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110

OSC3 ON

Activates/deactivates oscillator 3. If oscillator 3 is not active, it 
will be skipped when pressing the SELECT button. 
See “Oscillator 3” on page 120.

MONO

Toggles between the most recently selected “Mono” key mode 
(see “Key Mode” on page 122) and polyphonic operation. To 
step through all key modes, hold SHIFT and press MONO 
repeatedly.

SYNC

This activates/deactivates oscillator synchronization (oscillator 
2 to oscillator 1) if oscillator 2 is in Classic mode. This button 
has no effect on oscillator 2 is in HyperSaw or WaveTable 
mode. 

If oscillator 1 mode is a HyperSaw, switching SYNC on acti-
vates oscillator 1 HyperSync instead. See “About HyperSaw 
and Sync” on page 107.

PANIC

Via MONO + SYNC. Resets any “hanging” notes.

FM AMOUNT

Classic or WaveTable

: Controls the intensity of frequency mod-

ulation.

HyperSaw

: Controls the HyperSync Offset parameter i.e. tunes 

the HyperSaw oscillators upwards relative to their own (inaudi-
ble) sync oscillators. See “About HyperSaw and Sync” on 
page 107.

FM MODE 

Via SHIFT + FM AMOUNT. Specifies the FM modulator source. 
See “FM Mode” on page 116.

Oscillator 1 – Classic

The following information applies to oscillator 1 in Classic 
mode only.

> EDIT  MENU

Summary of Contents for Virus TI

Page 1: ...Virus TI User Manual ...

Page 2: ...es no responsibility or liability for any errors or inaccuracies that may appear in this book Except as permitted by such license no part 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 permission of Kem per Digital GmbH Virus is a trademark of Kemper Digital GmbH A...

Page 3: ...FERENT WAYS OF WORKING 14 ABOUT USB CONNECTION 16 CREATING NEW SOUNDS 17 ABOUT POLYPHONY 17 First Steps CHEESE FOR STARTERS 20 THE AMPLIFIER ENVELOPE SECTION 21 THE FILTERS SECTION 24 THE FILTER ENVELOPE SECTION 29 THE OSCILLATORS SECTION 30 THE MIX SECTION 35 THE MODULATORS SECTION 37 THE MATRIX SECTION 39 THE ARP SECTION 40 THE EFFECTS SECTION 41 THE MASTER SECTION 44 HYPERSAW AND WAVETABLE 47 V...

Page 4: ...81 LFO 1 82 LFO 2 84 LFO 3 84 LFO 1 DESTINATIONS 84 LFO 2 DESTINATIONS 86 LFO 3 DESTINATION 87 EFFECTS UPPER ROW 89 DELAY 90 REVERB 91 LOW EQ 93 MID EQ 94 HIGH EQ 94 EFFECTS LOWER ROW 95 DISTORTION 95 ANALOG BOOST 96 CHORUS 97 PHASER 98 VOCODER 100 VOCODER TABLE 104 INPUT FOLLOWER 105 INPUT RING MODULATOR 106 OSCILLATORS 107 OSCILLATOR 1 CLASSIC 110 OSCILLATOR 1 HYPERSAW 112 OSCILLATOR 1 WAVETABLE...

Page 5: ... 143 COMMON 144 FILTER ENVELOPE 145 AMP ENVELOPE 146 FILTER ENVELOPE 148 AMPLIFIER ENVELOPE 149 Configuration Reference RANDOM PG 152 MIDI 152 MIDI DUMP RX 154 MIDI DUMP TX 154 KEYBOARD 155 MIDI CONTROL 157 INPUTS 158 AUDIO CLOCK 159 SOFT KNOB GLOBAL SETTINGS 159 KNOB BEHAVIOUR 160 GLOBAL TUNING 160 SYSTEM 161 Multi Mode Reference PATCH 166 Appendix A Legal Declarations COMPLIANCE 172 DECLARATION ...

Page 6: ...6 Appendix B Glossary GLOSSARY 178 Appendix Patch Names ROM A 192 Index INDEX OF FUNCTIONS ETC 210 ...

Page 7: ...1 Introduction ...

Page 8: ...ng now Fundamental infor mation you should know before trying out your Virus First Steps A practical guide for beginners intermediates and experts alike The best starting point before delving into the reference chapters Sound Parameters Reference The main body of this man ual Every parameter concerning sound generation and treatment is listed here with brief explanations and cross references Confi...

Page 9: ...use an external power supply which wasn t designed to match the local voltage requirements Disconnect the power whenever you are unlikely to use the Virus for a long period of time Always pull on the plug itself not on the cord Never touch the mains plug with wet hands The Virus is capable of generating levels that can cause irre versible damage to your ears either via an external amplifier or whe...

Page 10: ...duct indicates that it should not be disposed with other household waste Please take your Virus TI to an applicable collection point for recycling of elec tronical and electronic items For further questions on an ecological friendly disposal of this product please contact your Access dealer respectively your local government office The Rear Panel Sockets USB Audio and MIDI communication with compu...

Page 11: ... panel sockets Pull up the sockets unit a little and perch it on the ledge of the back panel Using both hands carefully pull the 40 way con nector from its socket on the motherboard The sockets unit is now free Using the latest set of screws i e the ones without pointed ends attach the sockets unit firmly into the baseplate which has all the necessary holes Position the baseplate with the sockets ...

Page 12: ... you might find some useful advice on setting optimum levels in the mixer s own documentation Switching On and Off Virus TI models do not have a physical on off switch To put the unit into standby mode press and hold both TRANSPOSE buttons until the countdown reaches zero Press the same but tons to wake up the Virus again Selecting Programs Your Virus TI has 20 banks of memory RAM A to RAM D ROM A...

Page 13: ...enus are opened via the EDIT buttons you will find in most of the sections The usual method is to SELECT an ele ment first e g LFO1 OSC 2 or REVERB then press the EDIT button in that same section All buttons in the MATRIX section as well as CONFIG in the Master section also open menus How to make full use of Edit Buttons If pressed repeatedly the EDIT buttons in the FILTERS and MASTER sections wil...

Page 14: ... menu Re selecting the current basic mode SINGLE MULTI will also exit menus Different Ways of Working Single mode This is the standard mode for playing just one sound at a time The next chapter is a simple but detailed tutorial to help you become familiar with Single mode operation Multi mode Your Virus can play 16 different sounds at the same time MULTI programs contain 16 PARTS each equivalent t...

Page 15: ...ntrols can be configured to suit a variety of MIDI devices There are several Remote setups suitable for popular devices already included in your unit Remote mode is accessed by holding down SHIFT and pressing the CONFIG button to the left of the display User defined remote setups can be created using VirusControl VirusControl The VirusControl application for PC or Mac makes the Virus TI appear to ...

Page 16: ...t using certain USB hubs not only slowed down the connection speed but often made the entire connection unreliable For this reason we eventually decided not to support the use of USB hubs at all Note Virus Control constantly checks the MIDI and AUDIO connections and displays an alert message if it sees any prob lems A Typical Setup Changing knob response A global parameter see Response on page 160...

Page 17: ...rograms The end of bank ROM A has been reserved for a few simple templates which you can use whenever you want to create sounds from scratch For instance the instructions in the next chapter will often ask you to select one of those About Polyphony The average number of voices the TI series with its two DSPs can deliver is quoted at about 80 with a maximum of more than 100 However to reach such gi...

Page 18: ...18 ...

Page 19: ...2 First Steps This hands on tutorial introduces every physical control on the panel as well as a few important parameters in the menus ...

Page 20: ...pe you will appreci ate the advantages of this method Throughout this chapter you will often be asked to Restore ROM A126 or Restore ROM A127 To do this press the ÛEXIT button closes any open menu then use the VALUE buttons to step to the neighbouring program then back again Make sure you are in SINGLE mode then select program ROM A127 i e Bank ROM A program number 127 Play a note on your keyboard...

Page 21: ...tes on your keyboard you will hear the start of each note becoming progressively slower Leave ATTACK at around 40 for now DECAY Turn the DECAY knob up to maximum The original value was already 127 you should see the white original value indicator LED in the MIX section light up Slowly turn DECAY down while repeatedly playing a note on your keyboard You will hear the note getting shorter until it b...

Page 22: ...unctions To access these hold down the SHIFT button to the left of the display immediately before using the knob or button then release it afterwards PATCH VOLUME Via SHIFT ATTACK The overall volume stored as part of each program Mainly used for balancing levels between differ ent programs The best value to start with is 100 leaving you some headroom to make this particular program louder in futur...

Page 23: ...e AMP ENVELOPE section The Virus has a master clock to which the arpeggiator is always syn chronized LFOs and delay effects can also be synchronized to this clock Locate the program ROM A 26 Dr What HS switch on arpeg gio HOLD via SHIFT ARP ON and play a note on your key board You can see the LFO1 indicator blinking in time with the arpeggio because in this particular program it is synchronized to...

Page 24: ...low As you turn CUTOFF up higher frequencies are allowed to pass through the filters until the sound becomes brightest at maximum CUTOFF This is typical of lowpass LP filters one of the four basic types available in the Virus You have actually been using two lowpass filters in series here in ROM A127 they have been configured to appear as just one double strength filter we will come to the respons...

Page 25: ...put of filter 1 In the central position 0 both filters contribute equally At 63 you can only hear the output of filter 2 SELECT FILT 1 FILT 2 Use these buttons to select which of the filters you would like the RESONANCE and ENV AMOUNT knobs to control If you press both buttons at the same time the knobs will apply to both filters simultaneously as they already do in ROM A127 CUTOFF 2 A separate cu...

Page 26: ...oesn t actually add reso nance but narrows the band instead Very subtle RESONANCE 2 Via SHIFT RESONANCE Filter 2 resonance only Although you can press the SELECT button labelled FILT2 then use the RESONANCE knob without SHIFT it is often faster to use SHIFT RESONANCE for on the fly adjustments because you don t have to check the status of the LEDs above the SELECT buttons first KEY FOLLOW Via SHIF...

Page 27: ...et of sources Oscillator 1 and the sub oscillator are routed to filter 1 whereas oscillator 2 its FM signal and noise are routed to filter 2 The ring modulator see RING MODU LATOR on page 137 is disabled To step through filter routings without having to open the menu hold down SHIFT and press the Filter 2 button labelled FILT2 Cutoff Link When set to Off the CUTOFF knobs are independent of each ot...

Page 28: ...IFT button and experiment with OSC VOLUME i e without using SHIFT You might like to filter the results now Now let s try out some of the other saturation types Turn the SHAPE knob down to minimum and try out the Wave Shaper and Rectifier types in turn Again you should experiment with OSC VOLUME because this parameter affects the tone The Bit Reducer Rate Reducer and Rate Follow types can be used t...

Page 29: ... your knowledge from previous experiments use all the fil ter knobs and buttons plus the Routing parameter in the filter EDIT menu to make a new sound from scratch If you feel the need to save your work at any point bookmark this page and read the information about Store on page 136 3534 3 0 4 2 6 0 2 3 3534 9 44 ...

Page 30: ...ly used one type of wave a Sawtooth Now it s time to try out some of the other waveforms Restore ROM A127 and play your keyboard while turning the SHAPE knob At minimum you will hear a pure Sine wave in the centre a pure Sawtooth and at maximum a pure Pulse Listen to those extremes for a while then try out different mix tures using the SHAPE knob You will see the percentage mix ture of waveforms b...

Page 31: ... Pulse wave i e no Saw tooth at all then try turning WAVE SELECT PW up again The display now reads Oscillator 1 Pulse Width As the pulse becomes narrower the sound becomes progressively thinner it even disappears entirely when you reach 127 Now play a low note on your keyboard and move the WAVE SELECT PW knob fairly rapidly back and forth this is the typical cyclic pulse width modulation effect wh...

Page 32: ... interesting static overtones Tip If a sound ever gets annoying filter it OSC 3 ON Although the third main oscillator may appear to have all the same options as the other two it is highly dependent upon what is currently happening with oscillator 2 Restore ROM A126 select oscillator 2 and change SEMITONE to 7 Press the OSC 3 ON button its status LED will light up and select oscillator 3 both LEDs ...

Page 33: ...ON DETUNE to have any effect the number of stacked layered voices must of course be greater than 1 For this we need to go into one of the EDIT menus Restore ROM A126 press the EDIT button to the left of the dis play and use the PARAMETERS buttons find the UNISON page Set the Voices parameter to maximum 8 and ÛEXIT the menu Play your keyboard quite a powerful lead sound already Now use SHIFT DETUNE...

Page 34: ...E Often called glide portamento means slurring slowing down the pitch changes between consecu tive notes Take the portamento value up and play your key board Portamento is particularly effective in mono modes see Key Mode on page 122 ...

Page 35: ...C VOLUME The sub oscillator is always an octave below oscillator 1 restore ROM A127 and try turning it up The sub oscillator is one of several sources whose level is ultimately controlled via OSC VOLUME OSC VOLUME This is a group level control for all the following sources Oscilla tor 1 oscillator 2 including FM oscillator 3 and the sub oscilla tor Noise and Ring Modulator levels are independent o...

Page 36: ... is switched on If you would like all three main oscilla tors to have the same level you should set OSC BALANCE to the centre and OSC 3 VOLUME to 64 SATURATION TYPE Via SHIFT OSC VOLUME See above RING MODULATOR Via SHIFT NOISE VOLUME Ring modulation means multi plying two signals together Like FM the result is highly dependent upon the basic frequencies and complexity of the two sources For pure b...

Page 37: ...ourse you can use the PARAMETERS buttons instead then stop at the page containing the Osc1 2 Pitch parameter Play a note on your keyboard while turning Osc1 2 Pitch via the VALUE 2 knob all the way up Press the SHAPE button once to select a falling Sawtooth instead of Triangle While playing a note on your keyboard turn RATE up to 90 then use the VALUE 2 knob to take Osc1 2 Pitch slowly down to min...

Page 38: ...it up because you have now defined some modulation for each of these destina tions Press the LFO1 SELECT button yet again The value of Assign Target VALUE 1 knob is one of many possible destinations that are also available in the MATRIX section ...

Page 39: ... thing in this program Press the SELECT button in the MATRIX section to open Slot 1 and see what it is The modulation source has been set to Mod Wheel and the destination is LFO3 Assign Amt i e the wheel will control the amount of whatever LFO3 has been assigned to Try out the left hand controls on your keyboard Pushing the mod wheel or stick away from you adds vibrato to the entire sound because ...

Page 40: ...note tap several more notes at random with your other hand then release the first one All notes are played back in a regular rhythm from the lowest upwards Of course you can change this behaviour Press EDIT in the ARP section locate the first page change the Mode to As Played change Octaves to 2 and Pattern to 4 If all those preset patterns are not enough you can program your own using the VirusCo...

Page 41: ...OSC BALANCE FM AMOUNT exactly 64 DETUNE 2 3 CUTOFF ENV AMOUNT and SEND in the EFFECTS section Take TRANSPOSE down an octave Play the keyboard you should be able to hear a single delay Now experiment with the TIME and FEEDBACK knobs REVERB Now let s add some reverb to the delay which by the way was not possible with earlier Virus models Press the upper SELECT button in the EFFECTS section once and ...

Page 42: ...r is applied to each individual voice whereas the latter is applied to the sound as a whole This means that if you would like e g to emulate the sound of an overdriven gui tar amplifier you should use Distortion not Saturation Analog Boost Analog Boost is a special type of equalization used to emulate the tonal characteristics of real analogue synthesizers These tend not to have a flat response Th...

Page 43: ...43 FIRST STEPS Starting from ROM A126 turn down OSC VOLUME turn up NOISE VOLUME and try out all the Phaser parameters ...

Page 44: ... Reference on page 151 STORE 1st press Set the location Bank Patch Number of the pro gram you wish to overwrite Press UNDO to compare with the original sound at this location 2nd press Use the PARAMETERS buttons and any VALUE knob button to change the name 3rd press Finally store the program REMOTE Via SHIFT CONFIG This instantly turns your unit into a MIDI controller box including presets for a w...

Page 45: ...eturn to your sound REDO Via SHIFT UNDO Restores the current program to its previ ous state i e before you pressed UNDO SEARCH Opens a menu in which you can scroll through all programs belonging to the current category see Categories on page 134 Use the VALUE 1 knob to select a category and the VALUE buttons to scroll through programs the names appear in the upper bar When you have found a suitabl...

Page 46: ...46 SEQ MODE Via MULTI SINGLE Switch to Sequencer Mode the mode of choice for multitrack MIDI sequencing see Sequencer mode on page 15 and VirusControl on page 145 ...

Page 47: ...ding paragraph applies to oscillator 1 only WaveTable Restore ROM A127 open the oscillator 1 EDIT menu and change the Mode to WaveTable The other two parameters in this page should now read Index and Table Set the Table to e g 10 and play your keyboard while adjusting the Index parameter Try out other Tables Index sets a nominal position within the current wavetable Table selects one of the many a...

Page 48: ...48 ...

Page 49: ...3 VirusControl ...

Page 50: ...st as comfortably as any native VST instrument or Audio Unit What is VirusControl VirusControl is a VSTi or AudioUnit plug in which runs in your sequencer host and is effectively a software representation of your Virus TI Audio and MIDI data from all 16 parts of the Virus are streamed directly into your sequencer making the TI feel just like a native plug in The myriad sound editing parameters ava...

Page 51: ...IRUSCONTROL the Virus TI all happen outside of the host computer your com puter s CPU is free to do other things whilst you get to enjoy what all good synthesists love best which is twiddling with our knobs ...

Page 52: ...in compatibility with as many sequencer hosts as possible we currently recommend the fol lowing hosts for full compatibility Mac OS X Apple Logic 7 2 or higher Steinberg Cubase SL SX3 1 or higher Ableton Live 5 2 or higher Windows XP Steinberg Cubase SL SX3 1 or higher Ableton Live 5 2 or higher Fruity Loops Studio 5 or higher For the latest news on compatibility check our website at http www acce...

Page 53: ...ounter the Found New Hard ware Wizard a couple of times please click Cancel whenever these appear as the Virus Installer will take care of everything by itself If the installer appears to hang for a while during the installation process please check to see if there are any alert messages hidden underneath the currently displayed window Once the driver installation is complete you will be presented...

Page 54: ...s complete you will be presented with the Virus TI Firmware Installer Please run this to ensure that the OS in your Virus TI is up to date Please ensure a stable power supply whilst installing the firmware and don t go touching any knobs no matter how tempted you may be until the installation is completed It always makes good sense to perform a system reset after updating the firmware to do this s...

Page 55: ...ce in your sequencer and as such you should not attempt to do so For specific information on how best to use VirusControl in your chosen host please refer to the host specific tutorials which are included in the installation Part Status No matter which page you are on the left side of the VirusCon trol will always display the status of each of the Virus TI s 16 parts The text of the part currently...

Page 56: ...d by your sequencer host Please refer to the user manual of your preferred host for instructions on how to do this Some hosts do not list all the parameters as immediately avail able if you wish to add a parameter to the list right click Mac Alt Click on the parameter s controller and choose Add parameter to Automation If you wish to send CC data to your host instead of automation data then you ca...

Page 57: ...ed by clicking on Lowpass and moving the mouse vertically For a full description of any parameter simply manoeuvre the mouse pointer over it and take a look at the Information Pane located at the bottom of VirusControl If you wish to learn more about the functionality of a particular parameter please refer to the Sound Parameters Reference chapter in the Virus TI User Manual You will find PDF vers...

Page 58: ...s on the TI as well as all your personal patch librar ies As you can see it is always possible to view two banks at a time Select which banks to browse by clicking anywhere in the long red box above each one You will be presented with 3 options Virus TI Categories and Personal Libraries ...

Page 59: ...them into the Patches folder and have instant access to them all via the Browser Selecting patches for auditioning Double click on a patch in either of the libraries to assign it to the currently active part Alternatively you can drag drop it into the patch name area in the Part column To copy a patch used by one part into another click hold the patch name in the original part and drag drop to the...

Page 60: ...g drop the patch from the Part onto the desired slot in the bank Note When you save to a RAM location the VirusControl informs the TI to store it internally as well so you can be sure that the RAM banks in the VirusControl always repre sent their hardware counterparts Save as Multi If you wish to transfer the patches of all 16 parts to the multi buffers press STORE on the TI select Destination Mul...

Page 61: ...ge numbers of sounds in SoundDiver of course These should be exported in mid format as well but beware that Virus Control will only import banks of 128 sounds maximum any surplus will be deleted Please be sure to export your SoundDiver library patches in batches of no more than 128 Exporting Sounddiver libraries Open a library within Sounddiver Select the patch patches to be exported Select File E...

Page 62: ...om one library to another this acts as a Copy function Hierarchical patch management It may be helpful to organise your libraries in separate folders within the Patches folder The Virus Control will list them in a hierarchical manner when you click on the Libraries menu Renaming a patch If you wish to rename a patch RAM or user library only you can do so by Alt Click The name will be highlighted b...

Page 63: ...lick on the lit tle arrow beneath Wave xx to open a list of all the waves When you switch the oscillator to HyperSaw mode you will see some red vertical lines instead of the waveform These repre sent the individual sawtooth waves within the HyperSaw oscilla tor as you increase Density the number of lines increases toward the maximum of 9 and as you increase Detune Spread the lines move further apa...

Page 64: ...ameter simply manoeuvre the mouse pointer over it and take a look at the Information Bar along the bottom of VirusControl If you wish to learn more about the functionality of a particular parameter please refer to the Virus TI User Manual ...

Page 65: ...tch the polarity of the filter envelope modulation Grab and drag the keyboard graphic to adjust the keyfollow base key FILTER LINK button This button links the Resonance Env Amt and Keyfollow con trols for both filters whereby adjusting one snaps the equivalent parameter in the other filter to the same value This is essentially the same as pressing both Filt1 and Filt1 Select buttons on the TI har...

Page 66: ...rn more about the functionality of a particular parameter please refer to the Virus TI User Manual Ste p Segment Direction 1 Attack Horizontal 2 Delay Horizontal 3 Sustain Vertical 4 Slope Time Vertical 4 Release Horizontal ...

Page 67: ...ragging vertically Clock resolution can be adjusted either by dragging the CLK value vertically or by turning the rate dial LFO rate or clock resolution can also be adjusted by grabbing the number displayed within the rate dial and dragging verti cally LINK button These buttons link the two adjoined parameters so that their values synchronise when one or the other is adjusted For a full descriptio...

Page 68: ... the red pill sorry I mean click on the red bars to open the menus containing all possible sources and target parameters If you wish to learn more about the functionality of the various controller sources and available targets please refer to the Mod Matrix Section in this User Manual ...

Page 69: ...r itself and drag vertically Likewise there are two ways to adjust the Length of each step 1 Adjust the knob below the step 2 Click on the bar and drag horizontally It is important to understand that the length of a step is not absolute but relative to the proximity of the next active step Therefore when you deactivate the steps ahead of any given step you will see the width of the bar increase ac...

Page 70: ...ll the controls for the Effects section of the Virus TI For a full description of any parameter simply manoeuvre the mouse pointer over it and take a look at the Information Bar along the bottom of VirusControl If you wish to learn more about the functionality of a particular parameter please refer to the Effect section in this manual ...

Page 71: ...rus TI If you use the analog outs Out1 2 3L R the audio signal from the TI is no longer sent to your sequencer If you wish to render your TI tracks to audio in the same way as your other plugins you must use the USB outs Please note that you cannot use the additional outs for the soundcard functionality since this would require more band width than is available For a full description of any parame...

Page 72: ...ntrol to create new tem plates or load in new ones from additional libraries Remote mode is fully functional in standalone mode Please check www acccess music de for new templates we will be adding to the public library regularly If you create any new templates and are happy to share them with other users please send them to support access music de Remote Mode In order to use the TI s Remote funct...

Page 73: ... assigned to it In this case type the fol lowing into the MIDI STRING field in the REMOTE page B0 70 with spaces Basically B0 makes it a MIDI CC command where 0 MIDI channel 1 the 16 channels are numbered 0 15 70 makes it controller number 70 and tells it to use the value of the assigned knob Don t worry if you don t understand the alien language it works and once you ve done it it s easy Press En...

Page 74: ...latency Once you have recorded the part you should return the Main Out to a USB port otherwise this part will be played back ahead of the beat due to the sequencer s delay compensation Bouncing or Freezing other plugins or audio tracks If you wish to bounce freeze other plugins or audio parts faster than realtime we recommend you bypass the Virus Control plugin before doing so Tutorials A range of...

Page 75: ...4 Sound Parameters Reference ...

Page 76: ...tor on and off HOLD Via SHIFT ARP ON Toggles the Hold function see Hold on page 78 Arpeggiator Mode Off No arpeggiation No other arpeggiator parameters will be visible Up Ascending notes starting with the lowest note Down Descending notes starting with the highest note Up Down Ascending then descending notes starting with the lowest note As Played In the same order as received MIDI notes Random Ra...

Page 77: ... Resolution 1 128 to 1 2 The Arpeggiator s rate expressed as a fraction of a bar in 4 4 time The minimum rate is therefore one com plete arpeggio every 4 4 bar The standard setting is 1 16 i e 16 beats per bar and normally does not need to be changed The actual rate is determined by the Tempo parameter see Tempo on page 129 Note Length 64 to 63 Scales the lengths hold time of all notes Nega tive v...

Page 78: ... as soon as all notes are released On The arpeggio continues after notes are released Playing new notes after releasing all previous ones resets the arpeg gio i e the original notes disappear Note that releasing a Hold pedal will stop the arpeggio until new notes are played ...

Page 79: ...displays all three destinations and amounts at once Either of the DESTINATION buttons will open the menu if it is not already open SELECT Opens the modulation matrix menu If pressed again moves on to the next slot SHIFT SELECT will move to the previous slot Alternative navigation use the PARAMETERS buttons Slot The information below applies to any slot in the matrix Use the DESTINATIONS buttons to...

Page 80: ... doubled so that unipolar destinations can be modulated over their entire range i e 128 values The Amount itself can be controlled by another modulation source modulation destination is e g Slot4 Amount2 Destination VALUE 3 knob Off Wavetable 2 Index Specifies a destination parame ter Use the DESTINATION buttons to move the cursor up and down ...

Page 81: ...st one destination to be selected EDIT Opens the LFO menu corresponding to the selected LFO see SELECT below Selecting a different LFO after opening this menu will jump directly to the menu for the newly selected LFO ENV MODE Toggles the Envelope Mode parameter on and off see Enve lope Mode on page 83 SHAPE Quick selection of Sine Triangle Sawtooth Square or WAVE the waveform specified in the Edit...

Page 82: ...64 16 1 LFO1 rate is synchronized to the Clock expressed as a fraction of one bar in 4 4 time See Tempo on page 129 Rate Accessible from the panel via the RATE knob if Clock is set to Off 0 to 127 The speed of LFO1 when not synchronized see Clock above Modulation destination LFO1 Rate Shape Sine Triangle Sawtooth Square S H S G Waves 3 to 64 Specifies the LFO waveform If S H S G or one of the addi...

Page 83: ... MODE button Off Standard cyclic LFO mode On The LFO effectively becomes an additional Envelope LFOs in Envelope Mode are unipolar see glossary and stop after completing exactly one cycle The start finish point within the wave can be specified via Trigger Phase Trigger Phase Off 1 to 127 When set to Off LFO1 runs freely i e its phase is not reset by every note played except in Envelope Mode All ot...

Page 84: ... as those for LFO1 except that Contour Envelope Mode and Trigger Phase are not available in LFO3 See LFO 1 on page 82 LFO 1 Destinations Osc1 Pitch 64 to 63 How much LFO1 modulates oscillator 1 pitch Modulation destination LFO1 Osc1 Pitch Osc1 2 Pitch 64 to 63 How much LFO1 modulates the pitch of all oscil lators controlling the other two values in this page at the same time Osc2 Pitch 64 to 63 Ho...

Page 85: ...nance of both filters Modulation destination LFO1 Resonance Filter Gain 64 to 63 How much LFO1 modulates the total level of all signals before entering the filters Modulation destination LFO1 Filter Gain Assign Target Off Amp Env Attack WaveTable 2 Index Select from a list of available destinations for LFO1 Amount 64 to 63 How much LFO1 modulates the Target parame ter Modulation destination LFO1 A...

Page 86: ...CUTOFF knob when Cutoff Link see Cutoff Link on page 145 is switched on and CUTOFF 2 is set to 0 Cutoff 2 64 to 63 How much LFO2 modulates filter 2 cutoff fre quency Like automating the CUTOFF 2 knob Modulation destination LFO2 Cutoff2 Shape 1 2 64 to 63 How much LFO2 modulates the shapes of oscil lators 1 and 2 simultaneously Like automating the SHAPE knob for both these oscillators at the same t...

Page 87: ...e above Modulation destination LFO2 Assign Amt LFO 3 Destination Fade In 0 to 127 The amount of LFO3 can be faded in after each note is played 0 instantaneous 127 about 40 seconds Partic ularly useful for delayed vibrato effects etc Assign Target Unlike LFO1 and LFO2 LFO3 has only one modulation slot offering a choice of one of the following targets Osc1 Pitch Oscillator 1 pitch Osc1 2 Pitch The p...

Page 88: ... this defines the absolute phase of oscillator 2 each time it is reset by oscillator 1 Modulating Sync Phase can cause effects similar to pulse width modulation thus giving the typically rather cold sync sounds more warmth Amount 0 to 127 How much LFO3 modulates the selected target Note that unlike the other LFOs this is a unipolar parameter Modulation destination LFO3 Assign Amt ...

Page 89: ...b con trols the Gain parameter TIME COLOR EQ FREQ If DELAY or REVERB is selected this is usually a Time control However if one of the synchronized modes is selected see Clock parameters below it controls the Coloration parameter instead If an EQ is selected it controls the Frequency parame ter FEEDBACK DAMPING EQ Q FACTOR If DELAY is selected this is a feedback control The same applies for REVERB ...

Page 90: ...e 91 Send Accessible from the panel via the SEND knob Dry 1 to 126 Wet Effect send actually a crossfade i e the overall level remains fairly constant the dry signal is faded out at higher values Modulation destination Delay Send Clock Off 1 64 3 4 Synchronized delay rate expressed as a 4 4 bar division Although not labelled as such this parameter or Delay Time see below is available from the panel...

Page 91: ...estination Delay Coloration The Delay effect has its own dedicated LFO for modulating the delay time Note that this can cause interesting pitch modula tion and stereo effects Mod Rate 0 to 127 The speed of the delay LFO Modulation destination Delay Mod Rate Mod Depth 0 to 127 The amount of modulation applied to Delay Time by the delay s own LFO Note that the left and right channels are affected di...

Page 92: ...everb tail appears immediately Type Ambience Small Room Large Room Hall Different types of room simulations in order of size This parameter affects the so called early reflections Send Accessible from the panel via the SEND knob Dry 1 to 126 Wet Effect send Actually a cross fade between dry and wet the overall level remains fairly con stant Modulation destination Reverb Send Clock Off 1 64 3 4 Use...

Page 93: ... Clock parameter is set to Off see above 0 0 ms to 300 4 ms The time between the original signal and the reverb signal expressed in milliseconds This can be fed back for multiple reverb tails see Mode on page 92 Modu lation destination Reverb Predelay Feedback Only visible in Feedback 1 or Feedback 2 modes Accessible from the panel via the FEEDBACK knob 0 to 127 How much of the reverb signal is fe...

Page 94: ...es are wider high values are narrower For wah wah effects set very high Q Factor and Gain values then modu late EQ Mid Frequency Modulation destination EQ Mid Q Factor Gain 16dB to 16dB Mid frequency cut or boost in decibels Modulation destination EQ Mid Gain High EQ Frequency 1831 to 24 0 High shelf 1 pole cutoff frequency in Hertz values above 10 000 are given in kHz Gain 16 dB to 16 dB High she...

Page 95: ...5 and Input Ring Modulator on page 106 TYPE MIX If DISTORTION is selected this controls the distortion Type see below If ANALOG BOOST is selected it controls the frequency see Frequency on page 97 If Chorus or Phaser is selected it controls the Mix parameter see e g Mix on page 97 INTENSITY If DISTORTION or ANALOG BOOST is selected this controls the intensity parameter see Intensity on page 97 If ...

Page 96: ...duction of sampling rate For gen erating the aliasing effects typical of early samplers and dig ital synthesizers Low Pass Single pole low pass filter for variable reduction of high frequencies This effect is only included to ensure compatibility with older programs early Virus models did not feature a dedicated EQ section High Pass Single pole high pass filter for variable reduction of low freque...

Page 97: ... the original dry signal In combination with Feedback the Chorus effect in your Virus is also capable of flanging ensemble vibrato or resonator effects Note that if the Mix parameter is set to Off the other parameters will not be visible in the menu Mix Accessible from the panel via the TYPE MIX knob Off 1 to 127 Cross fade between the dry and wet signal Set this to 64 for maximum Chorus or to 127...

Page 98: ...od Depth Mod Shape Sine Triangle Sawtooth Square S H S G Selects the waveform used to modulate the Delay parameter Phaser Typically phasing is the classic whoosh effect originally achieved by running two tape machines in parallel then slightly changing the speed of one of them The Virus phaser uses up to six all pass filters to achieve a very similar effect In combination with Feedback the Virus p...

Page 99: ...e effect The Feedback parameter is bipolar because positive and negative values result in differ ent tonal characteristics Modulation destination Phaser Feedback Mod Rate 0 to 127 Modulation rate the speed of the Phaser s dedi cated LFO a triangle wave used to modulate the Frequency parameter see above Modulation destination Phaser Mod Rate Mod Depth 0 to 127 How much the Frequency parameter see a...

Page 100: ...lly the internal oscillators accord ingly Please refer to the Vocoder Table on page 104 As well as the functions of a few knobs in the filter section two of the parameters appearing in the first page of the vocoder menu are sensitive to SELECT status in the Filters section If FILT1 is selected carrier parameters will appear here If FILT2 is selected modulator parameters will appear Mode Specifies ...

Page 101: ... Q and Mod Q see below overriding those two parameters Mode See Mode on the previous page Carrier Spread Accessible via the ENV AMOUNT knob when only FILT1 is selected 64 to 63 How far apart individual Carrier bands are The standard value is 63 100 i e full range negative values effectively invert the order of bands great for special effects Modulation destination Filter1 Key Follow Carrier Q Acce...

Page 102: ...lity steepness of the Modulator bands Modu lation destination Filter2 Resonance Center Freq Accessible from the panel via the CUTOFF knob in the FILTERS section 64 to 63 Centre frequency of the Carrier bank Modula tion destination Filter1 Cutoff Balance Accessible from the panel via the FILTER BALANCE knob 64 to 63 Balance between the carrier and modulator sig nals For pure vocoder signal set this...

Page 103: ...coded signal Spectral Balance 0 to 127 Balance between high and low frequencies in the vocoded signal In effect this parameter works like a simple equalizer determining the overall colour of the vocoder out put Higher values can improve the clarity of speech Modulation destination Filter Env Slope Bands 1 to 32 The number of filter bands used The higher this number the higher the quality e g speec...

Page 104: ...Q Factor RESONANCE FLT1 FLT2 selected Filter 1 Resonance Carrier Spread ENV AMOUNT FLT1 selected Filter 1 Key Follow Modulator Spread ENV AMOUNT FLT2 selected Filter 2 Key Follow Spread ENV AMOUNT FLT1 FLT2 selected Filter 1 Key Follow Carrier Attack Filter ATTACK Filter Env Attack Carrier Release Filter DECAY Filter Env Decay Spectral Balance SHIFT Filter SUSTAIN Filter Env Slope Bands Filter REL...

Page 105: ...nvelope follower Attack 0 to 127 Accessible from the panel via the filter ATTACK knob Reaction time to sudden peaks in the input signal level Used to regulate how smooth the resulting envelope will be Modulation destination Filter Env Attack Release 0 to 127 Accessible from the panel via the filter DECAY knob Reaction time to sudden drops in the input signal level Used to regulate how smooth the r...

Page 106: ...ied by the Input Select parameter see Input Select on page 134 can be ring modulated with the oscillator signal Mix Off 1 to 63 Ringmod 65 to 126 Input Off means no input ring modulation other values determine the balance between the two signals 1 is mostly the untreated oscilla tor signal Ringmod is the ring modulated signal only and Input is the input signal only ...

Page 107: ...lassic oscillators where oscillator 2 can be synchro nized to oscillator 1 HyperSaws are always synchronized to their own inaudible master oscillator In HyperSaw mode the FM AMOUNT knob controls a frequency offset parameter instead controlling how much higher the pitch of the oscillator is than its master To differentiate this function from standard oscillator synchronization it is called HyperSyn...

Page 108: ...sc 2 Mode SYNC Button on FM AMOUNT knob SUB OSCILLATOR knob Classic Classic Active sync FM amount Sub Oscillator volume Hypersaw OSC2 HyperSync offset Sub Oscillator volume Osc2 HyperSub mix Wavetable FM amount Sub Oscillator volume Hypersaw Classic Activates Osc 1 HyperSync Activates sync Osc1 HyperSync offset FM amount Osc2 HyperSub mix Hypersaw Activates Osc 1 HyperSync Osc1 HyperSync offset Os...

Page 109: ...la tors menu but in the Master Edit menu This is because it is also applied to filter frequency see Portamento on page 122 DETUNE 2 3 Fine tunes either oscillator 2 upwards or oscillator 3 down wards depending upon which oscillator is currently selected See Detune on page 121 UNISON DETUNE Via SHIFT DETUNE Direct access to the Unison Detune parameter also available in the Master edit menu see Detu...

Page 110: ...fect on oscillator 2 is in HyperSaw or WaveTable mode If oscillator 1 mode is a HyperSaw switching SYNC on acti vates oscillator 1 HyperSync instead See About HyperSaw and Sync on page 107 PANIC Via MONO SYNC Resets any hanging notes FM AMOUNT Classic or WaveTable Controls the intensity of frequency mod ulation HyperSaw Controls the HyperSync Offset parameter i e tunes the HyperSaw oscillators upw...

Page 111: ...these are displayed as percentages Wave Select or Pulse Width Accessible from the panel via WAVE SELECT PW Two distinct functions depending on the value of the Shape parameter see below If Shape is anywhere below centre WAVE SELECT PW will select a spectral wave If SHAPE is set to Sawtooth or above the WAVE SELECT PW knob will control pulse width instead Sine Triangle Waves 3 to 64 Spectral Wave f...

Page 112: ...ored in the oscillator 2 menu Modulation destination Osc Balance Oscillator 1 HyperSaw This information only applies to oscillator 1 in HyperSaw mode Mode Accessible from the panel via SHIFT oscillator SHAPE Classic HyperSaw WaveTable Selects the basic type of oscillator Density Accessible from the panel via the oscillator SHAPE knob 1 0 to 9 0 The number of sawtooth waves used The vol umes are cr...

Page 113: ...elative levels of oscillator 1 and oscil lator 2 including FM whereby 64 is oscillator 1 only and 63 is oscillator 2 only Note that this parameter is mirrored in the oscillator 2 menu Modulation destination Osc Balance HyperSync Accessible from the panel via the SYNC button Off On Switches oscillator 1 HyperSync off on See About HyperSaw and Sync on page 107 H Sync Offset Accessible from the panel...

Page 114: ...le 1 Index or Osc1 Shape these are equivalent Table Sine Violator Selects one of many wavetables Semitone Accessible from the panel via the SEMITONE knob 48 to 48 semitones The nominal pitch of oscillator 1 Modulation destination Osc1 Pitch Key Follow 64 to 31 Norm 33 to 63 How much the pitch of oscil lator 1 follows the keyboard i e MIDI note number Press both VALUE buttons at the same time for n...

Page 115: ...illator SHAPE Classic HyperSaw WaveTable Selects the basic type of oscillator Shape As in oscillator 1 see Shape on page 111 Modulation desti nation Osc2 Shape Wave Select or Pulse Width As in oscillator 1 see Wave Select or Pulse Width on page 111 Modulation destination Osc2 Wave Select or Osc2 Pulse Width Semitone As in oscillator 1 see Semitone on page 111 Modulation destination Osc2 Pitch Key ...

Page 116: ... see Wave Select or Pulse Width on page 111 Noise The Noise signal In L In L R In R One or both of the Audio inputs see rear panel FM Amount Accessible from the panel via FM AMOUNT 0 to 127 The intensity of frequency modulation Modulation destination FM HyperSync FiltEnv Pitch 64 to 63 How much the filter envelope modulates the pitch of oscillator 2 This was implemented in previous Virus models to...

Page 117: ...FiltEnv FM Hsync Oscillator 2 HyperSaw Mode Accessible from the panel via SHIFT oscillator SHAPE Classic HyperSaw WaveTable Selects the basic type of oscillator Density Accessible from the panel via the oscillator SHAPE knob 1 0 to 9 0 The number of sawtooth waves used The volumes are cross faded for completely smooth transitions Modula tion destination Osc2 Shape Spread Accessible from the panel ...

Page 118: ...ulation desti nation Osc2 Detune FiltEnv Pitch As in Classic mode see FiltEnv Pitch on page 116 H Sync Offset Accessible from the panel via the FM AMOUNT knob Note that this parameter is mirrored in the Common menu because it can apply to oscillators 1 and 2 at the same time see H Sync Offset on page 123 0 to 127 The frequency offset of any HyperSaw both oscil lator 1 or 2 with respect to its own ...

Page 119: ... these are equivalent Table Sine Violator Selects one of many wavetables Semitone As in oscillator 1 see Semitone on page 111 Modulation destination Osc2 Pitch Key Follow As in oscillator 1 see Key Follow on page 112 Balance Mirrors the Balance parameter in the oscillator 1 page see Balance on page 112 Detune Accessible from the panel via the DETUNE 2 3 knob when oscil lator 1 or 2 is selected 0 t...

Page 120: ...odulates the pitch of oscillator 2 This was implemented in previous Virus models to allow especially sync sweeps without using up precious space in the modulation matrix and has been retained for compatibility reasons Note that oscillator 2 in WaveTable mode does not feature Sync Modulation desti nation FiltEnv Osc2 Pitch FiltEnv FM 64 to 63 Controls how much filter envelope is applied to FM Amoun...

Page 121: ...d and oscillator 3 pitch will track oscillator 2 pitch Modulation destination Osc3 Pitch Volume 0 to 127 The level of oscillator 3 when switched on see OSC3 ON on page 110 and Mode Wave above Modula tion destination Osc3 Volume Detune Accessible from the panel via the DETUNE 2 3 knob if oscillator 3 is selected Ignored if Slave mode see Mode Wave above is selected 0 to 127 Fine tunes oscillator 3 ...

Page 122: ... full portamento Mono 4 Monophonic single trigger legato portamento Hold Polyphonic Notes are held until they are all released and a new note is played Osc Volume Accessible from the panel via the OSC VOLUME knob 64 to 63 Determines the total level of all oscillators and input signals but not Noise or Ring Modulator immediately before entering the filters Note The value 0 is unity gain i e already...

Page 123: ...sible from the panel via FM AMOUNT 0 to 127 The frequency offset of the audible HyperSaw with respect to its own internal master oscillator Modulation desti nation FM HyperSync Sub Oscillator An extra slave oscillator tuned an octave below its master oscillator If oscillator 1 is in Classic mode the sub oscillator is a Square or Triangle wave slaved to oscillator 1 See Oscillator 1 Classic on page...

Page 124: ... to 63 Adjusts the noise frequency range Negative val ues are darker positive ones are brighter A value of 0 is standard white noise see glossary Modulation destina tion Noise Color Ring Modulator The Ring Modulator creates additional frequencies the sum and difference by multiplying the oscillator 1 and 2 signals Not active in Split Mode see Routing on page 144 Volume Accessible from the panel vi...

Page 125: ... Reference on page 165 CONFIG Opens the global configuration menu see Configuration Ref erence on page 151 REMOTE Via SHIFT CONFIG Puts the Virus in remote mode i e for use as a MIDI controller box The Virus TI can hold up to 32 different templates Go to http www access music de and download the latest collection of templates for a variety of popular MIDI devices Alternatively custom templates can...

Page 126: ...I a global parameter deter mines whether these buttons will affect the Virus sound engine or the MIDI data from the keyboard See Transpose Buttons on page 156 POWER ON OFF TRANSPOSE down TRANSPOSE up To put the unit into standby mode hold both buttons for a few seconds This allows the Virus to be powered down even when rack mounted Press both buttons again to restart the Virus SHIFT Gives you acce...

Page 127: ...n page 134 VALUE 2 Adjusts the parameter appearing directly above the knob BANK Via SHIFT VALUE 2 Selects a Bank An alternative to using the BANK buttons to the right of the display VALUE 3 Adjusts the parameter appearing directly above the knob PROGRAM Via SHIFT VALUE 3 Selects a program A faster alternative to using the PROGRAM buttons to the right of the display PART Used for switching between ...

Page 128: ...cer via Arrangement dump see Transmit MIDI Dump on page 155 PARAMETERS BANK While any menu is open use these buttons to scroll through individual pages or parameters see Navigation on page 163 These buttons also move the cursor while naming programs see STORE on page 125 If no menu is open they are used to change the current bank VALUE PROGRAM While a menu is open these buttons decrement increment...

Page 129: ... 100 is a good starting point Patch Volume reacts to MIDI CC 7 Channel Volume as well as CC 11 Expression Modulation destination Patch Volume Panorama 64 to 63 The position of the signal across the stereo out puts Reacts to MIDI CC 10 Panorama Modulation destina tion Panorama Transpose 64 to 63 semitones Transposes the pitch of the entire pro gram in semitones Modulation destination Transpose Smoo...

Page 130: ... of each played note not inbetween Pros No glitches Cons Smooth transitions not possible Quantize 1 64 1 1 Smoothing is disabled any changes only occur at rhythmic intervals relative to the Tempo expressed as a 4 4 bar division See Tempo on page 129 Bend Up 64 to 63 semitones How much pitch bend is applied to the oscillators when the Pitch Bender on a keyboard etc is at maximum Bend Down 64 to 63 ...

Page 131: ...nison parameters will be visible except Pan Spread see below Detune Available from the panel via SHIFT DETUNE in the OSCILLA TORS section 0 to 127 How much the stacked voices are detuned against each other Modulation destination Unison Detune Pan Spread 0 to 127 The stereo width of the signal As well as applying to Unison sounds this parameter also applies to any Parallel and Split mode sounds see...

Page 132: ...re quency modulation FM between oscillators 1 and 2 For HyperSaw oscillators this affects HyperSync offset instead see About HyperSaw and Sync on page 107 Osc 1 Shape 64 to 63 How much velocity affects oscillator 1 Shape If oscillator 1 is in HyperSaw mode this is the Density parame ter If oscillator 1 is in WaveTable mode this is the Index parameter Osc 2 Shape 64 to 63 How much velocity affects ...

Page 133: ... much velocity affects the resonance of filter 1 See RESONANCE on page 139 Filter 2 Env Amount 64 to 63 How much velocity affects the envelope amount of filter 2 See ENV AMOUNT on page 139 Resonance 2 64 to 63 How much velocity affects the resonance of filter 2 See RESONANCE 2 on page 139 Inputs Mode Instead of using the internal oscillators a signal from the exter nal inputs can be treated using ...

Page 134: ...R Right Signal from the left both or right inputs Surround The Virus has two additional stereo outputs Although espe cially useful in MULTI mode the addtional stereo outputs can also be used in SINGLE mode as send channels for external effects etc Output Out1 L Out3 R Which audio jacks will be used for addi tional audio output Balance 64 to 63 Cross fade between standard outputs and sur round outp...

Page 135: ...e also Soft Knob global settings on page 159 Function as Off Analog Boost Int Velo Volume Select from a list of Soft Knob destinations Tip Instead of direct control it is fairly common to specify a continuous controller e g CC06 Data here then use the same CC as source in the modulation matrix This method not only lets you control a wider range of destinations with the Soft Knobs but also allows m...

Page 136: ... is con nected via MIDI or your sequencer has started recording press STORE again Patch No 0 to 127 Selects the program number you wish to overwrite After selecting a bank and patch number press STORE again to edit the name see Editing the Patch Name below Patch Name dynamic Displays the name of the program currently in the location of Patch No To name the new patch press STORE a s econd time Edit...

Page 137: ...tor 3 when it is switched on via the OSC3 ON button Original Value Indicator This LED lights up briefly when the original value of any parame ter as stored in memory has been reached OSC VOLUME Controls the overall level of the 3 oscillators plus the sub oscil lator but not the noise and ring modulator levels Note that pos itive values do not increase the volume but only the saturation intensity S...

Page 138: ...138 The inputs to the ring modulator are always oscillator 1 and oscillator 2 including any FM The ring modulator is disabled in Split mode See Routing on page 144 and Ring Modula tor on page 124 ...

Page 139: ...he resonance of filter 2 whatever the status of the two SELECT buttons ENV AMOUNT The amount of filter envelope applied to cutoff Applied to one or both filters at the same time depending on the status of the two SELECT buttons KEY FOLLOW Via SHIFT ENV AMOUNT How much cutoff follows pitch so that e g higher notes are brighter than lower ones Applied to one or both filters at the same time dependin...

Page 140: ...ss both at the same time for simultaneous control over both filters Saturation Type Accessible from the panel via SHIFT OSC VOLUME in the MIX section Off No saturation Note that positive OSC VOLUME values will still control analog saturation if an Analog filter model is selected see Mode on page 142 Light Soft Medium Hard Digital Four different distortion curves Wave Shaper Sinusoidal waveshaping ...

Page 141: ...ssible from the panel via OSC VOLUME 64 to 63 See Osc Volume on page 122 Because the OSC VOLUME knob also controls saturation this parameter changes its name depending on the value Please remember that some saturation types especially Wave Shaper already take effect below the central position Filter 1 Cutoff Accessible from the panel via CUTOFF 0 to 127 Filter 1 threshold frequency Modulation dest...

Page 142: ...simultaneously rejects those above and below the cutoff point Band Stop BS Rejects frequencies close to the cutoff point i e allows frequencies above or below the cutoff point to pass through Note that Resonance see Resonance on page 141 effectively narrows this band making the effect actually more subtle Analog 1 Pole Analog 4 Pole Emulation of a classic ana log cascade or ladder filter but with ...

Page 143: ...nel via RESONANCE if filter 2 is selected 0 to 127 Accentuation of the filter 2 Cutoff frequency The actual effect of resonance depends on the selected Mode see below Modulation destination Filter2 Resonance Env Amount Accessible from the panel via ENV AMOUNT when filter 2 is selected 0 to 127 Filter 2 envelope amount i e the amount of filter envelope applied to its cutoff Note that this can be in...

Page 144: ...ows the MIDI note and pitch bender See Key Follow Base on page 145 Modulation destination Filter2 Key Follow Env Polarity Positive Negative The effect of Env Amount on filter 2 cut off can be inverted by setting this parameter to Negative Common Routing There is no difference between Serial 4 and Serial 6 if one of the Analog filter modes is selected see Mode on page 142 Serial 4 The filters are r...

Page 145: ...offset to filter 1 cutoff instead of an independant value Key Follow Base C 2 to G8 The pivot note for Key Follow see Key Follow on page 142 Notes below and above this point will be affected by Key Follow Pan Spread Only visible here in Split mode see Routing above 0 to 127 The stereo width of the Split mode signal i e the rel ative levels of the left and right signals Pan Spread also applies to U...

Page 146: ...o positive values cause it to rise to maximum See the images in FILTER ENVELOPE on page 148 Release Accessible from the panel via the RELEASE knob 0 to 127 Starts as soon as a note is released the time it takes to fall from the current level to zero Amp Envelope Please refer to the images in The Amplifier Envelope Section on page 21 As the amplifier envelope section has no EDIT but ton these param...

Page 147: ...27 The nominal level after the Decay Sustain Slope Accessible from the panel via SHIFT SUSTAIN in the Amplifier Envelope section 64 to 63 Negative values cause the sustain phase to decay to zero positive values cause it to rise to maximum See the image under SUSTAIN SLOPE on page 22 Release Accessible from the panel via the amp RELEASE knob 0 to 127 The time it takes to fall from the current level...

Page 148: ...ILTER ENVELOPE section has no EDIT button all parameters can be accessed via the edit button in the FILTERS section See also ENV AMOUNT on page 139 The effects of SUSTAIN SLOPE are illustrated in The Amplifier Envelope Section on page 21 Note that the filter envelope generator can also be used for other purposes by setting Filter Envelope as source in the Matrix ...

Page 149: ...on all parame ters can be accessed via the edit button in the FILTERS section The effects of SUSTAIN SLOPE are illustrated in The Amplifier Envelope Section on page 21 PATCH VOLUME Via SHIFT ATTACK Quick access to the Patch Volume parameter used for balancing levels between different pro grams See Patch Volume on page 129 TEMPO Via SHIFT RELEASE Quick access to the internal clock rate see Tempo on...

Page 150: ...150 ...

Page 151: ...5 Configuration Reference ...

Page 152: ...n SHIFT STORE to randomly modify an exist ing program Strength 0 to 127 How drastically the Random function will affect program parameters Scope 0 to 127 How many program parameters will be affected Note that if this value is set very high successive use of the Random PG will tend to create sounds will little or no tonal ity MIDI Global Channel 1 to 16 Specifies a MIDI channel used for SINGLE mode...

Page 153: ...ID 17 Arp Note Send Off On Specifies whether the notes created by the arpeggia tor see Arpeggiator on page 76 will be sent to the MIDI output instead of the original played notes MIDI Clock Internal Sync Any received MIDI Clock will be ignored An internally generated clock is used instead Sync to External Received MIDI Clock will be recognized This is the standard setting Send Internally generated...

Page 154: ...he MIDI input will be ignored Enable Bank data 128 sounds will be stored to the Bank from which it was originally dumped regardless of which bank is currently selected To Bank A Bank data is always stored in bank A To Bank B Bank data is always stored in bank B To Bank C Bank data is always stored in bank C To Bank D Bank data is always stored in bank D To Edit Buffer Incoming bank data is not sto...

Page 155: ...of MIDI CCs Polypressure or Sysex depending on the value of two other parameters see MIDI Control on page 157 The Controller Dump setting is mainly used for updating the data in parameter based editors e g a Logic environment and can be relatively slow Arrangement All 16 sounds in the current Multi buffer or Sequencer mode buffer plus the additional multi settings Multi Bank All Multi programs Rem...

Page 156: ...ary or the keyboard depending upon the value of Transpose Buttons Transpose Buttons Patch Keyboard Specifies whether the TRANSPOSE but tons on the panel will apply to the sound engine Patch or to MIDI note data from the keyboard Mod Wheel 0 to 127 Specifies the MIDI CC number see glossary trans mitted by the modulation wheel The standard value is 1 Mod Wheel Hold Pedal 0 to 127 Specifies the MIDI ...

Page 157: ...rd value linear is 0 MIDI Control Governs how Page A and Page B parameters are handled dur ing MIDI communication with e g a computer or MIDI controller unit Note that system exclusive data is always recognized irre spective of the settings here Further information including a list of all parameters is available at www access music de Page A SysEx Page A parameters are transmitted received as sys ...

Page 158: ...o output 1 Source Analog Audio input is via the INPUT jacks only S PDIF Audio input is via S PDIF only Sensitivity 16 dBV 5 dBV 8 dBV 16 dBV Select sensitivity to suit different external audio sources Characteristic Linear Phono Vinyl discs have a special frequency response which generally needs adjusting for Set this parameter to Phono when either connecting a turntable directly or using audio ma...

Page 159: ...frequency Synced to Host Virus is clocked by host Soft Knob global settings Three identical menu pages one for each Soft Knob Destination Off Analog Boost Int Velo Volume Global destination Used whenever the Soft Knob is left undefined in a program see Soft Knob on page 135 or the Global parameter is set to On here Mode Single The individual program setting for this Soft Knob will apply See Soft K...

Page 160: ...ction of knob movement without jumping but limits may not be reacha ble directly knob positions only reflect values after the orig inal stored value has been reached Display Time Off Knob values not be displayed Off 1 to 127 Knob values will be displayed for up to 7 sec onds Target Internal Knobs control internal functions directly and do not send MIDI Internal MIDI Knob data is also sent to MIDI ...

Page 161: ... default value is Tempered i e standard Western keyboard tuning System All Delays Disabled Enabled Global switch to disable enable any Delay effects All Reverbs Disabled Enabled Global switch to disable enable any Reverb effects All Arpeggiators Disabled Enabled Global switch to disable enable any Arpeggios All EQs Disabled Enabled Global switch to disable enable any EQ settings LED Lux 0 to 127 B...

Page 162: ...utput3 LED intensity shows output levels Voice Steal Indicates note stealing see glossary LED intensity follows the immediate levels of notes being stolen Mem Protect Disabled Data can be stored Enabled Full memory protect no data can be overwritten LCD Contrast 0 to 127 Optimize the display for different viewing angles Remote Mode Determines what the MASTER VOLUME knob will control in while in Re...

Page 163: ...the PARAMETERS buttons work while navigat ing within menus By Page Scroll through pages SHIFT PARAMETERS will move the cursor within each page By Parameter Move the cursor within the page or across page boundaries SHIFT PARAMETERS will scroll through pages ...

Page 164: ...164 ...

Page 165: ...6 Multi Mode Reference ...

Page 166: ...er EDIT button to the left of the display From operating system revision 1 1 onwards there is another 112 referencing Multi mode programs in order to supply you with old and newfashion Multi mode program The additional pro grams can be accessed on slot 17 127 Patch The Bank and Program parameters in the first page are used to copy existing Singles into the current Part If you do this by mistake ju...

Page 167: ... of the Part Overrides overwrites the Single parameter of the same name see Panorama on page 129 MIDI Channel 01 to 16 The MIDI channel to which this Part will respond Output Specifies Part output Out1 L Out3 R Sends this Part to the selected analogue output jacks Transpose 48 to 48 semitones Part transposition Adds subtracts from the Single parameter of the same name see Trans pose on page 129 De...

Page 168: ...the original Single Mode programs see Tempo on page 129 Init Volume Off 1 to 127 Initializes MIDI volume CC 7 for the current Part whenever this Multi program is selected See Volume RX below Low Key C 2 to G8 The lowest MIDI note to which this Part will respond If this is set higher than High Key see below the range between Low Key and High Key is disabled and all notes outside this range are enab...

Page 169: ...ill also be sent to MIDI OUT Hold Pedal Disabled Enabled Specifies whether the Part will respond to MIDI CC 64 usually a Sustain Pedal Volume RX Disabled Enabled Specifies whether the Part will respond to MIDI CC 7 Volume Prog Change Disabled Enabled Specifies whether the Part will respond to MIDI Program Change messages The global Program Change parameter in the CONFIG menu is ignored ...

Page 170: ...170 ...

Page 171: ...ix A Legal Declarations This device is designed exclusively for generating low frequency audio signals Any other use is not permitted and automatically invali dates the warranty supplied by Kemper Digital GmbH ...

Page 172: ...l not occur in all installations If this product is found to be the source of interference which can be deter minated by turning the unit OFF and ON please try to elim inate 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 Circuitbreaker or fuse circuits or install AC li...

Page 173: ... the radio frequency interference requirements of the Council Directive 89 336 EC Cet appareil est conforme aux prescriptions de la directive communitaire 89 336 EC Dette apparat overholder det gaeldenda EF direktivvedroren dareadiostoj Dieses Gerät entspricht der EG Richtlinie 89 336 EC 192 ...

Page 174: ...tive 89 336 FWG for radio frequency interfer ence They also comply with regulations dated August 30th 1995 concerning radio interference generated by electronic devices The following standards have been applied EM 50 082 1 1992 EN 50 081 1 1992 EN60065 1993 This declaration has been given responsibly on behalf of the manufacturer Kemper Digital GmbH Königswall 6 45657 Recklinghausen Germany ...

Page 175: ... of the product It does not limit the cus tomers rights according to the current product liability regula tions of the country where the product was purchased The warranty is only valid if a completely filled in warranty card including serial no date of sale company stamp signature of the Authorised Base Dealer as well as name and address of the customer is returned to the address given below If a...

Page 176: ...176 ...

Page 177: ...8 Appendix B Glossary ...

Page 178: ...ss filter Type of filter which does not remove frequencies from the sig nal but only affects its phase Amount How much a modulation source affects its destination Amplitude A non scientific definition would be loudness level volume etc Arpeggiator Arpeggio Arp In classical music Arpeggio means you should play the notes of a chord in rapid succession instead of all at once In the syn thesizer world...

Page 179: ...ommon i e available to several sources at once audio sig nal path used for routing purposes C Carrier Term borrowed from FM radio the dial adjusts carrier fre quency meaning the oscillator being frequency modulated by another Also used for the audible signal from a vocoder which carries the formants of another signal e g your voice See also modulator Category Classification of programs e g Bass Le...

Page 180: ...end smoothly from one to the next Crotchet 1 4 note Classical term for the length of one beat as in bpm beats per minute Cutoff Threshold frequency of a filter above and or below which fre quencies are attenuated or boosted Resonance accentuates frequencies close to the cutoff point Cyclic Recurring regularly e g an LFO when not in envelope mode Also called periodic D dB Decibel Relative unit of a...

Page 181: ... Feedback A loop in any signal path e g feeding the output of a delay back into its own input Filter Module present in all subtractive synthesizers used to pass cer tain frequencies while rejecting attenuating others Filter saturation See Saturation Full wave rectification Signal process that results in half of the signal upper or lower being fully inverted An often subtle but useful effect availa...

Page 182: ...imizing harmony between all notes in a chord by applying slight pitch adjustments in realtime For informa tion about the problem this method addresses search for the Comma of Pythagoras in the Internet Hertz Hz Measurement of frequency Formerly called cps cycles per second Hoover Term borrowed from a household appliance company to describe a distinctive fuzzy sound often used in electronic dance m...

Page 183: ...lly used as a cyclic modulation source the LFOs in the Virus can alse serve as one shot envelopes when set to Enve lope Mode M Mark Space Ratio See Pulse Width MIDI Acronym for Musical Instrument Digital Interface The standard protocol used for communication between electronic musical instruments and computers MIDI Feedback Loop Problem caused by e g the following situation MIDI output is connecte...

Page 184: ...y one note can be played at a time e g flute Minimoog See Polyphonic Multi Mode Synthesizer mode in which more than one complete sound e g Single program can be generated simultaneously Also implies that the synth can receive over several MIDI channels at once N Noise Waveform consisting of a theoretically infinite and continuous range of frequencies Nominal In name only For synth parameter values...

Page 185: ...nd engines Patch The arrangement of physical connections in e g a telephone routing system For modular synthesizers this also includes all knob and switch settings Now that synthesizers can memorize such data patch has become synonymous with program sound etc Phase Phase Angle The position within one cycle of a wave Measured in degrees whereby 360 is the end of the cycle Phaser Audio processor tha...

Page 186: ...lied to keys on a key board Rarely implemented because pressing on several keys at once can result in too much MIDI data for a system to han dle In the Virus this data format is used for a purpose not intended by the original MIDI specifications as a supplement or alternative to System Exclusive Sysex data See also Chan nel Pressure Portamento Classical term for gliding pitch from one note to the ...

Page 187: ... attributes of acoustic instruments e g a piano or acoustic guitar Ring Modulator Ringmod Synthesizer module which multiplies two signals often creating bell like tones S Sample and Hold S H A clocked processor which takes a regular sample of input lev els and holds this until the next clock so the output is stepped Sample and Hold is a random source in the Virus LFOs because its input is always n...

Page 188: ...dth is exactly 50 Subtractive synthesis Often called Analogue Synthesis The method of creating sounds by removing subtracting frequencies from relatively complex waveforms See also Additive synthesis Sync Synchronization In oscillator sync one oscillator resets the phase of another usually whenever it crosses zero in the posi tive direction Sync Phase See Sync above An Assign Target for LFO3 in th...

Page 189: ...ware Vibrato Cyclic pitch modulation usually around 5Hz LFO3 is the most common source of vibrato in the Virus Vocoder Voice Encoder Device often used to impose the formant characteristics of the human voice onto other signal Originally developed to reduce the bandwidth of speech signals for com munication purposes Voice A complete sound generation and shaping unit oscillator fil eter envelope LFO...

Page 190: ...190 Z Zipper Noise Generally unpleasant audio artifacts usually caused by quan tized modulation Eliminated in the Virus via Adaptive Control Smoothing ...

Page 191: ...9 Appendix Patch Names ...

Page 192: ...C 055 MetlFunkBC 056 Misty BC 057 MoonbugsBC 058 MWQuant BC 059 MWRingMdBC 060 Nanules BC 061 NasTI BC 062 Nenoa BC 063 NeoSphr2BC 064 NewkLeadBC 065 Nitrous BC 066 OverblowBC 067 Petite BC 068 PhatBrazBC 069 Pianu BC 070 PipSqw3kBC 071 PizzArp BC 072 Plang BC 073 PolutionBC 074 ProdLd1 BC 075 Pulsaw BC 076 PulsFadeBC 077 Punchy BC 078 Punctu8 BC 079 RailingsBC 080 RezbiantBC 081 RingOrgnBC 082 Sa...

Page 193: ... MS 055 Holland MS 056 Horror MS 057 HyperSawMS 058 HyperSqrMS 059 J Halen MS 060 Jessel MS 061 KetamineMS 062 Lately MS 063 Ligaya MS 064 Linear MS 065 LoFi SawMS 066 LoFi WhaMS 067 LoGrooveMS 068 Lovly80sMS 069 MayaFireMS 070 Megane MS 071 Mettler MS 072 MnstrSawMS 073 MnstrSw2MS 074 MotoSyncMS 075 MovinPadMS 076 MutePickMS 077 NarcoticMS 078 Noomed MS 079 Noomed2 MS 080 noToy MS 081 NuNrg MS 08...

Page 194: ...6 LostLeadHS 057 Mandoid HS 058 MaxiMin HS 059 McCloud HS 060 McNasty HS 061 MoonriseHS 062 Movmnt2 HS 063 MowGrassHS 064 Nanites HS 065 Needles HS 066 NewStrumHS 067 Nocoder HS 068 OffTopicHS 069 Old Brs HS 070 PanDora HS 071 Phase 2 HS 072 Phazzah HS 073 Phloid HS 074 Pickles HS 075 PlecBassHS 076 Pluto HS 077 Polytix HS 078 PourDry HS 079 ProFit HS 080 ProWeed HS 081 Pstyro3 HS 082 PurrBassHS 0...

Page 195: ...5 Gently 2 056 GertLead 057 Gruvalimb 058 Halo Pad 059 Hammono 060 Harmoshn2 061 Heroes 062 Hi Lo Seq 063 Industron 064 Laura 065 LayerHold 066 Ld OB 82 067 Ld4Quincy 068 LeedSneed 069 LFantSqid 070 LFOverkil 071 LikeSkin 072 LunarArp 073 M Olympus 074 M inTheBox 075 m stock 076 Majman 077 MalletStk 078 Melodica 079 MixChime 080 Monterey 081 MPianoHi 082 MPianoLo 083 NextOrbit 084 Nocoder 085 Noog...

Page 196: ...55 Lando M 056 LastFix M 057 Lezzie M 058 LiquidSkyM 059 Lisbon M 060 Loner M 061 Lycra M 062 Majesty M 063 Malfunk M 064 Manga M 065 Mentor M 066 Mercury M 067 MethLab M 068 Midnite M 069 Monkfish M 070 Monument M 071 Moonie M 072 Mosquito M 073 Mothra M 074 Move M 075 Napalm M 076 Nebula M 077 NewYork M 078 NextKin M 079 NO2Head M 080 PadThai M 081 Payback M 082 Petrol M 083 Phantom M 084 PopTar...

Page 197: ...5 Kitchen HS 056 Latex HS 057 LordOrg HS 058 Macho HS 059 Manfman HS 060 MarkOne HS 061 MarsAtx HS 062 Meddle HS 063 MelloVl HS 064 MinorityHS 065 Monza HS 066 MoonWeedHS 067 Multasm HS 068 MW StepsHS 069 Nowhere BC 070 NylSolo HS 071 Oboe HS 072 Oddigy HS 073 Old S H HS 074 Orange HS 075 Oscar1 HS 076 Outpost HS 077 PanShakeHS 078 PataFiz HS 079 PeaceOrgHS 080 Picking HS 081 PickUp HS 082 PingOrg...

Page 198: ...BC 055 Navel BC 056 NewGBassBC 057 NiceKeysBC 058 NotchPlsBC 059 NotchSawBC 060 Ocean BC 061 OnRun BC 062 PercArp1BC 063 PercArp2BC 064 PercArp3BC 065 PlukArp1BC 066 PlukArp2BC 067 PlukTremBC 068 PPGdual BC 069 Randy BC 070 RezArp1 BC 071 RezArp2 BC 072 RingLedrBC 073 Saucer BC 074 SawMorf BC 075 Sear BC 076 ShortBasBC 077 ShortSawBC 078 Sighing BC 079 SoftArp1BC 080 SoftArp2BC 081 SoftArp3BC 082 ...

Page 199: ...JS 054 JoeZolo BC 055 KatmanduJS 056 KingsizeJS 057 LatitudeSV 058 Let s goSV 059 Lite JS 060 LongskrtSV 061 Maja JS 062 Mamba JS 063 MentalitJS 064 MetalsynJS 065 Move it SV 066 MoveMyMBC 067 Muzzle BC 068 NasalbasSV 069 NewVoV4 BC 070 NoiztoyzJS 071 OctvHoprBC 072 OddgssaySV 073 OffSoft BC 074 Oil crwlSV 075 Pad 77 076 PadAlertMH 077 Pathos BC 078 Peace BC 079 Pensive BC 080 Phlute JS 081 Pitchy...

Page 200: ...54 Mellotr RP 055 Mistery RP 056 Mistik SV 057 MO TJO RP 058 MooBass RP 059 Mover RP 060 MS 10 2 RP 061 MS 99 RP 062 NA Bass RP 063 NoiseAA RP 064 Not Pad RP 065 O ME 2 RP 066 Oby Pad RP 067 Oh Bee SV 068 Omnef RP 069 Oz Lead RP 070 P Lead RP 071 P Organ RP 072 P6OO RP 073 Pac it SV 074 Pad Flg RP 075 Padings RP 076 Phasa RP 077 PickGTR RP 078 PolyPha RP 079 Pro 12 RP 080 ProWeed HS 081 PsychordSV...

Page 201: ... jh 054 IndustryBC 055 LepY2 zs 056 LepY3 zs 057 lootRng zs 058 Lost M 059 LowBass jh 060 marimba4zs 061 MeBad M 062 Menace M 063 MONose zs 064 mostHih zs 065 Mr Big jh 066 Mr Foo M 067 Necro M 068 NoFuture M 069 orguit zs 070 Plead M 071 Pluka zs 072 PowerStrnJ 073 pulsRay zs 074 Quarp BC 075 RbbrBellBC 076 ReBird M 077 resPad zs 078 Reverse J 079 rmBack zs 080 rngPort zs 081 Roboe zs 082 RuffLea...

Page 202: ...vis JS 055 Hybrid JS 056 Impact MS 057 Induced JS 058 InfectedJS 059 InfinityJS 060 JaySync JS 061 JunoApg JS 062 Justice JS 063 KyotoLd JS 064 Laville JS 065 Lead JS 066 LoFine jh 067 MajorityJS 068 Mallet JS 069 MonolithJS 070 Moon PadJS 071 MorsSpc JS 072 Moving JS 073 Nasty JS 074 NiceArp JS 075 No Age JS 076 Odyssey JS 077 OldScol OK 078 Opener JS 079 Organic JS 080 Outland JS 081 OverloadJS ...

Page 203: ...XM 055 JMJ Arp XM 056 Killers XM 057 KraftArpXM 058 LectroLdXM 059 LFOmove jh 060 LoTatar jh 061 Mad LFO XM 062 Mamamia jh 063 Massive XM 064 Mayhem XM 065 Mellow XM 066 MelodiBzXM 067 MelodiTWXM 068 MeloDM XM 069 MeltArp1XM 070 MeltArp2XM 071 MeltBassXM 072 Melter XM 073 MeltGrv XM 074 MeltIntrXM 075 MeltSyn XM 076 MoonArp XM 077 MoonBassXM 078 MoonLeadXM 079 New IOC XM 080 NitzerBsXM 081 NoizBas...

Page 204: ...IceDartsMS 056 InfinityMS 057 JP Bass MS 058 KemistryMS 059 KoolSawsMS 060 KraftLd MS 061 KraftLd2MS 062 KrftworxMS 063 LdStrngzMS 064 LoFiVibeMS 065 LostInT MS 066 Maniac MS 067 MegaFuzzMS 068 MegaraveMS 069 MegaWattMS 070 ModMnstrMS 071 OffbtDblMS 072 OffshoreMS 073 OldSkoolMS 074 ParadiseMS 075 PartyOn MS 076 Plastic MS 077 PowerPadMS 078 Public MS 079 Pulsar MS 080 PulsArp MS 081 PunchBssMS 08...

Page 205: ...054 Lektrik M 055 LetsSyncM 056 LFOdecayMH 057 LuckyMan J 058 CityCat SV 059 MelodieaM 060 MiniBassSM 061 MiniBS 2SM 062 MiniBS 3SM 063 MiniBS 4SM 064 MiniBS 5SM 065 MiniLeadSM 066 ModsweepM 067 SawFire SV 068 MS20 HP PS 069 NewSnareBC 070 NewWorldM 071 NoizBassM 072 O Pad M 073 ObiPad J 074 OceanusM 075 Oh Yeah M 076 OhEq 8 M 077 OrbteriaM 078 PadLayerM 079 Paiow M 080 Pat sGR M 081 Pergru M 082 ...

Page 206: ...V 056 JeePee SV 057 K rider SV 058 KC SV 059 LegacybsSV 060 MantorokSV 061 Mars SV 062 MatricesSV 063 Metalic SV 064 MingettiSV 065 MinileadSV 066 MinitrnsSV 067 MstrBrn SV 068 My 909snSV 069 Nasal TBSV 070 NeoworldSV 071 Neurons SV 072 ODC SV 073 Omnipeg SV 074 OrganizeSV 075 Pad me SV 076 ParadiseSV 077 PearlpadSV 078 ProjectXSV 079 Proto EPSV 080 Pullbag SV 081 PulslifeSV 082 Punchit3SV 083 Pur...

Page 207: ...55 JDLead CC 056 JoeZ Vc CC 057 Joni M CC 058 JPEight PS 059 KeratArpCC 060 L Mays1 CC 061 L Mays2 CC 062 LamaLeadCC 063 LAVirginCC 064 Lullaby CC 065 MadrePadCC 066 MamasGunCC 067 Mapa CC 068 Marbles CC 069 Mercado CC 070 MeShell2CC 071 MgBass1 CC 072 MgStereoCC 073 MINI M CC 074 MiniExp CC 075 Moderno CC 076 Montero CC 077 MS HammrCC 078 Mth Sky CC 079 MW SeqG CC 080 N N 1 CC 081 NewLeadQCC 082 ...

Page 208: ...6 Juho L sJL 057 KarnEvl JL 058 KE9Lead JL 059 KickO JL 060 KnockersJL 061 Matter JL 062 MntnFlutJL 063 Monsta jh 064 Moogish JL 065 MorpheusJL 066 MrKitinaJL 067 Mystic JL 068 NaukuMstJL 069 NghtTme JL 070 NiceBassJL 071 NintendoJL 072 Nokia JL 073 NotNice jh 074 NotPad JL 075 NotPad2 JL 076 OfcHell JL 077 Pad 4AD XM 078 Padman JL 079 PawnBassJL 080 Positiv JL 081 PythagorJL 082 Quantum JL 083 Rn...

Page 209: ...10 Index ...

Page 210: ...ier 100 Category 13 127 134 Channel 152 Chorus 42 97 Classic Oscillators 110 115 120 Cleaning 9 Clock 82 90 Color 124 Coloration 93 Common 121 144 Configuration 15 44 125 Contour 83 Cutoff 24 25 86 139 Cutoff Link 27 D Damping 89 93 Decay 21 Delay 41 Delay Time 90 Density 47 112 Destination 79 80 Destinations 39 Detune 30 31 33 109 167 Distortion 42 95 Dump 154 E Edit Buttons 13 Effects Section 41...

Page 211: ... 76 Hold Pedal 156 169 HyperSaw 47 112 117 HyperSync Offset 123 I INIT Programs 17 Initial Phase 121 Input 106 Input Follower 105 Input Modes 100 Inputs 133 K Key Follow 26 84 112 114 139 Key Mode 122 Keyboard 155 168 169 L LED 161 LFO 37 LFO Contour 81 Local On 155 Low Key 168 Low Pass 25 M Master Section 44 125 Matrix Section 39 Memory Protect 162 Menus 13 MIDI 152 MIDI Channel 167 MIDI Clock 15...

Page 212: ...utput 167 P Panic Button 110 Panorama 36 87 129 Parallel 4 27 Part 45 127 Part Enable 166 Parts 14 Patch 14 166 Patch Name 136 Patch Volume 22 Phaser 42 98 Pitch 84 Pitch Bender 130 Portamento 34 109 122 Power On Off 126 Predelay 93 Program 127 167 Program Change 153 169 Pulse Width 31 85 109 Punch 122 Q Q Factor 42 89 R Random 44 126 Random Patch Generator 152 Rate 81 82 Rate Reducer 28 Rate Foll...

Page 213: ...8 Serial 4 27 Serial 6 27 Setting Up 11 Shape 37 81 82 86 108 Shift Button 126 Single 45 128 Single mode 14 Slot 79 Smooth Mode 129 Soft Knob 135 159 Soft Thru 153 Source 79 Split Mode 27 Spread 47 112 Store 125 136 Sub Oscillator 123 Surround 134 Sustain 21 Sustain Slope 22 Swing Factor 77 Switching On 12 Sync 32 110 Sync Offset 123 System Settings 161 T Tap Button 44 125 Tempo 23 129 Time 92 Tot...

Page 214: ...214 V Value Knobs 127 Velocity 132 VirusControl 8 15 40 49 Vocoder 100 Volume 35 129 W Warranty 175 Wave Select 31 109 Wave Shaper 28 Wave Table 47 114 WaveTable 47 114 118 Wavetable Index 47 114 ...

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Page 218: ...ACCESS MUSIC ELECTRONICS GMBH KÖNIGSWALL 6 45657 RECKLINGHAUSEN GERMANY WWW ACCESS MUSIC DE Printed in Germany VTIMEU 05 06 Revision B ...

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