via its MIDI In You can vary the speed of the clock generator within a range of 63 to 190 BPM beats per minute via CLOCK TEMPO When the device is synchronized via MIDI clock ...

Page 51: ...s or MULTI PARTs The Virus is equipped with two inputs for external signals You can route these to its sound generating components the filters the saturation stage as well as the volume and panorama stage or patch them directly to the effects section of the Virus External audio signals may also be used as carrier or modulator signals for the vocoder Any PART that you use to process an external aud...

Page 52: ... Input menu you ll find a gain switch IN PUT Gain that increases the input signal by 20 decibels before it is sent to the digital analog converter This means that with the proper cords you can connect a microphone an elec tric guitar or a record player directly to the Virus rack XL However to attain the best possible sound quality it is advisable to patch the signal into an appropriate signal proc...

Page 53: ...le on OUT 1 This can be desirable yet may also lead to confu sion To encourage the former and prevent the latter set the Effect Send parameter of the PART to zero when you re using individual out puts In MULTI mode the delay reverb section fea ture its own OUTPUT Select that is independent of the PARTs SOUND CATEGORIES The Virus gives you the option of classing the stored SINGLE sounds in categori...

Page 54: ...otes caused by MIDI transmission parity errors and the like When you press the POWER and the STORE button simultaneously then all voices of the Virus that are still sounding will be released A double click on both buttons initiates a con troller reset The various voices that are still sounding will be cut off instantly and controllers such as the modulation wheel channel volume and pitch bender ar...

Page 55: ...tional Functions PDF VERSION RESTRICTIONS APPLY RAMETER LEFT button while switching the VI RUS on performs a system reset No data will be lost during this procedure although some global system settings as Global Channel will be reset ...

Page 56: ...56 CHAPTER 6 Concept and Operation ...

Page 57: ...The Parameters ...

Page 58: ...ss than the value of the center position then WAVE SEL PW deter mines the waveshape if the SHAPE value is higher than that of the center position then WAVE SEL PW determines the pulse width WAVE SEL PW has two functions depending on the SHAPE see appropriate section value When SHAPE has a value lower than that of the center position then WAVE SEL PW lets you select from the 64 spectral waveshapes ...

Page 59: ...illators OSCILLATOR 3 OSCILLATOR 3 SEMITONE Transposes Oscillator 3 in semitone steps Con trol range 4 octaves Not available if OS CILLATOR 3 MODE OFF or SLAVE 01111111111111111112 1 OSCILLATOR 3 Semitones 0 61111111111111111154 OSCILLATOR 3 DETUNE Detunes the third oscillator relatively to the first With this parameter you can dial in everything from slight deviations in pitch to major fluctua ti...

Page 60: ...nes the volume level of the SubOscilla tor 01111111111111111112 1 SUBOSCILLATOR Volume 30 61111111111111111154 SHAPE Switches the waveshape of the SubOscillator between SQUARE and TRIANGLE 01111111111111111112 1 SUBOSCILLATOR Shape Square 61111111111111111154 ...

Page 61: ...ctaves whole note scale 15 transposes the oscillator upwards by one octave for every two ascending octaves you play quarter note scale at 0 the keyboard control option is off Negative values generate opposite control in tensities 01111111111111111112 1 OSCILLATOR1 Keyfollow 32 61111111111111111154 OSCILLATOR 2 WAVE Same as OSCILLATOR 1 see paragraph above SYNC Synchronizes the second oscillator wi...

Page 62: ...llator 2 in order to achieve the most trans parent form of frequency modulation Here s a look at the FM sources that you have at your disposal 01111111111111111112 1 OSCILLATOR 2 FmMode PosTri 61111111111111111154 POSTRI One way FM with a positive triangle generated by Osc1 TRI Linear FM with a bipolar triangle gener ated by Osc1 WAVE The selected Osc1 wave is the FM source This lets you in some c...

Page 63: ...re animated Oscillator 2 and 3 are handled collectively using Oscillator 2 s control features 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 You can select the waveshapes individually for Oscillator 3 via the following OSCILLATOR 3 mode options sawtooth sq...

Page 64: ...ontrolled via the OSC VOL knob PHASE INIT This feature lets you select the oscillator phase position at the start of a note At a value of 0 all oscillators oscillate freely much like in a tradi tional analog synthesizer At values of 1 and higher Oscillator 1 starts the note with a phase angle of 0 whereas the phase position of the second oscillator is shifted increasingly at as cending values The ...

Page 65: ...e generator As with the ring modulator the volume is idependent off the OSC VOL parameter COLOR Determines the sound of the Noise Positive va lues emphasis on high frequencies negative values on the bass frequencies 01111111111111111112 1 NOISE Color 0 61111111111111111154 MIDDLE Neutral white noise all frequen cies are emphasised equally NEGATIVE Lowpass pink noise dark and emphasised on bass fre...

Page 66: ... you can access CUTOFF LINK ON OFF to sever the link between CUT OFF and CUTOFF 2 In this case the two knobs CUTOFF and CUTOFF 2 are independent cutoff controls for Filters 1 and 2 respectively RESONANCE Controls the resonance also called filter feed back or Q factor Depending on the FILT SE LECT setting RESONANCE affects the first filter the second filter or both filters ENV AMOUNT Determines the...

Page 67: ...the lower frequencies through HIGHPASS The high pass filter works in the opposite manner of the low pass filter It sup presses the lower frequencies in a signal and lets the higher frequencies pass BANDPASS The band pass filter suppresses both ends of the tonal spectrum and allows only a narrowly defined bandwidth of the original sound to pass BANDSTOP The band stop filter band reject filter or no...

Page 68: ...n a control range of 0 to 127 In this case the CUTOFF and CUTOFF 2 knobs are two independent control features that de termine the respective cutoff frequencies for Filter 1 and 2 CUTOFF LINK pertains exclu sively to the CUTOFF 2 knob and the corre sponding parameter CUTOFF 2 has no influence on the other parameters of the sec ond filter 01111111111111111112 1 FILTER2 CutoffLink On 6111111111111111...

Page 69: ...54 SELECT This control feature is used to allocate the two knobs RESONANCE and ENV AMOUNT to the first filter second filter or both filters The cur rently active assignments are indicated by the integrated LEDs To control both filters simulta neously via the knobs you must first press both buttons simultaneously SELECT pertains to the corresponding knob located on the Virus only but not to the sou...

Page 70: ...ereas SATURATION affects each voice sepa rately DISTORTION processes all voices col lectively in the effects section This makes a huge difference in tone Let s take look at the SATURATION modes OFF The signal is not processed LIGHT SOFT MIDDLE HARD Different an alog distortion curves with different charac teristics and intensities DIGITAL Digital distortion with hard clipping SHAPER Sine character...

Page 71: ...l is controlled separately in the OSCILLATOR EDIT menu see appropriate section In the right half of the control range from the center position to the far right OSC VOL in creases the saturation intensity Gain for the in put of the SATURATION stage see appropriate section however this adjustment is compen sated post SATURATION stage so that when you adjust the gain you are not actually increas ing ...

Page 72: ...to the center position 12 o clock indicated by the mathe matical infinity symbol then the SUSTAIN level remains constant through to the end of the note if you turn it counter clockwise to the left towards FALL then the level drops off at an in creasing rate towards the minimum level If you turn the knob clockwise to the right towards RISE the level rises at an increasing rate to maximum RELEASE De...

Page 73: ... the knob is set to the center position 12 o clock indicated by the mathematical infinity symbol then the SUSTAIN level remains constant through to the end of the note if you turn it counter clockwise to the left towards FALL then the level drops off at an in creasing rate towards the minimum level If you turn the knob clockwise to the right towards RISE the level rises at an increasing rate to ma...

Page 74: ...O Contour you can now bend or morph almost all the LFO waveforms A brief survey of the LFO Contour options for the different LFO modes follows 01111111111111111112 1 LFO 1 Contour 0 61111111111111111154 SINE Contour morphs from sine to a triangle wave Contour to the left or to a square wave Contour to the right TRIANGLE Contour morphs from a triangle to a declining Contour to the left or ascend in...

Page 75: ...11111111111112 1 LFO 2 Contour 0 61111111111111111154 SINE Contour morphs from sine to a triangle wave Contour to the left or to a square wave Contour to the right TRIANGLE Contour morphs from a triangle to a declining Contour to the left or ascend ing sawtooth Contour to the right SAWTOOTH Contour morphs from a linear declining sawtooth or decay to any exponen tially declining decay Contour to th...

Page 76: ... short for Sample Hold or a smooth random modulation S G short for Sample Glide Al ternatively choose from a selection of 64 static waveforms WAVE 1 64 KEY FOLLOW Controls the intensity of the KEY FOLLOW function i e the rate at which the LFO follows the pitch of a played note At a value of 0 KEY FOLLOW is deactivated At a value of 127 the rate doubles with each octave 01111111111111111112 1 LFO3 ...

Page 77: ...llate in different phase positions for each voice This livens up the LFO modula tion MONO In polyphonic mode all voices are assigned the same LFO This accentuates the LFO modulation making it more pronounced 01111111111111111112 1 LFO1 Mode Poly 61111111111111111154 ENV MODE Activates an operating mode in which the LFO oscillates like an envelope The LFO cycles once only following the start of the...

Page 78: ...of the filter section in the signal chain This means that the distortion amount i e the intensity of the effect is al so modulated when you activate SATURA TION Furthermore you can use fast LFO oscillations to generate brief impulses tran sients in the oscillator signal that excite the resonant frequencies of the filters The filters will fade out freely since their output signal is not affected by...

Page 79: ...n dom value with each new note This new value is valid for the entire duration of the note 01111111111111111112 1 LFO2 EnvMode Poly 61111111111111111154 TRIGGER PHASE Selects the position in the wave cycle i e the phase position at which the LFO starts oscil lating in response to the start of a note The control range of 1 to 127 is equivalent to phase positions of 0 to 360 degrees the value 0 swit...

Page 80: ...1111111111111154 MODE POLY In polyphonic mode each of the voic es involved is assigned a dedicated LFO The LFOs oscillate in different phase positions for each voice This livens up the LFO modula tion MONO In polyphonic mode all voices are assigned the same LFO This accentuates the LFO modulation making it more pronounced 01111111111111111112 1 LFO3 Mode Poly 61111111111111111154 ENV MODE Activate...

Page 81: ...lla tor 1 via the SYNC function 01111111111111111112 1 LFO3 Dest Osc1 2 61111111111111111154 OSC AMOUNT Controls the modulation intensity of the LFO 01111111111111111112 1 LFO3 OscAmount 0 61111111111111111154 FADE IN This parameter lets you automatically initiate a delayed fade in the LFO3 modulation that you set up via OSC AMOUNT see the section above FADE IN controls the overall delay and fade ...

Page 82: ...s along the way This friction depletes energy and causes the pool ball to slow down The sound s loss of energy is con trolled via DECAY TIME When you dial in the minimum value the decay time is extremely short so you ll hear just the early reflections At the peak value no energy is lost so the decay time is infinite which is of course physically im possible in the real world 01111111111111111112 1...

Page 83: ... to match the reverb effect to the rhythmic context And like the DELAY parameters pre delay is in finitely variable it is suitable for generating feedback and it can be synced up to the global clock generator REVERB PREDELAY controls the absolute pre delay time in milliseconds ms The peak value depends on the room size REVERB TYPE see above that you have selected because the room simulation and pr...

Page 84: ...the absolute delay time of the delay ef fect in milliseconds ms Use it to determine the interval between each repetition up to a maxi mum delay time of 693 ms Delay time is infi nitely variable Changing the delay time bends the pitch of the delay signal The DELAY TIME parameter will not appear in the display when delay time is determined by the DELAY CLOCK see below If the PATTERN delay is activat...

Page 85: ...rus On the chorus FEEDBACK lets you boost spe cific frequencies in the delayed signal to create a flanger effect The FEEDBACK parameter is bipolar positive or negative feedback values let you dial in different flanger characteristics 01111111111111111112 1 CHORUS Feedback 0 61111111111111111154 INPUT MODE In the Virus you have the option of using the ex ternal analog inputs instead of the internal...

Page 86: ...e enve lopes are deactivated and incoming notes are ignored Consequently you can use the filters and the amplifier as an effects section for the input signal INPUT SELECT Selects the external signal source for the INPUT MODEs The signal source that you select here is used also for the vocoder 01111111111111111112 1 INPUT Select In L R 61111111111111111154 If the selected signal source is a stereo ...

Page 87: ...requencies or even lower the treble frequencies In its mild form ANALOG BOOST is suitable for almost all sounds collaborates well with the distortion section and if necessary can be set to extreme values INTENSITY Controls the amount of ANALOG BOOST 01111111111111111112 1 ANALOG BOOST Intensity 17 61111111111111111154 TUNE Controls the frequency range of ANALOG BOOST 01111111111111111112 1 ANALOG ...

Page 88: ...ect match for the rhythmic context In PARAMETER mode you can select various DELAY and REVERB algorithms Some of the REVERB algorithms work with parameters that the DELAY algorithms do not use and vice ver sa so we ll look at these special parameters in a separate section In SINGLE MODE all Delay or Reverb settings apply to the SINGLE PROGRAM in the conven tional manner and are stored along with th...

Page 89: ...11111111112 1 DELAY REVERB MODE REVERB 61111111111111111154 The following parameters will only appear in the display when you re working with DELAY al gorithms DELAY CLOCK When you set it to OFF the absolute delay time is determined in milliseconds If you select a note value then the delay time is set to the val ue of this note The absolute length of this note value depends on the value entered to...

Page 90: ... can select from among 01111111111111111112 1 REVERB Type Ambience 61111111111111111154 Types of reverb REVERB COLOR This parameters influences the room s static frequency response Natural reverb will always have some high fre quency attenuation since the sound bounces off at least one wall REVERB COLOR is identi cal to DELAY COLOR here you re dealing with a variable filter that can act as a low p...

Page 91: ... REVERB section 01111111111111111112 1 REVERB OutSel Out1 2 61111111111111111154 DISTORTION TYPE Here s a rundown on the various DISTORTION modes OFF The signal is not processed LIGHT SOFT MIDDLE HARD Different an alog distortion curves with different charac teristics and intensities DIGITAL Digital distortion with hard clipping SHAPER Sine characteristic curve with sev eral wave cycles With the S...

Page 92: ...ignal is audible at a val ue of 127 only the Phaser output signal is audible The values between these two ex tremes determine the mix of the two signals The pure phaser signal is generated by frequen cy dependent phase shifting PHASER Fre quency and pitch modulation of the phaser s own LFOs PHASER Rate and Depth Not until the direct or dry signal PHASER Dir Eff is mixed to the wet effects signal i...

Page 93: ...the phaser effect 01111111111111111112 1 PHASER Spread 127 61111111111111111154 CHORUS DIR EFF Controls the balance of volume levels between the direct signal and the Chorus signal At a val ue of 0 only the direct signal is audible at a val ue of 127 only the Chorus output signal is audible The values between these two ex tremes determine the mix of the two signals The pure chorus signal is create...

Page 94: ...quencies Increasing the Q factor narrows the bandwidth i e cut or boost is ap plied to a narrower range of frequencies Set ting a very high Q factor e g 15 makes this bandwidth very narrow allowing for highly se lective and precise equalization HIGH EQ GAIN High shelf cut or boost HIGH EQ FREQUENCY High shelf cutoff frequency VOCODER VOCODER MODE here you can enable the vocoder and choose the sign...

Page 95: ...the mod ulator and carrier bank This parameter can ad just both banks together or separately The mode depends on the setting of the filter select buttons FILT1 is assigned to the carrier FILT2 controls the modulator With maximum KEY FOLLOW 63 the filters cover the whole fre quency spectrum Reducing the KEYFOLLOW results in narrower spread whereby just a part of the frequency spectrum is covered CU...

Page 96: ... LEFT The attack time of the envelope follower This parameter controls how fast the carrier bands react on a change of the modulator signal s fre quency energy Higher values result in a flab by lazy even delayed response from the vocoder VOCODER RELEASE DEFAULT 0 LEFT The release time of the envelope follower This parameter controls how fast the carrier bands reflect if a certain frequency disappe...

Page 97: ... e g capable to increase the quality of speech The Spectral Balance highly influences the overall character of the vocoder Several vocoder related parameters can be modulated by LFO 1 and LFO 2 LFO 1 RESO 1 2 modulates the bandpass filter quality of the modulator carrier bank LFO 2 FILT 1 modulates the bandpass filter frequency of the carrier bank LFO 2 FILT 2 modulates the bandpass filter frequen...

Page 98: ...ob 1 2 MODE Settings can be saved globally as well as individually to SINGLE program slots MASTER VOLUME Controls the overall volume of the Virus This control determines the volume of the signal pair piped through Output 1 before it is converted into an analog signal This means that under normal circumstances you should turn Master Volume all they way up because you of course want the Virus to del...

Page 99: ...E MODE CLOCK TEMPO pertains to the current SINGLE PROGRAM and is stored along with it In MULTI MODE the CLOCK TEMPO settings for the involved SINGLE PRO GRAMs are ignored Instead all involved SIN GLE PROGRAMs are controlled via the same clock generator Its CLOCK TEMPO is saved in the MULTI PROGRAM as are the settings of the global delay effect This feature lets you control the LFOs and arpeggiator...

Page 100: ...you play legato MONO 3 Single Trigger The sound is played monophonically when you play in a smooth even style legato the envelopes are restarted at the first note only and continue to run through their phases when you play other notes Single Trigger mode Portamento is al ways active MONO 4 Single Trigger Legato Glide The sound is played monophonically when you play in a smooth even style legato th...

Page 101: ...the distance of the pitch bend s full range the interval you hear is equivalent to exactly half of the value you set for BEND UP see para graph above EXP Starting from the 0 value center posi tion the pitch bend is exponential at first the bend is gradual and as you move further away from the center position the pitch is bent ever more radically In this mode you can achieve slight fluctuations in ...

Page 102: ...voices are played for every note In the OFF position one voice per note is played 01111111111111111112 1 UNISON Mode Twin 61111111111111111154 DETUNE Slightly detunes the voices involved in UNISON mode 01111111111111111112 1 UNISON Detune 48 61111111111111111154 PAN SPREAD Creates a stereo panorama spread of the voices involved in UNISON mode Use it connection with UNISON DETUNE to create intense ...

Page 103: ...n trol one modulation destination ASSIGN 2 can control two and ASSIGN 3 can control three modulation destinations each with independ ent AMOUNTs For your SOURCEs you have two different types of modulation sources to chose from The first type comprises external MIDI controllers such as the modulation wheel or breath control ler We call these performance controllers to distinguish them from sound pa...

Page 104: ...di nate parameters will not be displayed In addition to the three ASSIGN options the us er interface features as discussed earlier a freely definable modulation destination for LFO 1 and 2 called ASSIGN ASSIGN 1 SOURCE Selects the modulation source for the first modulation assignment 01111111111111111112 1 ASSIGN 1 Source ChanPres 61111111111111111154 ASSIGN 1 DESTINATION Selects the modu lation d...

Page 105: ...ion assignment ASSIGN 3 AMOUNT 3 Controls the intensity of the third modulation assignment for the third modulation destination ASSIGN 4 SOURCE Selects the modulation source for the first modulation assignment ASSIGN 4 DESTINATION Selects the modu lation destination for the first modulation as signment ASSIGN 4 AMOUNT Controls the intensity of the first modulation allocation ASSIGN 5 SOURCE Select...

Page 106: ... parame ter see appropriate section 01111111111111111112 1 VELOCITY Osc2Shape 10 61111111111111111154 VELOCITY PULSE WIDTH Determines the intensity of the VELOCITY con trol for the pulse width see appropriate section of both oscillators 01111111111111111112 1 VELOCITY PulseWidth 20 61111111111111111154 VELOCITY FM AMOUNT Determines the intensity of the VELOCITY con trol for the frequency modulatio...

Page 107: ...he resonance of Filter 1 01111111111111111112 1 VELOCITY Resonance1 30 61111111111111111154 VELOCITY RESONANCE 2 Determines the intensity of the VELOCITY con trol for the resonance of Filter 2 01111111111111111112 1 VELOCITY Resonance2 0 61111111111111111154 VELOCITY VOLUME Determines the intensity of the VELOCITY con trol for the volume 01111111111111111112 1 VELOCITY Volume 20 611111111111111111...

Page 108: ...manner AS PLAYED Sustained notes are arpeggiat ed in the sequence that they are played It is possible to latch the Arpeggiator with the sustain pedal RANDOM Arpeggiates notes in random se quence CHORD Plays notes as chords rather than arpeggios ARPEGGIATOR OCTAVES Controls the ascending transposition of arpeg gios by octaves Control range 1 to 4 octaves 01111111111111111112 1 ARPEGGIATOR Octaves 2...

Page 109: ...his parameter changes the lengths of the rhythm patterns notes The center position lea ves the notes at their original length Positive values lengthen the notes negative values shorten them relatively to their original lengths 01111111111111111112 1 ARPEGGIATOR NoteLength 10 61111111111111111154 ...

Page 110: ...nths that is every second sixteenth note This lends the rhythm a swing feel When SWING is set to the lowest value 50 the interval between the individual sixteenth beats is identical and the length of an eighth note is divided into two identical beats in other words the rhythm is binary At 66 the rhythm is ternary the length of a eighth note is divided by a factor of 2 1 At the highest value 75 the...

Page 111: ...ance of levels between the normal output and this second output is infinitely variable SELECT This parameter controls the balance of levels between the normal and the second audio out put This means that depending on the given application SECOND BALANCE can serve as an effect send knob when an external device is patched in via the second output or another PART of the VIRUS is patched in via the au...

Page 112: ...nce pa rameter then serves as an effect send knob that determines the balance between the direct or dry signal and the wet or effect signal When you opt to use one of the aux buses as a sec ond output the aux bus can also serve as an FX loop You can route the aux signal to a PART and have the PART process this signal further If no output has been selected for SECOND OUTPUT Select Off the Balance p...

Page 113: ...The Multi Mode Parameters ...

Page 114: ...y SELECT BANK Activates the bank for a SINGLE PROGRAM for the current PART 01111111111111111112 1 B36 101BASS RP SelectBank B 61111111111111111154 SELECT NUMBER Activates a SINGLE PROGRAM for the current PART 01111111111111111112 1 B36 101BASS RP SelctNumber 36 61111111111111111154 PART ENABLE Switches the MIDI receive mode of a given PART ON and OFF i e enables reception of MIDI data 011111111111...

Page 115: ...rmal fashion i e the sound fades out as negative numbers increase from the center value upwards 0 to 63 extremely low level signals are amplified When you set values greater than 0 for sounds that are al ready fairly loud you may hear undesirable dig ital distortion 01111111111111111112 1 B36 101BASS RP PartVolume 0 61111111111111111154 OUT 1 L The left jack of dual Out put 1 mono OUT 1 L R Both j...

Page 116: ...oices of all PARTs have the same priority when one voice is switched off to accommo date a new voice When you set the Priority of a PART to High the Virus will not steal any notes from the voices of this PART Use this pa rameter sparingly In other words if you set all Parts to High you re defeating the purpose of this parameter In this case it wouldn t have any effect since the priority of all voi...

Page 117: ...he PART responds to 01111111111111111112 1 B36 101BASS RP HighKey G8 61111111111111111154 HOLD PEDAL ENABLE Switches a given PART s MIDI receive mode for the hold pedal MIDI Controller 64 ON and OFF 01111111111111111112 1 B36 101BASS RP HoldPedal Ena 61111111111111111154 PRG CHG ENABLE Switches a given PART s MIDI receive mode for MIDI Program Change messages ON and OFF 01111111111111111112 1 B36 ...

Page 118: ...118 CHAPTER 8 The Multi Mode Parameters ...

Page 119: ...The Global Parameters ...

Page 120: ...pecial effects 01111111111111111112 1 RANDOM STORE ParaDepth 0 61111111111111111154 AMOUNT This parameter determines the intensity of the RANDOM PATCH GENERATOR s effect on the sound parameters At lower values sound changes are fairly subtle but you can intensify the effect by repeatedly pressing the STORE button Higher values introduce fundamental changes to the sound 01111111111111111112 1 RANDO...

Page 121: ...teristic fre quency response we equipped the Virus rack XL with a suitable Phono equalizer It may be activated via the INPUT Phono parameter INPUT BOOST With INPUT BOOST you can increase the sig nal level of the two external inputs by up to 36 dB The signal is boosted in the digital section of the Virus so the noise level of the analog digital converter increases automatically Con sequently you sh...

Page 122: ...tion dumps the da ta of the SINGLE program that you are cur rently processing the Edit buffer SINGLE BANK A All 128 sound programs of Bank A are sent SINGLE BANK B All 128 sound programs of Bank B are sent MULTI BUFFER This option dumps the data of the MULTI program that you are currently processing the MULTI s Edit buffer Please bear in mind that with this option merely the MULTI parameters and n...

Page 123: ...y re ceiving data and it will call your attention to any transmission errors that may occur Data stored in the Virus remains unaffected by this operation 01111111111111111112 1 MIDI DUMP RX ForceToBankA 61111111111111111154 GLOBAL CHANNEL Selects the MIDI channels for SINGLE MODE and the program switching option for entire MULTI PROGRAMs in MULTI MODE In MULTI SINGLE MODE the MULTI MODE switching ...

Page 124: ...s the presence of MIDI Clock Auto Therefore this parameter is not intended to switch MIDI Clock on but to switch it off if you should feel that this is necessary Off 01111111111111111112 1 MIDI ClockRx Auto 61111111111111111154 CHANNEL VOLUME ENABLE Globally switches the reception of Volume data Controller 7 on ENA or off DIS 01111111111111111112 1 MIDI MidiVolume Ena 61111111111111111154 PROGRAM ...

Page 125: ...NTROL LowPage Contr 61111111111111111154 MIDI CONTROL HIGH PAGE Here you can determine if you want the second 128 Page B parameters to be sent as system exclusive data SysEx or as MIDI PolyPressure data PolyPrs When you set it to SysEx polypressure data is disabled on the receive side if you set it to Contr both polypressure and SysEx data are received 01111111111111111112 1 MIDI CONTROL HiPage Po...

Page 126: ...FT KNOB Global is automatically ena bled The setting for the actual SOFT KNOB mode is global Under normal circumstances you should set SOFT KNOB mode to Single be cause this is the most versatile mode When you select a SINGLE sound whose SOFT KNOB mode is set to Single this setting is of course enabled If not Global SOFT KNOB mode is en abled SOFT KNOB 1 SINGLE This is where you enter the paramete...

Page 127: ...f the lower display line are briefly overwritten by data representing the change in parameter value once the action is com pleted the original contents reappear in the lower display line LONG Same as SHORT except that you guessed it the display shows the knob data for a longer period of time ON The contents of the display are overwrit ten when you turn a knob the original menu does not reappear in...

Page 128: ...UX1 AUX2 Much like when the setting ExtIn is enabled you can have the two LFO Rate LED s indicate the signal levels of five further signal buses This lets you check visually if a signal is being routed via a given bus and spot overloaded circuits When you activate this option the LFO1 LED indicates the left channel and the LFO2 LED indicates the right channel of the selected signal bus The LEDs wi...

Page 129: ...The Vocoder ...

Page 130: ...r is called a modulator bank The carrier signal is treated in a similar way It is split into several bands by a chain of bandbass filters Different to the technique used above the bandpass filters are not followed by enve lope followers The circuit uses amplifiers which are levelled by the control signal output of the envelope followers of the modulator banks This part of the vocoder is called the...

Page 131: ...time OSC This mode uses the whole oscillator section of the Virus including the noise gen erator as the carrier signal The oscillators can be played polyphonic which enables the amplifier envelope to work as usual But the oscillator signal does not pass the filter sec tion OSC HOLD This setting is identical to OSC although the hold mode which also is available at COMMON KeyMode is activat ed NOISE...

Page 132: ...tain amount of the carrier signal to the vocoder signal A turn to the right adds the modulator signal Turning the FILTER BALANCE hard left or right can be used to monitor the vocoder s input signals only VOCODER SPECTRAL BALANCE Spectral balance between the higher and lower frequencies of the vocoder signal This parame ter works similar to a simple equalizer which is e g capable to increase the qu...

Page 133: ...ACCESS VIRUS RACK XL OS5 133 Notes about the vocoder PDF VERSION RESTRICTIONS APPLY The effect section chorus delay and the out put selection can be used in a vocoder patch ...

Page 134: ...134 CHAPTER 10 The Vocoder ...

Page 135: ...The Virus and Sequencers ...

Page 136: ...from the Vi rus internal sound generation system When this setting is enabled data generated by knobs and buttons is only acknowledged by the Virus when it is routed back in a roundabout way via the computer sequencer the Virus must be se lected as a track instrument in the sequencer and the Thru function of the sequencer must be activated Now scroll to the two parameters called LoPage and HiPage ...

Page 137: ...e appendix Parameter Descriptions on page 162 HANDLING MIDI PARAMETER CONTROL If you have configured your MIDI system in ac cordance with the instructions in the previous section you may activate the sequencer s re cording mode and record the knob and button movements as you see fit Check the Event or List editor of your sequencer to see if the re cording operation was successful Good to know info...

Page 138: ...ption is ideal when you want to create gating and similar effects e g via a step sequencer where parameter values change abruptly Side effect Continuous parameter changes be it movements controlled via automated knobs or via MIDI are incremental which means you ll have to take zipper noise into account ON Adaptive Control Smoothing is enabled Application Parameter changes are carried out continuou...

Page 139: ... not close it manually or close it via con trollers Moreover when you start the song from the top you ll again hear the sound with the fil ter open because the Virus hasn t received a command at the beginning of the song to close the filter Not until the song arrives at the posi tion where the recorded event begins does the Virus receive the first controller value for the fil ter If on the other h...

Page 140: ... you encounter problems while recording a bulk dump please check if your sequencer refuses to accept Sy sEx data due to one sided filtering You can check whether or not anything was recorded by taking a look at the Event or List editor of your sequencer In this editor MIDI data is displayed numerically instead of graphically in a normal Note editor Key Edit Matrix Edit or the like Sy sEx data is N...

Page 141: ...ution when you re working with SysEx data If you send anything other than individual SINGLE sounds or individ ual MULTIs from the sequencer to the Virus the CORRESPONDING DATA IN THE VIRUS WILL BE IRREVOCABLY OVERWRITTEN So before you dump for example a bank to the Virus you should make a backup of the user banks stored in the Virus the RAM banks by dumping them to the sequencer provided of course...

Page 142: ...142 CHAPTER 11 The Virus and Sequencers ...

Page 143: ...Tips Tricks Words Of Wisdom ...

Page 144: ...l MULTI mode When you re working with a sequencer start with a MULTI program that features neutral set tings for its administrative parameters for ex ample the MULTI program M0 Sequencer Here the PART numbers are identical to the MIDI channels of the PARTs Now when you work in MULTI SINGLE mode the Virus responds as if it were in SINGLE mode except that you have 16 sounds available simultaneously ...

Page 145: ...s the external audio inputs The LEDs will flash rapidly to indicate that the inputs are being overloaded You should dial in a suitable input level on the device that is sending the analog signals The reason for this is that you want to feed the high est possible clean signal level to the analog to digital converters of the Virus so that they will deliver the best possible performance You should on...

Page 146: ...n can be automated by means of an LFO Select PWM for LFO1 Amount and set a rela tively high modulation amount You can vary the intensity of the modulation via LFO Rate Now when you play different sounds you ll will find that the intensity of the modulation is con siderably greater with low frequency sounds than it is with higher frequency sounds This is due to the fact that the LFO frequency does ...

Page 147: ...at your disposal In addition the FILT BALANCE parameter lets you morph smoothly from slope to another which effec tively makes it infinitely variable Set the filter routing option to SER 6 and both filters to low pass LP This gives you a serial setup com prised of a 24 dB and a 12 dB filter When you set the FILT BALANCE knob to the center posi tion you end up with a filter that has a slope of 36 d...

Page 148: ...s have a profound impact on the outcome You should use Filter 2 independently of Filter 1 in order to further process the raw output signal of the Shaper As is the case with the other SATURATION Curves the OSC VOL parameter is used to tweak the characteristics that shape its timbre In particular in the case of the Shap er this knob influences the complexity of the generated sound to a considerable...

Page 149: ...in be haves like a real LFO rather than an envelope This triggering option will also work when the LFO is synced up to the master clock This means that synced LFOs can be triggered via note on messages The LFO rate however is still determined via the master clock and or MIDI clock 01111111111111111112 1 LFO 1 TrigPhase Off 61111111111111111154 EXTERNAL LFO TRIGGER You can also trigger an LFO at an...

Page 150: ... lation sources can be MIDI controllers such as the modulation wheel as well as internal voice related modulation sources such as envelopes and LFOs In addition LFO 1 and LFO 2 each offer a further freely selectable modulation des tination when they re set to the ASSIGN posi tion use the AMOUNT buttons for this purpose The obvious thing to do would be to use one of the Soft Knob as a modulation so...

Page 151: ... connected to your keyboard while you enter notes to the Arpeggiator These will be held for as long as you hold the sustain pedal down HOW TO MODULATE THE VOCODER PARAMETERS Every Vocoder parameter can be modulated us ing the Modulation Matrix For example To modulate the CARRIER CENT ER FREQUENCY you need to choose FILTER 1 CUTOFF as the Modulation Matrix DESTINA TION Carrier Center Frequency Filt...

Page 152: ... respective bank irrespective of which bank the sounds were originally stored in The VERIFY option compares a MIDI dump to the memory content of the Virus It checks if a dump was recorded properly on the sequencer and if it can be played back correctly Load data from the sequencer into the Virus while Verify is enabled The Virus display will indicate if the device is actually receiving data and it...

Page 153: ...E The Virus operating system consists of two parts They can be loaded or burned into the Virus separately The first part includes the operating system it self while the second part carries the 256 ROM sounds Bank C and D as well as the dem osong That second part can be replaced by a sound expansion so that finally 768 ROM sounds are available The demosong is overwritten by this procedure But you w...

Page 154: ... STORE to burn the new operating system into the flash ROM Never switch off the VIRUS while burning the data Please ensure stable power conditions during this procedure which should take ap proximately 30 seconds Now when the Virus has reseted itself you can use the new operat ing system There s no danger of a flawed MIDI transmis sion burning faulty software into the Virus memory When the device ...

Page 155: ... press Store on Virus 2 the software will now be burned to the Flash Rom SOFTWARE UPDATES Access is known for their policy of free software updates Simply download the latest Virus op erating system from our web site and enjoy new Virus features Maybe you are in need of some fresh sounds In either way here s the place you ll find what you need http www access music de ...

Page 156: ...156 CHAPTER 12 Tips Tricks Words Of Wisdom ...

Page 157: ...Appendix ...

Page 158: ...eters in Page B HiPage are additionally controllable by MIDI Polyphonic Pressure The send and reception of MIDI Poly Pressure can be enabled or disa bled by MIDI CONTROL HiPage CTRL menu When disabled HiPage SysEx the VIRUS only sends and receives SysEx Parameter Change on Page B When enabled HiPage PolyPrs the VIRUS sends MIDI Poly Pressure on param eter movements and receives both MIDI Poly Pres...

Page 159: ...Access Music Electronics 20 Manufacturer ID 2 Access Music Electronics 33 Manufacturer ID 3 Access Music Electronics 01 Product ID Virus dd Device ID 00 0F individual 10 omni message F7 End of System Exclusive SYSEX PARAMETERCHANGE 7x Parameterchange 70 page A 71 page B 72 page C pp Part number 00 0F Multi part 1 16 40 Single nn Parameter Number 0 127 see parameter list vv Parameter Value 0 127 se...

Page 160: ...ogram Number 0 127 256 multi bytes cs Checksum optional F0 00 20 33 01 dd 11 bb mm 256 multi bytes cs F7 When bank number 00 the dump destina tion is the Multi Edit buffer In this case the pro gram number is ignored 256 multi bytes contains the Multi parameters in a special succession See Multi Dump Table Checksum is the sum DeviceID 11 Bank Number ProgramNumber 256 multi bytes AND 7F A dump with ...

Page 161: ...ANK REQUEST 33 Multi Bank Request bb Bank Number 01 Multi Bank F0 00 20 33 01 dd 33 bb F7 ARRANGEMENT REQUEST 34 Arrangement Request F0 00 20 33 01 dd 34 F7 GLOBAL REQUEST 35 Global Request F0 00 20 33 01 dd 35 F7 TOTAL REQUEST 36 Total Request F0 00 20 33 01 dd 36 F7 CONTROLLER DUMP REQUEST 37 Controller Dump Request 00 Bank Number 00 always zero ss Part Number F0 00 20 33 01 dd 37 00 ss F7 The P...

Page 162: ...64 0 63 Left Center Right A 11 p Expression 0 127 A 12 p Contr 12 A 13 p Contr 13 A 14 p Contr 14 A 15 p Contr 15 A 16 p Contr 16 A 17 a Osc1 Shape 0 127 64 0 63 Wave Saw Pulse A 18 a Osc1 Pulsewidth 0 127 A 19 a Osc1 Wave Select 0 64 Sine Triangle Wave 3 64 A 20 a Osc1 Semitone 0 127 64 63 A 21 a Osc1 Keyfollow 0 127 64 63 Default 32 A 22 a Osc2 Shape 0 127 64 0 63 Wave Saw Pulse A 23 a Osc2 Puls...

Page 163: ...127 64 0 63 A 40 a Cutoff 0 127 A 41 a Cutoff2 0 127 64 63 A 42 a Filter1 Resonance 0 127 A 43 a Filter2 Resonance 0 127 A 44 a Filter1 Env Amt 0 127 A 45 a Filter2 Env Amt 0 127 A 46 a Filter1 Keyfollow 0 127 64 63 A 47 a Filter2 Keyfollow 0 127 64 63 A 48 a Filter Balance 0 127 64 63 A 49 a Saturation Curve 0 6 0 Off 1 Light 2 Soft 3 Middle 4 Hard 5 Digital A 51 a Filter1 Mode 0 3 0 LP 1 HP 2 BP...

Page 164: ... 72 a Lfo1 Keyfollow 0 127 A 73 a Lfo1 Keytrigger 0 127 0 Off 1 127 Keytrigger Phase A 74 a Osc1 Lfo1 Amount 0 127 64 63 A 75 a Osc2 Lfo1 Amount 0 127 64 63 A 76 a PW Lfo1 Amount 0 127 64 63 A 77 a Reso Lfo1 Amount 0 127 64 63 A 78 a FiltGain Lfo1 Amount 0 127 64 63 A 79 a Lfo2 Rate 0 127 A 80 a Lfo2 Shape 0 5 0 Sine 1 Tri 2 Saw 3 Square 4 S H 5 S G A 81 a Lfo2 Env Mode 0 1 0 Off 1 On A 82 a Lfo2 ...

Page 165: ... Input Mode 0 2 0 Off 1 Dynamic 2 Static 3 ToEffects A102 a Input Select 0 8 0 In1L 1 In1L R 2 In1R A105 a Chorus Mix 0 127 A106 a Chorus Rate 0 127 A107 a Chorus Depth 0 127 A108 a Chorus Delay 0 127 A109 a Chorus Feedback 0 127 64 63 A110 a Chorus Lfo Shape 0 5 0 Sine 1 Tri 2 Saw 3 Square 4 S H 5 S G A112 a Delay Reverb Mode 0 1 0 Off 1 Delay 2 Reverb 3 Rev Feedb1 A113 a ms Effect Send 0 127 A11...

Page 166: ...dix A118 a ms n p Delay Lfo Shape 0 5 0 Sine 1 Tri 2 Saw 3 Square 4 S H 5 S G Reverb Damping 0 127 A119 a ms n p Delay Color 0 127 64 63 A122 g Keyb Local 0 1 0 Off 1 On A123 p All Notes Off No Class Name Range Value Text ...

Page 167: ...sc1 2 2 Osc2 3 PW1 4 PW1 2 5 PW2 B 12 b Osc Lfo3 Amount 0 127 B 13 b Lfo3 Fade In Time 0 127 B 16 b Clock Tempo 0 127 63 190 BPM B 17 b Arp Clock 1 17 1 64 1 1 B 18 b Lfo1 Clock 0 19 Off 1 64 4 1 B 19 b Lfo2 Clock 0 19 Off 1 64 4 1 B 20 b ms n p Delay Clock 0 16 Off 1 64 3 4 B 21 b Lfo3 Clock 0 19 Off 1 64 4 1 B 25 b Control Smooth Mode 0 3 0 Off 1 On 2 Auto 3 Note B 26 b Bender Range Up 0 127 64 ...

Page 168: ... b Osc2 Shape Velocity 0 127 64 63 B 49 b PulseWidth Velocity 0 127 64 63 B 50 b Fm Amount Velocity 0 127 64 63 B 51 b Vc Soft Knob1 ShortName See ShortNames Table B 52 b Vc Soft Knob2 ShortName See ShortNames Table B 54 b Filter1 EnvAmt Velocity 0 127 64 63 B 55 b Filter1 EnvAmt Velocity 0 127 64 63 B 56 b Resonance1 Velocity 0 127 64 63 B 57 b Resonance2 Velocity 0 127 64 63 B 58 b Second Output...

Page 169: ...estinations List B 78 b Assign3 Amount3 0 127 64 63 B 79 b LFO1 Assign Dest see Assign Destinations List B 80 b LFO1 Assign Amount 0 127 64 63 B 81 b LFO2 Assign Dest see Assign Destinations List B 82 b LFO2 Assign Amount 0 127 64 63 B 84 b Vb Phaser Mode 0 6 0 Off 1 6 Phaser Stages B 85 b Vb Phaser Mix 0 127 B 86 b Vb Phaser Rate 0 127 B 87 b Vb Phaser Depth 0 127 B 88 b Vb Phaser Frequency 0 127...

Page 170: ... b Vc Assign 6 Source 0 27 see Assign Sources List B109 b Vc Assign 6 Destination 0 122 see Assign Destinations List B110 b Vc Assign 6 Amount 0 127 B112 b Single Name Char1 32 127 ASCII B113 b Single Name Char2 32 127 ASCII B114 b Single Name Char3 32 127 ASCII B115 b Single Name Char4 32 127 ASCII B116 b Single Name Char5 32 127 ASCII B117 b Single Name Char6 32 127 ASCII B118 b Single Name Char...

Page 171: ... 3 Bank A D C 32 m bpc Part Bank Change 0 3 Bank A D C 33 m bpc Part Program Change 0 127 C 34 m Part Midi Channel 0 15 1 16 C 35 m Part Low Key 0 127 C 1 G9 C 36 m Part High Key 0 127 C 1 G9 C 37 m Part Transpose 0 127 64 63 C 38 m Part Detune 0 127 64 63 C 39 m Part Volume 0 127 64 63 0 Unity Gain C 40 m Part Midi Volume Init 0 127 Off 1 127 C 41 m Part Output Select 0 14 0 Out1L 1 Out1L R 2 Out...

Page 172: ...127 C 91 g Input Boost 0 127 C 92 g Master Tune 0 127 64 63 C 93 g Device ID 0 16 1 16 Omni C 94 g Midi Control Low Page 0 1 0 SysEx 1 Contr C 95 g Midi Control High Page 0 1 0 SysEx 1 PolyPrs C 96 g Midi Arpeggiator Send 0 1 0 Off 1 On C 97 g Knob Display 0 3 0 Off 1 Short 2 Long 3 On C 98 g Midi Dump Tx 0 4 0 Single 1 SingleBank A 2 Single Bank B C 99 g Midi Dump Rx 0 4 0 Disable 1 Enable 2 Forc...

Page 173: ...C118 g Memory Protect 0 1 0 0ff 1 On 2 Warn C120 g Soft Thru 0 1 0 0ff 1 On C121 g Panel Destination 0 2 0 Internal 1 Int Midi 2 Midi C122 g Play Mode 0 2 0 Single 1 MultiSingle 2 Multi C123 g Part Number 0 15 40 0 15 Multi Part 1 16 40 Single Buffer C124 g Global Channel 0 15 1 16 C125 g Led Mode 0 2 0 Lfo 1 Input 2 Auto C126 g LCD Contrast 0 127 C127 g Master Volume 0 127 No Class Name Range Val...

Page 174: ...elay Rate 0 127 20 Multi Delay Depth 0 127 21 Multi Delay Shape 0 5 0 Sine 1 Tri 2 Saw 3 Square 4 S H 5 S G 22 Multi Delay Output Select 0 127 0 Out1L 1 Out1L R 2 Out1R 23 Multi Delay Clock 0 16 Off 1 64 3 4 24 Multi Delay Color 0 127 64 63 25 31 Internal 32 47 Part 1 16 Bank Number 0 1 48 63 Part 1 16 Program Number 0 127 64 79 Part 1 16 Midi Channel 0 15 1 16 80 95 Part 1 16 Low Key 0 127 C 1 G9...

Page 175: ...44 1 59 Part 1 16 Part Volume 0 127 64 63 0 Unity Gain 160 1 75 Part 1 16 Midi Volume Init 0 127 Off 1 127 176 1 91 Part 1 16 Output Select 0 14 0 Out1L 1 Out1L R 2 Out1R 192 2 07 Part 1 16 Effect Send 0 127 208 2 39 Internal 240 2 55 Part State Part 1 16 Bitfield see Part State Bitfield NO REF NAME RANGE VALUE TEXT ...

Page 176: ...ate Bitfield Bit 0 Part Enable 0 Off 1 On Bit 1 Part Midi Volume Ena ble 0 Off 1 On Bit 2 Part Hold Pedal Ena ble 0 Off 1 On Bit 3 Keyb To Midi 0 Off 1 On Bit 4 Internal Bit 5 Note Steal Priority 0 Low 1 High Bit 6 Part Prog Change En able 0 Off 1 On NO REF NAME RANGE VALUE TEXT ...

Page 177: ...n one Multi Part is set to the same MIDI channel When received as SysEx Parameter change or Single Dump the part is addressed by the part number irrespective of the actual MIDI channel setting M MULTI PARAMETER Accessible by SysEx Parameterchange and Multi Dump The Multi Parameters are stored with a Multi Patch MS MULTI SINGLE PARAMETER When in Single Mode the parameter is received and stored with...

Page 178: ...nt to the VIRUS on the same value as they were received in the dump One of the internal parameter Page A 0 is the Sound Version Number On future VIRUS system updates new parameters will be de fined When the VIRUS receives an older sound the new parameters will be set to default values in the edit buffer and the version number will be updated automatically The VIRUS update algo rithm can be used fr...

Page 179: ...NS APPLY MOD MATRIX SOURCES All sources of the SOFT KNOBS 1 2 Off PitchBnd ChanPres ModWheel Breath Contr3 Foot Data Balance Contr 9 Express Contr 12 Contr 13 Contr 14 Contr 15 Contr 16 HoldPed PortaSw SostPed AmpEnv FiltEnv Lfo 1 Lfo 2 Lfo 3 VeloOn VeloOff KeyFlw Random ...

Page 180: ...o1 PlsWd Lfo1 Reso Lfo1 FltGn Lfo2Rate Lfo2Cont Lfo2 Shape Lfo2 Fm Lfo2 Cut1 Lfo2 Cut2 Lfo2 Pan Lfo3Rate Lfo3OscAmt UniDetune UniSpread UniLfoPhs ChorusMix ChorusRate ChorusDpth ChorusDly ChorusFeed EffectSend DelayTime DelayFeed DelayRate DelayDepth Osc1ShpVel Osc2ShpVel PlsWhdVel FmAmtVel Flt1EnvVel Flt2EnvVel Reso1Vel Reso2Vel AmpVel PanVel Ass1Amt1 Ass2Amt1 Ass2Amt2 Ass3Amt1 Ass3Amt2 Ass3Amt3 ...

Page 181: ...w Filt2Keyfollow Lfo1Symmetry Lfo1 Osc1 Lfo1 Osc2 Lfo1 PulsWidth Lfo1 Resonance Lfo1 FiltGain Lfo2Symmetry Lfo2 Shape Lfo2 FmAmount Lfo2 Cutoff1 Lfo2 Cutoff2 Lfo2 Panorama Lfo3Rate Lfo3OscAmount Osc1ShapeVel Osc2ShapeVel PulsWidthVel FmAmountVel Filt1EnvVel Filt2EnvVel Resonance1Vel Resonance2Vel AmplifierVel PanoramaVel Assign1Amt1 Assign2Amt1 Assign2Amt2 Assign3Amt1 Assign3Amt2 Assign3Amt3 Clock...

Page 182: ...fault Channel Changed 1 1 16 1 1 16 Default Mode Messages Altered X X X X X Note Number True Voice X 0 127 0 127 Velocity Note ON Note OFF X X O X After Key s Touch Ch s X X X O Pitch Bender X O 14 Bit 1 2 5 Control Change 7 10 32 64 X X X X X X X O O O O O O O Modwheel Breath Control Portamento Time Volume Panorama Bank Select Sustain Prog True Change O O 0 127 ...

Page 183: ...N MONO O Yes Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO X No System Exclusive O O System Song Pos Song Sel Common Tune O X X X X X System Clock Realtime Commands X X X X Start Stop Continue Aux Local ON OFF Mes All NotesOff Sages ActiveSense Reset X X X X X O O X Note See MIDI Controller Assignments for more Information ...

Page 184: ... guaran tee that interference will not occur in all installations If this product is found to be the source of interference which can be determi nated by turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is being affected by the interference Utilise power outlets that are on branch Circuit breaker ...

Page 185: ...D This product complies with the radio frequency interference requirements of the Council Direc tive 89 336 EC Cet appareil est conforme aux prescriptions de la directive communautaire 89 336 EC Dette apparat overholder det gaeldenda EF di rektiv vedrorendareadiostoj Diese Geräte entsprechen der EG Richtlinie 89 336 EC ...

Page 186: ...rms to the re quirements of the Council Directive 89 336 FWG for radio frequency interference It also complies with the regulations about radio inter ference of electronic devices dated on August 30th 1995 Zur Beurteilung des Erzeugnisses hinsichtlich der elektromagnetischen Verträglichkeit wurden folgende harmonisierte Normen herangezogen The following standards have been used to de clare conform...

Page 187: ...arranty period contact the following adress before sending the device TSI GMBH SCHLOß AHRENTHAL 53489 SINZIG GERMANY TEL 49 2642 9940 0 FAX 49 2642 9940 77 INFO ACCESS MUSIC DE The following stipulations also apply Ensure the unit is sent in its original package or one of equal quality Include a detailed description of the defect and a copy of the purchase receipt MANY THANKS TO Access would like ...

Page 188: ...188 CHAPTER 13 Appendix ...

Page 189: ...Index ...

Page 190: ...EDUCER 35 C CABLE CONNECTIONS 16 CARRIER BANK 131 CATEGORIES 18 53 CATEGORY 111 CHANNEL VOLUME 116 150 CHANNEL VOLUME RX 116 CHORUS 36 85 93 CHORUS DELAY 85 CHORUS DEPTH 85 CHORUS DIR EFF 93 CHORUS FEEDBACK 85 CHORUS RATE 85 CHORUS SHAPE 93 CLOCK TEMPO 99 COMPARE 47 CONTRAST 126 CONTROLLER DUMP 122 CUTOFF 66 98 CUTOFF LINK 68 D DATA ENTRY 43 DECAY 72 DELAY 37 84 88 DELAY CLOCK 89 DELAY COLOR 89 DE...

Page 191: ...ILTER SELECT 69 FLANGER 36 FM 146 FM AMOUNT 62 FM MODE 62 FORCE TO BANK A 123 FORCE TO EDIT BUFFER 123 H HIGH KEY 117 HIGH PAGE 125 HIGH PASS 21 35 HOLD PEDAL 117 I INPUT 85 120 INPUT BOOST 121 INPUT DIRECT THRU 120 INPUT GAIN 121 INPUT GLOBAL 52 INPUT LEVEL 52 INPUT LEVEL INDICATOR 145 INPUT MODE 85 INPUT PHONO 121 INPUT SELECT 86 K KEY FOLLOW 61 67 74 KEY MODE 100 KEYFOLLOW 62 KEYFOLLOW BASE 69 ...

Page 192: ...E VOLUME 65 O OS UPDATE 153 OSC BAL 64 OSC DETUNE 59 OSC FM MODE 62 OSC MODE 63 OSC PHASE INIT 64 OSC SEMITONE 59 OSC VOLUME 63 OSCILLATOR 27 28 58 OSCILLATOR SYNC 146 OSCILLLATOR VOLUME 52 OUTPUT SELECT 114 OUTPUTS 53 OVERLOAD 145 P PANIC FUNCTION 54 PANORAMA 33 100 PARALLEL 25 PARAMETER CONTROL 136 PART DETUNE 115 PART ENABLE 114 PART TRANSPOSE 115 PART VOLUME 115 150 PATCH VOLUME 99 150 PHASER ...

Page 193: ...79 181 SOUNDDIVER 37 SPLIT 25 STATIC 51 STORE 46 SUB OSCILLATOR 60 SURROUND 111 SURROUND BALANCE 111 SURROUND SELECT 111 SUSTAIN 72 73 SYNC 61 SYSEX 125 SYSEX DUMP 140 SYSEX IMPLEMENTATION 158 SYSEX MULTI DUMP 174 SYSEX PARAMETER DESCRIPTION 162 SYSTEM MENU 125 T TIME 72 73 TRANSPOSE 101 115 Trigger Phase 77 TUNE 125 U UNISON 102 UNISON DETUNE 102 UNISON LFO PHASE 102 UNISON MODE 34 102 UNISON PAN...

Page 194: ...194 CHAPTER 14 Index VOCODER INPUT SELECT 95 VOCODER MODE 94 131 VOCODER Q FACTOR 96 VOCODER SOURCE BALANCE 96 VOCODER SPECTRAL BAL 97 VOLUME 33 64 71 115 W WARRANTY 187 WAVE 61 WAVE SEL PW 58 ...

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