Addendum - Gearslutz.com
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1. stable days Matt Picone s latest submission in contrast is rather bright and a welcome addition to the players among us The new bank features versatile live patches beautiful ambient beds and arpeggiators Nevertheless there is a couple of sounds you shouldn t use at a family dinner 34 SOFTWARE ADDENDUM What was new in previous versions Mac Intel support The Virus Control is now compatible with Intel Processor based Macs Direct monitoring A new button within the part bar right underneath the Mute button labelled D for Direct Monitoring allows you to switch the output assignment on the fly The direct monitoring button switches from any output to the analog outs in order to provide the Virus patch you are about to record with a minimum latency signal path Please note that you need to disable Direct monitoring once you ve finnished recording Please also note that when overdubbing with Direct Monitoring enabled the already recorded notes will play ahead of time for technical reasons VU style level meters The part bar on the left hand side feature level meters which will give you a much better overview on which part is playing at a certain point in time The level meters respond to incoming MIDI events and therefore might not show the release phase of a patch in an accurate fashion WHAT WAS NEW IN PREVIOUS VERSIONS Remote Mode The Remote Mode turns your TI into an universal remote control for your other i2. this LED is labelled ANALOG BOOST In the Virus TI Snow the Character parameters are located in the Effects edit menu To enter this menu press EDIT SHIFT EFFECTS Type Use Type to select the Character Intensity Use Intensity to adjust the depth of the Character This parameter is only available to certain Character types Tune Use Tune to focus the effect of the enhancement on the desired point in the frequency spectrum This pa rameter is only available to certain Character types Tape Delay The Tape Delay effect is inspired by the kind of analog tape delay machines that have been in use from the early 1950 s to the present day The use of a tape loop array to continuously record playback and overdub an audio signal adds a very distinctive character to the sound most notably in the saturation that occurs along with the roll off of the high and low frequencies with each pass of the loop For the Virus Tl we have created a unique effect which offers all the character of a traditional tape delay whilst streamlining the con 14 SOFTWARE ADDENDUM trols to be more fun and more performance friendly than ever before To select and edit the Tape Delay press EFFECTS SELECT in the upper FX Row button until the DELAY LED is brightly illuminated In the Virus TI Snow press EDIT SHIFT EFFECTS then use the PARAMETERS lt gt buttons to locate the relevant page Type Select the type of delay Mode Algorithm Clas
3. Addendum Softwar 17 21 23 Table Of Contents What s new in version 3 0 New Distortion and Shapers Frequency Shifter and Ring Modulator Ring Modulator Frequency Shifter Characters Tape Delay Side Chain Audio What s new in version 2 7 About Atomizer Support for multiple devices New output preference About Virus Control Center Control Center s Advanced Menu 26 ROM Banks Part Priority What s new in version 2 5 Live Mode Button Additional Soft Knob Destinations What s new in version 2 0 Complex Grain Table Oscillator Simple Formant Table Oscillator Complex Formant Table Oscillator Wavetable PWM Oscillator Enhanced Wavetable Synthesis Section Locking Inactive Parameters Patch Complexity Indicator Search By Category Two new ROM banks TABLE OF CONTENTS 6 SOFTWARE ADDENDUM 34 37 What was new in previous versions Mac Intel support Direct monitoring VU style level meters Remote Mode 112 Additional Multi Patches Search by Name Display of Original Value Adaptive Soft Limiter Algorithm Tutorials and glossary Where to find tutorial sessions Glossary TABLE OF CONTENTS Legal Notice Copyright 2008 2009 Kemper Digital GmbH All rights reserved This manual as well as the software and hardware described in it is furnished under license and may be used or copied only in accordance with the terms of such license The content of this manual is furnished f
4. Shift This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Formant from the list of available destinations Hint Use the Simple modes where possible if polyphony is a concern they eat a lot less DSP power than the Complex modes Interpolation Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended into each other as the Wavetable Index of the respective oscillator is swept WHAT S NEW IN VERSION 2 0 Complex Grain Table Oscillator Here we have the purest application of the Grain Table technology and a very powerful oscillator indeed Index Determines the playback position within the currently selected Wavetable Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly dynamic variation in the timbre of a sound impossible via any other means This parameter can be modulated via the Mod Matrix and the LFO s please select Wavetable 1 2 Index from the list of available destinations Please note that Table O Sine contains only a sine wave and as such the Index parameter will have no ef fect on it Wavetable Selects the current wavetable each being a unique collection of different waves from which all manner of different timbres may be achieved Formant Shift Use this param
5. a header bar The context menu offers to lock all unlock all invert the locking status and choose from a couple of presets Please note that every entry within the context menu will change the selection of the active part and not all parts at the same time The Easy Browser and Common pages don t allow their sections to be locked Nevertheless you can unlock all section on the browser page by choosing the appropriate menu entry within the context menu right click Tips and tricks The possibilities of Section Locking are endless You can use it to store templates in other patches Just imagine to store you favorite home grown user arp patterns and use them in any other patch you like Sec tion Locking can also act similar to a random patch generator Lock everything minus the Oscillators and dial through patches The sound will change but the overall aesthetics of how the patch react will stay the same because the envelopes LFOs and effects are the same Inactive Parameters Right from the start the Virus TI hardware didn t show inactive parameters in order to keep the parameter menus as short as possible The Virus Control plug in from now on shows inactive parameter in a semi translucent fashion which will increase your overview dramatically You will never tweak a parameter without anything happening again because the entire section was off Patch Complexity Indicator The playmode page on the Virus TI hardware contains a new icon
6. application in order to make use of the additional Help content New Oscillator Modes We have included new oscillator modes greatly expanding on the flexibility of these already powerful sound sculpting tools Oscillator Mode To find the new modes simply use the Osc Mode parameter The available modes are Classic VA Hyper Saw Wavetable WavePWM Grain Simple Grain Complex Formant Simple and Formant Complex Grain Table Synthesis The remaining oscillator modes all make use of a new technology for the Virus Tl called Grain Table The basic idea behind this technology is to take the existing wavetables and apply similar techniques as those used in some granular sampling and pitch shifting algorithms to open up a whole new world of possibilities Each of the two main types Grain Table and Formant Table are presented in both Simple and Complex for mats In each case the Simple mode offers fewer parameters and a higher polyphony than Complex with the values of parameters common to each mode remaining constant It s important to note that the characteristics of the Grain Table and Formant Table oscillators are quite dif ferent to those of traditional granular sampling synthesis techniques which tend to be associated with other worldly clouds of sound In the Virus Tl we have instead employed the technology to achieve a very musical result which should prove every bit as useful as the other oscillator types in all manner
7. are of this Backup and Restore Backup and Restore allows you to write the entire memory content including all RAM and ROM banks along with all multi patches to one single file on your hard drive To perform a backup select the Backup and Restore tab hit Backup and choose a filename and file location Once that s done confirm by clicking OK Depending on your Virus TI model backing up the entire memory takes between 5 and 25 minutes Restoring a backup file is equally simple Switch to the Backup and Restore tab hit Restore select the file you wish to restore from and click OK Burn To Flash Burn To Flash allows you to overwrite the content of the ROM banks in your Virus TI As you may have already noticed the Virus TI memory has been expanded to 26 ROM banks and all the new ones are only filled with INIT sounds All those unused banks are waiting to be filled using Burn To Flash In order to transfer a bank of sounds to the ROM section you need to select a source bank first The Select source bank menu shows exactly the same choice of banks you see in Virus Control WHAT S NEW INVERSION 2 7 Next you need to decide where you want to write the bank to By clicking on the letters A Z or banks 1 8 for Virus TI Snow users you select the target for the transfer as well as see the present content of the bank to be overwritten Once you made up your choice hit OK and proceed from the top again in case you wan
8. ase the value past 0 you will hear the rate of modulation increase dramatically introducing high pitched overtones to the sound Phase Use the Stereo Phase parameter to offset the phase of the sine wave for the left and right channels thereby widening the stereo image Frequency Shifter The Frequency Shifter is a rarely seen effect which can be thought of as a kind of deluxe version of the Ring Modulator It is as useful for creating beautiful tremolo like effects as it is for making high pitched clangorous noise Like the Ring Modulator it uses a sine wave to modulate the output of the synth engine but in such a way as to produce only the sum or difference frequencies of the two signals In contrast to a Pitch Shifter which preserves the dependencies of the harmonics the Frequency Shifter bends these de pendencies resulting in a bell like spectrum You can sometimes get a similar effect from a shortwave radio which has not been tuned correctly Frequency Use the Frequency parameter to determine the pitch of the sine wave This is a bipolar parameter whereby centre position 0 will result in no audible frequency shifting Increase or decrease the value past 0 to hear the rate of modulation increase dramatically introducing high pitched overtones to the sound Tip To achieve a nice stereo tremolo effect use values only slightly above or below 0 With Mix set to 64 and Phase set to either O or 127 This effect
9. cally with no further modulation assignments Interpolation Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended into each other as the Wavetable Index of the respective oscillator is swept Hint If you do not make use of either the PulseWidth or Detune parameters switch back to Wavetable mode to save on DSP and increase polyphony 30 SOFTWARE ADDENDUM Enhanced Wavetable Synthesis Additional Wavetables In order to enhance the experience of the additional Wavetable functionality even further Access have cre ated 27 new wavetables for OS2 Each has been carefully selected to compliment the existing content and to exploit the characteristics of the new oscillator modes They come in several different flavours including filter like sweeps formant morphs harmonic inter play Fi bonacci sequences and more Tips for auditioning the Wavetables As with the majority of the Wavetable content it is advisable to audition them at relatively low pitch we sug gest setting Oscillator Semitone to 24 This is because the lowest audible frequency the fundamental in any table is always pitched to middle C3 but in many of the brighter sounding tables the fundamental plays little part in the overall timbre and the upper harmonics often where all the action is can be very difficult to perceive at high pitch or are simply filtered out altogether Since there are many differences b
10. can be further enhanced by setting Shape L and Shape R to opposite extremes Phase Use the Stereo Phase parameter to offset the phase of the sine wave for the left and right channels thereby widening the stereo image WHAT S NEW IN VERSION 3 0 Shape L Shape R Use the Left Right Shape parameters to mix the sum and difference frequencies At the maximum value of 63 default you will only hear the sum frequencies on the respective channel and at the minimum value of 64 you will only hear the difference frequencies If you set both channels to 0 the effect will be analogous to the Ring Modulator so if at any time you find this is the effect you prefer then it is advisable to switch to the dedicated Ring Modulator which takes less calculation power Characters Use the Characters section to apply subtle changes to sound of the filters the oscillators and the character of the nonlinearities and distortions throughout the instrument Years of research and experience has ena bled us to equip the Virus TI with a variety of characters inspired by legendary analogue devices as well as some custom characters designed to enhance the sound in various ways The Analog Boost effect from earlier Virus models is now presented as a Character type under the name Classic To select and edit the Character press EFFECTS SELECT in the lower FX row until the CHARACTERS LED is brightly illuminated In the first Virus TI 2004 2008 models
11. ciated with human speech as it is largely the ways in which we alter the reso nant characteristics of our mouth and nasal passages that determine the different vowel sounds If you would like a more in depth explanation please click on the following link http en wikipedia org wiki Formant 40 SOFTWARE ADDENDUM 9 al af el 1
12. creasingly large dead zone is created between each of the original waves and the blend rate is increased accordingly until at the maximum value 127 a stepping effect is achieved WHAT S NEW IN VERSION 2 0 The net result is a very different characteristic from when the waves are blended smoothly in two very impor tant ways firstly that slow LFO modulations of Wavetable Index will generally result in a somewhat rhythmic effect that is difficult to achieve by other means and secondly the original waves will be presented much more distinctly and may often appear much brighter as a result not that they are mind it s just that pin pointing the exact value out of 128 possibilities at which a wave is not blended with any other can be rather tricky Interpolation is also available as a destination in the Mod Matrix Please select Osc 1 2 Interpolation Section Locking OSCILLATOR 3 Lock Section nlock Section Lock all Sections Unlock all Sections Unlock all Parts Presets p Section locking is a unique and versatile tool to import certain aspects of a patch into another one It enables Virus Control user to decide which aspect of a given sound is changed when browsing through patches Imagine you are working on a song and you just played a melody which works great with the delay pattern of the current patch Unfortunately the patch itself doesn t really match the rest Under normal circumstanc es you w
13. curate while it is enabled Also depending on your setup and the quality of the USB connection artefacts such as clicks and pops might be introduced Therefore we recommend enabling Live Mode only during recording and disabling it while mixing and arranging Note Live Mode can only be enabled while the sequencer is stopped Additional Soft Knob Destinations F Spread F Shift Interpolation and Local Detune have been added to the Soft Knob destination list 22 SOFTWARE ADDENDUM WHAT S NEW IN VERSION 2 0 What s new in version 2 0 TIOS 2 0 is a combined feature and maintenance release The installer package will update your Virus TI hardware drivers Virus Control plug ins and documentation The new version features additional oscillator types enhanced Wavetable synthesis and more wavetables and a help button which links to online content user manuals and videos It allows you to see how expen sive a chosen patch is and features Section Locking through Virus Control Patches can be finally sorted by category and the onboard patch ROM contains addition 256 sounds by Matthew Stolley and Matt Picone If the video links are greyed out you need to install the additional content using the Install Video Tutori als option within the help menu This will take you to the Access Website in order to download the content Once downloaded launch the installer application Please note that you need to re launch your sequencer
14. e keys It also introduces the additional parameters found in the Complex Grain oscillator Index Determines the playback position within the currently selected Wavetable Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly dynamic variation in the timbre of a sound impossible via any other means This parameter can be modulated via the Mod Matrix and the LFO s please select Wavetable 1 2 Index from the list of available destinations Please note that Table O Sine contains only a sine wave and as such the Index parameter will have no ef fect on it Wavetable Selects the current Wavetable each being a unique collection of different waves from which all manner of different timbres may be achieved 28 SOFTWARE ADDENDUM Formant Shift Use this parameter to sweep the pitch of the formants in the wavetable by 64 semitones The effect is reminiscent of oscillator sync and can be useful for both extreme lead sounds as well as subtle timbral variations The movement within a wavetable will still be recognisable as you sweep through the Index points but you will notice a very different character to the same table as played by the standard Wavetable oscillator In contrast to the Simple version the fundamental frequency is shifted along with the rest of the wave resul
15. e same group attached for instance a Virus TI Desktop and a Virus TI Polar Virus Control will show you a list of connected devices 18 SOFTWARE ADDENDUM New output preference OS 2 7 and higher offer you greater flexibility on how to make the best use of the existing USB bandwidth All previous OS versions had a fixed assignment of two stereo channels for the data transfer between the Virus Tl and Virus Control plus a stereo pair of inputs and outputs for each so it could be used as a sound card Users of third party sound cards can now re assign the inputs and outputs and get more out of Total Integration 2 Outs No Input In this mode the Virus Ti hardware transports two stereo streams from the Virus TI into Virus Control and enables the analog audio inputs and outputs on your Virus TI to be used as a sound card 3 Outs No Input This mode allows for three stereo streams from the Virus TI into Virus Control and enables the the main stereo out of your Virus Tl to be used as a global sound card output The analog inputs in your Virus Tl are disabled in this mode A future version will support sending audio from Virus Control to the hardware plug in side chain About Virus Control Center Virus Control Center helps you handle Virus TI data backups and allows you to overwrite the content of the ROM preset banks It can also update your Virus TI to the latest OS version although the Virus TI software suite installer usually takes c
16. ed and will continue to sound distorted Mildly clipped signals will remind you of a smoothly clipping valve instead of a harsh digital clipping 36 SOFTWARE ADDENDUM TUTORIALS AND GLOSSARY Tutorials and glossary Where to find tutorial sessions There is a new Tutorials folder on your harddrive which supplies you with demo sessions and wriiten tutorials on how to get the best out of your Tl and your sequencer Also the English user manual has been updated Mac OS X users find all documentation here Applications Access Music Virus Tl Documents Windows users find all documentation here Start Menu All Programs Access Music Virus TI Documentation Glossary PWM This stands for Pulse Width Modulation and traditionally refers to the dynamic variation in the width of the duty cycle of a square wave If you would like a more in depth explanation please click on the following link http en wikipedia org wiki Pulse_width_modulation Fundamental Frequency This is the name given to the lowest sounding harmonic in a given spectrum Typically this is the frequency that the human ear uses to determine the pitch of a sound If you would like a more in depth explanation please click on the following link http en wikipedia org wiki Fundamental_frequency 38 SOFTWARE ADDENDUM Formant Formants are the peaks in the frequency spectrum of a given sound created by a resonant body or sys tem Typically they are asso
17. ereby reaching a harsher distortion at a lower Intensity level Sine Fold As the signal reaches 0dB it is folded in the shape of a sine wave As Intensity is increased more and more zero crossings are created resulting in harsh distortion Triangle Fold Similar to Sine Fold but a bit harsher Sawtooth Fold The most brutal shaper of all At the zero crossings A A A the signal falls straight from the maximum positive level to the negative level creating extremely hard distortion Bit Reducer Reduces the word length of each sample as you increase Intensity to create a classic lo fi effect Whereas the effect of the Rate Reducer is to destroy the frequency content of the sound the Bit Reducer can have a devastating effect on the quality of low amplitude signals Unlike the vast majority of bit reduction effects in the Virus the level of reduction is continuously variable Rate Reducer Reduces the sampling rate as you increase Intensity This introduces aliasing and a digital stepping of the waveform resulting in an extreme lo fi effect Please be aware that you will not be able to hear a new selection made from the Type list until you play a new key Intensity Use Intensity to determine the amount of gain applied to the incoming signal For all the new distortion types when distortion Intensity O then no distortion occurs and as you increase Intensity the sound will WHAT S NEW IN VERSION 3 0 begin to dist
18. eter to sweep the pitch of the formants in the wavetable by 64 semitones The effect is reminiscent of oscillator sync and can be useful for both extreme lead sounds as well as subtle timbral variations At 12 o clock position the sound will be identical to that of the standard Wavetable oscillator As you sweep through the other values you will hear a fascinating shift in the spectra of harmonics and a very different character to the same wavetable played by the standard Wavetable oscillator In contrast to the Simple version the fundamental frequency is shifted along with the rest of the wave result ing in a more dramatic effect This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Formant from the list of available destinations Formant Spread By adjusting the spread of the formants a very complex effect is achieved something like an unholy alli ance between a sub oscillator and a sync sweep could be one way of describing it although the depth of the effect is highly dependent on the current value of Formant Shift For an effective demonstration try sweeping from O default through to 127 with Formant Shift set at 12 o clock position 26 SOFTWARE ADDENDUM This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Spread from the list of available destinations Local Detune Use this parameter to achieve the effect of two detuned oscillat
19. etween the tables in terms of their spectral dynamics it is a good idea to audition them all in a variety of different ways Simply sweeping through the Index by hand is one way but can give very misleading impressions as to the usefulness of the table Try first with a slow LFO triangle wave and then a fast envelope sweep in both directions to get a better idea of what the table may or may not be good for Remember for those tables with several contrasting waves subtle modulation is often the key Don t forget to try them all with different settings of the new Interpolation parameter Interpolation Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended into each other as the Wavetable Index of the respective oscillator is swept Since the number of waves differs with each Wavetable the result of this will depend on which table you have selected Each Wavetable refers to a selection of different original waves through which the oscillator can sweep in re altime At the default 0 setting of Interpolation each of the 128 positions of the Wavetable Index represent a unique mix of the two nearest waves resulting in a smooth morphing of the timbre as you sweep the Index position With Interpolation at zero position the waves are blended as smoothly as possible with the mid point between each wave representing a 50 50 mix of the two nearest waves As you increase the value an in
20. he Index parameter will have no ef fect on it Wavetable Selects the current Wavetable each being a unique collection of different waves from which all manner of different timbres may be achieved WHAT S NEW IN VERSION 2 0 Formant Shift Use this parameter to sweep the pitch of the formants in the wavetable by 64 semitones The effect is reminiscent of oscillator sync and can be useful for both extreme lead sounds as well as subtle timbral variations The movement within a wavetable will still be recognisable as you sweep through the Index points but you will notice a very different character to the same table as played by the standard Wavetable oscillator A useful property of the Simple version is that the fundamental frequency can always be heard no matter where you set Formant Shift This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Formant from the list of available destinations Interpolation Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended into each other as the Wavetable Index of the respective oscillator is swept Hint Use the Simple modes where possible if polyphony is a concern they eat a lot less DSP power than the Complex modes Complex Formant Table Oscillator Similar to the Simple version the Complex Formant Table oscillator keeps the formants at a fixed pitch as you play up and down th
21. ill alter the delay pattern once you start browsing through alternative sounds With Section Locking though you can lock the Delay and therefore browse through patches without impacting the great melody you ve just played which unfortunately relies on this certain type or Delay Imagine you work on an arpeggiator patch and you like the patch but the arpeggiator pattern doesn t work well with the rest of your song By locking all aspects of the patch apart from the arpeggiator section you can browse through thousands of patches but in difference to how it would work normally only the arpeggia tor will change How does it work Every section in Virus Control has a blue header bar Double click it and it will turn red Red means that this section is now locked To unlock it simply double click on it again A tab which contains a locked section shows a red indicator as well as a part which contains a locked section as well This is important because you can lock sections on a part basis Once you start dialing up patches every locked section will stay like it is It doesn t matter if you browse using the hardware or the Virus Control browser 32 SOFTWARE ADDENDUM Depending on what you want to achieve you need to lock all aspects of a patch minus the one you want to change see the arpeggiator example above or lock a single aspect like in the Delay example To ease this task you can choose more options from a context menu by right clicking on
22. nstruments Each template re programms all knobs on the Tl hardware surface in order to remotely control another plug in or hardware synthesizer You can program and share your own templates Details can be found in the Virus Control Tuto rial This feature is not available for the Virus TI Snow 112 Additional Multi Patches In addition to 16 the embedded style multi program which store all 16 single parts within the patch TIOS 1 1 offers 112 traditional multi programs which store references to the single mode patches in RAM A D and ROM A Q The additional multi patches can be found on program number 17 127 This feature is not available for the Virus TI Snow Search by Name Seach by name enables you to seach patches by their name or a fraction of the name You can also use the new feature to search for your favourite sound designer s signature patches Details can be found within the Virus Control tutorial Display of Original Value Virus Control now displays the patch s original value right when you tweak a certain parameter within the info bar Details can be found in the Virus Control tutorial Adaptive Soft Limiter Algorithm All outputs feature a build in soft limiter algorithm The sophisticated algorithm prevents the Virus from clip ping in case an output exceeds its headroom The algorithm works transparent and doesn t color the signal unless it clips It won t do magic though heavily clipped signals cannot be repair
23. of musical projects 24 SOFTWARE ADDENDUM Simple Grain Table Oscillator Index Determines the playback position within the currently selected Wavetable Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly dynamic variation in the timbre of a sound impossible via any other means This parameter can be modulated via the Mod Matrix and the LFO s please select Wavetable 1 2 Index from the list of available destinations Please note that Table O Sine contains only a sine wave and as such the Index parameter will have no effect on it Wavetable Selects the current Wavetable each being a unique collection of different waves from which all manner of different timbres may be achieved Formant Shift Use this parameter to sweep the pitch of the formants in the wavetable by 64 semitones The effect is reminiscent of oscillator sync and can be useful for both extreme lead sounds try broad sweeps as well as subtle timbral variations The movement within a wavetable will still be recognisable as you sweep through the Index points but you will notice a very different character to the same table as played by the standard Wavetable oscillator A useful property of the Simple version is that the fundamental frequency can always be heard no matter where you set Formant
24. or informational use only is subject to change without notice and should not construed as a commitment by Kemper Digital GmbH Kemper Digital GmbH assumes 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 recording by smoke signals or otherwise without the prior written permission of Kemper Digital GmbH Virus is a trademark of Kemper Digital GmbH All other trademarks contained herein are the property of their respective owners All features and specifications subject to change without notice www access music de support access music de 8 SOFTWARE ADDENDUM WHAT S NEW IN VERSION 3 0 What s new in version 3 0 The new OS version is a landmark in Access history of free OS updates Multiple new effects have been added including a Tape Delay simulation a Frequency Shifter algorithm and several new and exciting distor tion and sound shaper algorithms Characters allow you to alter the overall sound of a preset in reminis cence of well known synthesizers of the past All new effects were designed to allow everything from subtle of change through to altering the sound beyond all recognition The algorithms were created with both sonic quality and a low CPU footprint in mind A tremendous amount of research wen
25. ority This parameter tells the sound engine to prioritize certain parts if voice stealing takes place The prioritized part will be prone to less voice stealing but the other parts will suffer more Priorisation doesn t mean that the part is guaranteed to play all notes without voice stealing artefacts but it increases the chance greatly You should use this option with caution enabling it on to many parts can be counterproductive In order to prioritize a part select Part Priority High from the output select context menu within the part bar The menu can be accessed by right clicking the direct monitor button Patch Priority is also a parameter of every multi mode patch WHAT S NEW IN VERSION 2 5 What s new in version 2 5 Thanks for installing the latest Virus TI operating system Version 2 5 1 adds Digidesign RTAS support Mi crosoft Vista compatibility and a new low latency Live Mode among other refinements Details on bug fixes can be found in the Change Log pdf located in the documentation folder Live Mode Button The Live Mode button lowers Virus Control s latency in order to ease recording live events in hosts such as Ableton Live FL Studio and Sonar as well as Digital Performer which is not officially supported The reduced latency also improves the way MIDI is recorded in certain hosts which shift MIDI events for de lay compensated plug ins The drawback of Live Mode is that MIDI events will not be sample ac
26. ors an octave apart Note that this parameter is most effective when Formant Spread is set to a relatively low value Interpolation Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended into each other as the Wavetable Index of the respective oscillator is swept Hint Use the Simple modes where possible if polyphony is a concern they eat a lot less DSP power than the Complex modes Simple Formant Table Oscillator The Simple Formant Table oscillator is similar in concept to the Simple Grain Table oscillator only with one crucial difference the formants remain fixed as you play up and down the keys This effectively turns the oscillator into a kind of filterbank comprising up to 256 resonant bandpass filter poles whereby the cutoff of each pole is determined by the harmonics in the current wavetable index Index Determines the playback position within the currently selected Wavetable Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly dynamic variation in the timbre of a sound impossible via any other means This parameter can be modulated via the Mod Matrix and the LFO s please select Wavetable 1 2 Index from the list of available destinations Please note that Table O Sine contains only a sine wave and as such t
27. ort at a certain point the louder the input signal the sooner this point will occur In each case the distortion shape is volume compensated to ensure the sound never gets too loud as you increase the gain In many cases you will hear the greatest contrast between the different types when Intensity is set to a value less than maximum so be sure to tweak Intensity each time you change the type Treble Booster The Treble Booster is a special kind of filter that pushes the spectral balance of the signal towards the mid range and high frequencies This in combination with a distortion will produce richer harmonic content and result in a more lively distortion effect Guitarists have been using Treble Booster circuits to achieve this effect on Guitar amps for decades but even without distortion the Treble Booster can be a nice tool to emphasise certain aspects of the sound When Treble Booster O default it will have no effect on the sound High Cut The High Cut is a steep filter that allows you to take the harshness from the distorted sound if desired the speaker of a guitar amp plays a similar role You can use High Cut to make the distortion sound more gentle or in a certain sense more analog As with the Treble Booster it will also effect the clean sound When High Cut O default it will have no effect on the sound Frequency Shifter and Ring Modulator In addition to the Input Ring Modulator the Virus TI gains two new effec
28. se of this feature at all 16 SOFTWARE ADDENDUM unless you re using the very latest version of both the DAW and the plug in standard In other words your mileage might vary and there is not much we can do about it WHAT S NEW INVERSION 2 7 What s new in version 2 7 Thanks for installing the latest Virus TI operating system Version 2 7 adds the following features among other enhancements A new effect Glitch FSU effect called Atomizer An optional third USB stereo output sending audio from the TI hardware into Virus Control Support for multiple Viruses on one computer Virus Control Center application We would like to take the chance to thank everybody who participated in the public beta test of OS 2 7 Without your input we wouldn t have been able to create such a substantial software update Thank you The Access Music team About Atomizer For details on Atomizer please take a look at the Atomizer manual which can be found in the manual folder or from within Virus Control using the button Support for multiple devices OS 2 7 and later are capable of dealing with more than one Virus TI connected to the same computer As a result you need to choose the right plug in when opening Virus Control Virus TI Polar Desktop Keyboard users need to open the plug in called Virus TI Virus TI Snow users can access their synthesizer using the Virus TI Snow plug in In case you have more than one device of th
29. sewidth modulation of a pulse wave oscillator WHAT S NEW IN VERSION 2 0 Index This determines the playback position within the currently selected Wavetable Each of the 128 available val ues represents either a particular wave or the interpolation of the two nearest waves Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly dynamic variation in the timbre of a sound impossible via any other means This parameter can be modulated via the Mod Matrix and the LFO s please select Wavetable 1 2 Index from the list of available destinations Please note that Table O Sine contains only a sine wave and as such the Index parameter will have no ef fect on it Wavetable Selects the current Wavetable each being a unique collection of different waves from which all manner of different timbres may be achieved PulseWidth At zero position all the even numbered harmonics are cancelled out creating a hollow sound similar to a 50 pulse wave when the value reaches 127 the whole wave is almost entirely cancelled out resulting in a much thinner sound This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Pulse Width from the list of available destinations Detune As with traditional PWM much of the fun comes from modulating the pulsewidth by an LFO which creates the characteristic warmth of detuned oscillators the Detune parameter creates this effect automati
30. sic The delay effect from Viruses past Tape Clocked Clock synced tape delay effect with no pitch shifting artefacts Tape Free Tape delay effect with freely adjustable delay time but no pitch shifting artefacts Tape Doppler Tape delay effect with freely adjustable delay time complete with pitch shifting artefacts as you adjust the delay time Send Values between Off and 96 determines how much of the dry signal is sent to the delay As you increase the value beyond 96 you are determining the balance between the dry signal and the delay output until at Send 127 the dry signal is faded out altogether Delay Time Adjust the length of time between each repeat from 0 0 ms to 693 6 ms Clock L R Ratio Use these parameters to set the clock division of each stereo channel For multi tap effects set them to dif ferent values with the Left channel set as the higher amount As with the Classic Delay if the chosen clock division exceeds the maximum delay time at the current tempo the value will be halved automatically For the Tape Delay modes which are not clocked there is instead a Ratio parameter which is displayed as a pair of numbers 1 4 4 1 The first number in each pair represents the left channel and the second number the right channel Feedback Feedback determines how much of the delayed signal is fed back into the delay to be repeated again in other words it determines how many echoes you will hear after each ne
31. t ing in a more dramatic effect This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Formant from the list of available destinations Formant Spread By adjusting the spread of the formants a very complex effect is achieved something like an unholy alli ance between a sub oscillator and a sync sweep could be one way of describing it although the depth of the effect is highly dependent on the current value of Formant Shift For an effective demonstration try sweeping from O default through to 127 with Formant Shift set at 12 o clock position This parameter can be modulated via the Mod Matrix and the LFO s please select Osc1 2 Spread from the list of available destinations Local Detune Use this parameter to achieve the effect of two detuned oscillators an octave apart note that this param eter is most effective when Formant Spread is set to a relatively low value Interpolation Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended into each other as the Wavetable Index of the respective oscillator is swept Hint Use the Simple modes where possible if polyphony is a concern they eat a lot less DSP power than the Complex modes Wavetable PWM Oscillator The WavePWM oscillator takes two instances of the same wavetable and phase shifts them against each other to achieve an effect reminiscent of the traditional pul
32. t into the new additions ensuring a totally different level of quality in comparison to the legacy algorithms But even the legacy algorithms have been improved by additional pa rameters which makes them more flexible and powerful We also worked hard on making Virus Control and Total Integration even better Audio now can be streamed from the DAW into your the Virus TI Virus Control s visual appearance was revamped and will be much easier on your eyes New Distortion and Shapers The Distortion effect has received a significant upgrade Along with a new distortion algorithm and several new shaper curves we have added two significant enhancements in the form of the virtual Treble Booster circuit and High Cut filter All of the new distortion types benefit from an immense gain range of 80 dB To ensure 100 backwards compatibility with existing Virus presets we have retained all the original distor tion types each of which can also make use of the Treble Booster and High Cut parameters Type The new available types are Type Diagram Wide Distortion This starts with a distortion shape softer than that of a tube but you can make it scream like mad when you turn Intensity all the way up 10 SOFTWARE ADDENDUM Type Diagram Soft Bounce A new shaper type where the signal is softly bounced from the headroom ceiling at which point it distorts Hard Bounce Similar to Soft Bounce but this time the bounce has edges th
33. t to overwrite more banks in your Virus TI The user bank icon indicates which banks already have been overwritten in the past To restore the original banks later see Advanced Menu below Update OS In most situations you will never need to manually install an OS update The Software Suite installer auto matically takes care of it In the unlikely case that the firmware update wasn t successfully transferred you can use the Virus Control Center to manually install the firmware again Since OS 2 7 your Virus shows an alert during boot up if the firmware wasn t successfully installed To update your Virus TI operating system press Start update Control Center s Advanced Menu Restore factory settings Choose this open to reset all ROM banks to their default state Please note that there is no undo available apart from restoring a backup you ve created at an earlier stage Set Device Name During installation you were requested to name your Virus TI In case you changed your mind use this op tion Switch Device Choose this option to return to the first screen where you can select a device Users of multiple devices might find this option beneficial 20 SOFTWARE ADDENDUM 26 ROM Banks Version 2 7 features 26 ROM banks in total The last banks are not filled with sounds so you can copy your own favourites to those locations using Virus Control Center This feature is not available for the Virus TI Snow Part Pri
34. ts the Ring Modulator and the Frequency Shifter both of which are great for creating wild atonal modulations to the output of the synth engine Depending on your model of TI there are different ways to access the Ring Modulator Frequency Shifter Model Access Virus TI2 Press EFFECTS SELECT Lower Row until the OTHERS LED is brightly illuminated If necessary locate the Frequency Shifter page of the EDIT FX menu by using the PARAMETERS buttons Virus TI Press EFFECTS EDIT Lower Row twice If necessary locate the Frequency Shifter page of the EDIT FX menu by using the PARAMETERS lt gt buttons Virus TI Snow EDIT SHIFT EFFECTS then locate the Frequency Shifter page of the EDIT EFFECTS menu by using the PARAMETERS lt gt buttons It is listed after the Phaser pages 12 SOFTWARE ADDENDUM Ring Modulator The Ring Modulator effect takes the output of the synth engine and multiplies it with a sine wave the result you hear is a combination of the sum and difference frequencies of the two signals Mix Use the Mix parameter to determine the depth of modulation from Off 0 to 127 full ring modulation It is also possible to achieve an amplitude modulation AM effect by setting Mix to a value of 64 Frequency Use the Frequency parameter to determine the pitch of the sine wave This is a bipolar parameter whereby centre position 0 will result in no audible ring modulation As you increase or decre
35. ulate the inaccuracy and instability of the tape medium by modulating the delay time When Depth O there will be no modulation Side Chain Audio Streaming audio from the sequencer into the Virus TI was one of the top five feature request since the Virus TI was released Version 3 0 enables a stereo side chain input in Virus Control which can be fed from virtually every other audio or instrument track in the same project In order to use the side chain inputs you need to configure Virus Control first Click on the PATCH UTILITY tab in Virus Control and then select CONFIG Now change the USB AUDIO MODE to 3 Outputs 1 Input Next select an Input preset in Virus Control by opening the browser tab and typing Input in the search field The last step is to select an audio track as a source for your side chain input In Apple Logic for in stance you can select the source track at the right upper corner of Virus Control window Words of caution Depending on the host sequencer you re using you may find there are one or two hurdles to jump before side chaining will work For details on how to use side chaining in your favourite DAW please refer to the DAW s user manual Also note that the side chain implementation in most hosts is far from being perfect We found that some do not delay compensate the side chained audio and it will appear out of time for you Others don t follow their own standards and you will not be able to make u
36. w transient and this is one of the areas where we have designed a unique system to ensure useful musical results every time WHAT S NEW IN VERSION 3 0 When Feedback 0 there will only be one audible repeat As you increase the feedback the number of re peats increases until at Feedback 100 centre position the delayed signal will continue repeating indefi nitely As you push the values above 100 the delayed signal will be driven into saturation but the overall volume will never increase meaning you maintain full control over the levels at all times If you wish to kill the Feedback instantaneously you can use the Panic function MONO SYNO Frequency As mentioned already one of the characteristics of a tape delay is the low and high frequency roll off with each pass or repeat often with a controller for both frequency bands In the Virus TI the Tape Delay em ploys an elegant solution to this by using a special kind of bandpass filter Use the Frequency parameter to choose which frequencies are fed into the delay signal Lower values will let only the lower frequencies through whilst higher frequencies will allow only the high frequencies through Bandwidth Use Bandwidth to control the width of the bandpass filter At Bandwidth O all frequencies are allowed through and as you increase the value the bandwidth becomes increasingly narrow with feedback levels maintained at all times Modulation Use Modulation to sim
37. which informs you about the complexity of the current patch The complexity is an indicator of the polyphony at your disposal whilst playing this particu lar patch The icon which looks similar to the battery status icon on your mobile phone shows between one and five bars where one bar stands for a rather cheap sound and five for a pretty expensive one Please note that the Virus TI allocates it s resources dynamically and the load a patch creates on the DSPs might change depending on how you play it Search By Category With version 2 0 the Virus Control plug in allows you to search for specific sounds by filtering for a patch category WHAT S NEW IN VERSION 2 0 Use the category drop down menu to select the kind of patch you would like to filter for Once done you will be presented with a new virtual bank which contains all patches of this certain category This powerful feature can be used in conjunction with the Search For Patch Name function and will help you find specific patches in a matter of seconds Two new ROM banks In addition to the 17 ROM banks OS 2 0 features two new ones by Matt Stolley and Matt Picone Stolley s 10 Dirty years bank will probably get us intro trouble either for his tendency of choosing explicit patch names or for the darkness of his latest breaks electro and d n b bank Assuming that you re 18 years or older we suggest that you point your TI to bank ROM R but only on mentally
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