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Virus TI User Manual

1. 30 SELECT Restore ROM A127 and take a look at the row of LEDs above the SELECT button OSC1 is currently active so whatever you do with the top row of knobs will only affect oscillator 1 There is actually an exception to this rule DETUNE 2 3 but we ll get to that in due course SHAPE In your experiments so far you have only 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 Lis ten to those extremes for a while then try out different mix tures using the SHAPE knob You will see the percentage mixture of waveforms being updated whenever you turn the knob Again the Virus TI has much more under the hood than is immediately apparant As well as the Classic oscillators we have been using so far the TI offers two other highly interesting types called HyperSaw and WaveTable Please be patient you will be trying these out soon enough only mentioned Sine Sawtooth and Pulse above However the Sine is only one of 64 waves available in Classic mode and the Pulse can change it s width The very clever knob labelled WAVE SELECT PW controls both of these parameters but not atthe same time WAVE SELECT PW Turn SHAPE down to minimum the display should read Spec tral Wave for a short while and play
2. Accessible from the panel via ENV AMOUNT when filter 2 is selected gt Oto 127 Filter 2 envelope amount i e the amount of filter envelope applied to its cutoff Note that this can be inverted by changing the polarity see Env Polarity on page 118 Modulation destination Filter2 Env Amount Mode Accessible from the panel via the FILT2 button gt Low Pass LP Allows frequencies below the cutoff point to pass through i e rejects those above the cutoff point SOUND PARAMETERS REFERENCE gt High Pass HP Allows frequencies above the cutoff point to pass through i e rejects those below the cutoff point Band Pass BP Allows frequencies close to the cutoff point to pass through i e simultaneously rejects those above and below the cutoff point Band Stop BS Rejects frequencies close to the cutoff point within a certain band i e allows frequencies above or below the cutoff pointto pass through Note that Resonance see Resonance on page 115 effectively narrows this band making the effect less obvious Note that filter 2 does not offer Analog modes Key Follow Accessible from the panel via SHIFT ENV AMOUNT when filter 2 is selected Oto 127 How much cutoff 2 follows the MIDI note and pitch bender See Key Follow Base on page 119 Modulation destination Filter2 Key Follow Env Polarity Positive Negative The effect of Env Amount on filter 2 cut off can be inverted by sett
3. ful for percussive sounds Portamento Key Mode Off 1to 127 Determines how slowly the pitch of notes Specifies how voices are assigned glides from one to the next The actual effect of portamento depends on the KeyMode see Key Mode on page 96 Poly Polyphonic Modulation destination Portamento gt Mono 1 Monophonic multi trigger full portamento see Portamento on page 96 Punch gt Mono 2 Monophonic multi trigger legato portamento gt Oto 127 Enhances the percussive effect of short Attack times in the amplifier envelope At higher values Punch becomes a noticeable snap at the start of each note Mod gt Mono 4 Monophonic single trigger legato portamento ulation destination Punch Intensity gt Mono 3 Monophonic single trigger full portamento gt Hold Polyphonic Notes are held until they are all released and a new note is played VIRUS T 96 FiltEnv gt H Sync Only visible if at least one of the oscillators is in HyperSaw mode gt 64 to 63 Controls how much filter envelope is applied to HyperSync Offset see HyperSync Offset below Analogous to FiltEnv gt FM in the other oscillator models If oscillators 1 and 2 are both HyperSaws this parameter modulates the Sync Offset of both oscillators at the same time Note that it will not effect oscillator 1 if SYNC is not active see About HyperSaw and Sync on page 81 Modulation destination FiltEnv gt FM Hsync Sub
4. gt S PDIF Audio input is via S PDIF only Boost Oto 127 Boosts the input use this only for very low level Sensitivity signals gt 416 dBV 5 dBV 8 dBV 16 dBV Select sensitivity to suit different external audio sources Input Thru Oto 127 The level of external signal sent directly to Characteristic output 1 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 material recorded directly from vinyl i e without deemphasis VIRUS T 132 Audio Clock Destination S gt Off Analog Boost Int Velo Volume Global destination ource Used whenever the Soft Knob is left undefined in a program Specifies the source of audio clock used for synchronization see Soft Knob on page 109 or the Global parameter is set to On here Auto The default setting Audio clock via USB or S PDIF is automatically recognized otherwise the internal one is used Mode Internal Only use the internally generated audio clock Single The individual program setting for this Soft Knob will apply See Soft Knob on page 109 Frequenc q y Global Only the global destination see below will apply 44 1 kHz 48 0 kHz Basic audio clocking frequency Overrides all individual program settings for this Soft Knob Synced to Host Virus is clocked by host Soft Knob globa
5. S Matt Picone M and Shin Murayama SM 189 006 AqutouchM 014 Clench BC 022 DetektorM 030 EPWhirlyM 038 FunkLd 3SM 046 HoldC hrdM 054 Lektrik M 062 MiniBS 3SM 070 NewWorldM 078 PadLayerM 086 ProfeticM 094 RezTailsM 102 StarPad J 110 TheramosM 118 VolutionM 126 XitLeft M 007 Baggins M 015 CloudCtyM 023 DigiKoto M 031 EPZeply MG 039 FunkLd 4SM 047 HrmadnesM 055 LetsSyncM 063 MiniBS 4SM 071 NoizBassM 079 Paiow M 087 PrtaBeloBC 095 RichWind 103 Stratus J S 111 Tight8s M 119 Wavelet M 127 Zyntar M ROM O 000 2030SawzSV 008 Armus SV 016 C Love SV 024 DancnidySV 032 Digpnch2SV 040 FiveCentSV 048 FutureTBSV 056 J eePee SV 064 MingettiSV 0720DC SV 080 Pullbag SV 088 Redline4SV 096 SyncomatSV 104 TinytrncSV 112 UberheimSV 120 VnGeliseSV Patches By Cosmic Dreamer SV VIRUSI TI 001 8 bit SV 009 AtalashiSV 017 C Rave SV 025 DarkliteSV 033 Dirty MgSV 041 Flash KCSV 049G amp R SV 057 K rider SV 065 MinileadSV 073 Omnipeg SV 081 PulslifeSV 089 Ringie SV 097 Syntabs SV 105 TransqilSV 113 UndernthSV 121 Watto SV 002 Acidia SV 010 BasStar jh 018 C Trek SV 026 DarkmoonSV 034 DrunksawSV 042 Flyin CSV 050 GistowerSV 058 KC amp SV 066 MinitrnsSV 074 OrganizeSV 082 Punchit3SV 090 Shiny SV 098 Taiyoo SV 106 TranziedSV 114 Unusual SV 122 Whitebs SV 003 AlphA SV 011 BionicleSV 019 Coldtab SV 027 DarktrnzSV 035 DryThrthsV 043 Fm glassSV 051 Goatic 3SV 059
6. Semitone Accessible from the panel via the SEMITONE knob gt 48 to 48 semitones The nominal pitch of oscillator 1 Modulation destination Osc1 Pitch HyperS ync Accessible from the panel via the SYNC button Key Follow 64 to 431 Norm 433 to 463 How much the pitch of oscilla Off On Switches oscillator 1 HyperSync off on See About tor 1 follows the keyboard i e MIDI note number Press both HyperSaw and Sync on page 81 VALUE buttons at the same time for normal tuning Norm H Sync Offset Balance Accessible from the panel via the FM AMOUNT knob Accessible from the panel via the OSC BALANCE knob in the If HyperSync see above is setto Off this parameter will not be MIX section available gt Oto 127 The frequency offset of any HyperSaw both oscilla tor 1 or 2 with respect to its own internal master oscillator Modulation destination FM HyperSync 87 SOUND PARAMETERS REFERENCE Oscillator 1 WaveTable Mode Accessible from the panel via SHIFT oscillator SHAPE knob Classic HyperSaw WaveTable Selects the basic type of oscillator Index Accessible from the panel via the SHAPE knob Oto 127 Selects the nominal position within the WaveTable Modulation destination Wavetable 1 Index or 1 Shape these are equivalent Table Sine Violator Selects one of many wavetables VIRUS TI 88 Semitone Accessible from the panel via the SEMITONE kn
7. 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 access to all functions printed in red Pglar blue on the panel Simply press and hold SHIFT before using the required button or knob then release afterwards SEARCH Opens a menu in which you can scroll through programs belonging to a certain category see Categories on page 108 Use the VALUE 1 knob to specify the category and the VALUE buttons to scroll through programs watch the upper bar of the display When you have found a suitable pro gram press the S EXIT button AUDITION Via SHIFT SEARCH Plays a note C3 without you having to use a keyboard or sequencer BPM LED indicator for system tempo MIDI clock See TEMPO on page 123 and TAP on page 99 VALUE 1 Adjusts the parameter appearing directly above the knob CATEGORY Via SHIFT VALUE 1 Selects a category to make finding suita ble programs easier without having to open the SEARCH menu see above See Categories on page 108 VALUE 2 Adjusts the parameter appearing directly above the knob 101 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
8. overriding those two parameters Carrier Spread Accessible via the AMOUNT knob when only is selected gt 64 to 63 How far apart individual Carrier bands are The standard value is 463 10096 i e full range negative values effectively invert the order of bands great for special effects Modulation destination Filterl Key Follow Carrier Q Accessible via the RESONANCE knob when FILT1 is selected gt Oto 127 Quality steepness of the Carrier bands Modulation destination Filter Resonance Mode See Mode on the previous page Mode See Mode on the previous page SOUND PARAMETERS REFERENCE Modulator Spread Accessible via the ENV AMOUNT knob in the FILTERS section when only FILT2 is active gt 64 to 63 How far apart individual Modulator bands are The standard value is 63 full range negative values effec tively invert the order of bands Modulation destination Filter2 Key Follow Mod Q Accessible from the panel via the RESONANCE knob when FILT2 is selected Oto 127 Quality steepness of the Modulator bands Modu lation destination Filter2 Resonance 64 to 463 Centre frequency ofthe Carrier bank Modulation destination Filterl Cutoff Balance Accessible from the panel via the FILTER BALANCE knob 64 to 463 Balance between the carrier and modulator sig nals For pure vocoder signal set this value to 0 Modula tion destination
9. 028 Dizzy JL 036 FelxDmst L 044 Guitar JL 052 Horror JL 060 Knockers L 068 L 076 OfcHellJ L 084 Rotary JL 092 Slicey JL 100 SqrSwlw JL 108 Tarkus JL 116 TrilStr J L 124 WarpHov J L 192 005 ArpBass J L 013 Birds JL 021 Chunky JL 029 DoomBellJ L 037 FftyFftyJ L 045 Heaven JL 053 HP SauceJL 061 Matter JL 069 NghtTme JL 077 Pad 4AD XM 085 Satt 2 jh 093 SlicyBasJ L 101Squba JL 109 Tarkus2 J L 117 Vacuum JL 125 WideBass L 006 ArpBass2J L 014 Block JL 022 ColdStelJ L 030 DubBass jh 038 Fretles JL 046 Hoedown JL 054 ImFrenchJ L 062 MntnFlutj L 070 NiceBassJ L 078 Padman JL 086 Sheva JL 094 SoulEatr L 102Sub JL 110 Tch amp Go JL 118 VilePad JL 126 WoodenMnj L 007 ArpSwingPS 015 Bone JL 023 ComMan JL 031 Elastic JL 039 FromBgn JL 047 Hoho JL 055 J erusim JL 063 Monsta jh 071 NintendoJ L 079 PawnBassJL 087 Shivers JL 095 SpcMonkyJ L 103 Super JL 111 The Val jh 119 Voyager J L 127 Zaphod JL 10 Index Index of Functions etc gt A Amount 54 Amplifier 21 Analog Boost 42 70 Arp Section 40 Arpeggiator 40 50 152 Assign 39 59 61 Attack 21 Audio Clock 133 Audition 45 101 gt B Balance 35 86 88 Band Pass 25 Band Stop 26 Bank 14 101 140 Bit Reducer 28 Boost 132 BPM 101 Browser 146 149 gt C Carrier 74 Category 12 101 108 Channel 126 Chorus 42 71 VIRUS TI Classic Oscillators 84 89 94 Cleaning 9 Clock 56 64 Color 98 Colo
10. 094 Pad S amp H CC 102 Remark CC 110 StrAbejaCC 118 UMBbass CC 126 007 AmiGito 015 BudapestCC 023 DCLead CC 031 Early80sMH 039 Fiona MH 047 Garfisa CC 055 J DLead CC 063 LAVirginC C 071MgBass1CC 079 MW SeqG CC 087 OB Neee CC 095 PeacePd CC 103 Rosario CC 111 StrAlterC C 119 VeryFar CC 127 Zen CC ROM Q 000 AccMW JL 008 Artifact L 016 Boring JL 024 CupDrum JL 032 ElecBas JL 040 Fusion JL 048 Hollow JL 056 J uho L sJ L 064 Moogish J L 072 Nokia JL 080 Positiv J L 088 Sick JL 096 Spirits J L 104 SurfMstrj L 112 TheDawn JL 120 L 001 L 009 AstralPdJ L 017 Bulk JL 025 DeepSwillJ L 033 FakeGtr L 041 Gimme5 JL 049 HolyVrs JL 057 KarnEvl JL 065 Morpheus L 073 NotNice jh 081 Pythagor L 089 Singing J L 097 SplddVOCJL 105 SwirlPad L 113 TheWell J L 121 Warble JL Patches by J uho Lepisto J L VIRUSI TI 002 AhaaDist L 010 BeautiflJ L 018 Century PS 026 Defected L 034 FakeSax JL 042 GrittyB JL 050 HonkHonk L 058 KE9Lead JL 066 MrKitina L 074 NotPad JL 082 Quantum JL 090 Sinister L 098 SplitPht L 106 5 5 L 114 ThickSaw L 122 WarmPad J L 003 Amadeus PS 011 Benny B JL 019 Chant JL 027 Dirty L jh 035 Feeder JL 043 Grose JL 051 Horny JL 059 KickO JL 067 Mystic JL 075 NotPad2 JL 083 RndAgresJ L 091 Sitar JL 099 SqrMdns JL 107 SynthPnoJL 115 Trilogy J L 123 Warped JL 004 Anthem PS 012 BigBoy JL 020 Chord PS
11. Filter Balance Mod Offset 64 to 463 Centre frequency offset of the modulator bank relative to the carrier bank Modulation destination Filter2 Cutoff Center Freq Accessible from the panel via the CUTOFF knob in the FILTERS section VIRUS TI Carrier Attack gt Oto 127 Attack time of the carrier s own envelope follower Together with Carrier Release this is used to smoothen the vocoded signal Carrier Release gt 0 to 127 Release time of the carrier s envelope follower Together with Carrier Attack this is used to smoothen the vocoded signal Spectral Balance gt 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 77 Bands gt 1to 32 The number of filter bands used The higher this number the higher the quality e g speech becomes more intelligible Lower values are better for robot voices etc Modulation destination Filter Env Release SOUND PARAMETERS REFERENCE Vocoder Table VOCODER PARAMETER EQUIVALENT KNOB ON THE PANEL MODULATION DESTINATION Carrier Freq CUTOFF Cutoff 1 Carrier Q RESONANCE selected Filter 1 Resonance Q Factor RESONANCE FLT1 amp FLT2 selected Filter 1 Resonance Modulator Spread ENV AMOUNT FLT2 selected Filter
12. Selects the MIDI CC number transmitted by device usually an expression pedal connected to the PEDAL 2 socket The most common values for this parameter would be 4 Foot Pedal 7 Volume or 11 Expression 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 ofthe settings here Further information including a list of all parameters is available at www access music de Pressure Curve 64 to 463 Channel aftertouch sensitivity Adjust this param eter to suit your playing style The standard value linear is 0 Velocity Curve 64 to 463 Keyboard dynamics sensitivity Adjust this param eter to suit your playing style The standard value linear is 0 131 Page A SysEx Page A parameters are transmitted received as sys tem exclusive packets Controller data reception is disabled Controller Data Page A parameters are transmitted received in the form of MIDI CC see glossary data Page B SysEx Page B parameters are transmitted and received in the form of system exclusive packets Controller data recep tion is disabled CONFIGURATION REFERENCE Poly Pressure Page B parameters are transmitted and received in the form of Poly pressure see glossary data Inputs Source Analog Audio input is via the INPUT jacks only
13. see below are both set to Off 57 SOUND PARAMETERS REFERENCE Key Follow gt 1 to 127 How much LFOT1 rate see Rate page 56 is affected by MIDI note number Note that Key Follow does not apply when LFOs are in Envelope Mode see Envelope Mode on page 57 or are synchronized to the Clock see Clock on page 56 LFO 2 All edit parameters for LFO2 are the same as those for LFO1 see LFO 1 on page 56 LFO 3 The edit parameters for LFO3 are the same as those for LFOT1 except that Contour Envelope Mode and Trigger Phase are not available in LFO3 See LFO 1 on page 56 VIRUSI TI 58 LFO 1 Destinations Osc1 Pitch gt 64 to 463 How much LFO1 modulates oscillator 1 pitch Modulation destination LFO120sc1 Pitch Osc1 2 Pitch 64 to 463 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 463 How much LFO1 modulates oscillator 2 pitch Note that oscillator 3 automatically follows any pitch modu lation applied to oscillator 2 Modulation destination LFO1 gt 0sc2 Pitch Pulse Width 64 to 463 How much LFO1 modulates the pulse width of both main oscillators Modulation destination LFO1 gt Pulse Width Resonance 64 to 463 How much LFO1 modulates the resonance of both filters Modulation destination LFO1 gt Resonance Filter Gain 64 to 463 How much LF
14. will favour the current Part when all voices in the Virus have been used up The Virus TI has plenty of voices and applies a very clever note stealing algorithm so you should seldom or never notice this happening Master Clock 63 bpm to 190 bpm Specifies the tempo in Multi mode Note this is adopted by all Parts ignoring individual Tempo values of the original Single Mode programs see Tempo on page 103 Init Volume gt Off 1to 127 Initializes MIDI volume CC 7 for the current Part whenever this Multi program is selected See Volume RX below VIRUS TI 142 Low Key gt 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 enabled High Key gt C 2 to G8 The highest MIDI note to which this Part will respond If this is set lower than Low Key See above the range between Low Key and High Key is disabled and all notes outside this range are enabled Keyboard to MIDI Only available in keyboard versions keyboard Pglar See Keyboard on page 129 Disabled Enabled Specifies whether notes played on the keyboard will also be sent to MIDI OUT Hold Pedal Disabled Enabled Specifies whether the Part will respond to MIDI CC 64 usually a Sustain Pedal 143 Volume RX Disabled Enabled Specifies whether the Part will resp
15. 2 Env Amount gt 64 to 63 How much velocity affects the envelope amount of filter 2 See ENV AMOUNT on page 113 Resonance 2 gt 64 to 63 How much velocity affects the resonance of filter 2 See RESONANCE 2 on page 113 Inputs Mode Instead of using the internal oscillators a signal from the exter nal inputs can be treated using the Virus filters envelopes and effects Off Standard setting i e the Virus oscillators are used as the basic source of sound SOUND PARAMETERS REFERENCE Dynamic The source specified by Input Select see below is routed to the FILTERS section the envelopes remain func tional This means you have to play a note to hear any sound Although there is only one audio source each note has an independant envelope and filter Static The source specified by Input Select is routed to the FILTERS section but all envelopes are ignored The filter section effectively becomes monophonic Input Select Specifies the signal source gt Left L R Right Signal from the left both or right inputs Surround Output gt Out1 L Out3 R Which audio jacks will be used for addi tional audio output Balance 64 to 463 Cross fade between standard outputs and sur round outputs see above Useful as external effect send or for surround mixes in combination with the Panorama parameter see Panorama on page 61 Categories Programs are assigned one or tw
16. 2 Key Follow Carrier Attack Filter ATTACK Filter Env Attack Spectral Balance SHIFT Filter SUSTAIN Filter Env Slope Balance FILTER BALANCE Filter Balance VIRUS T 78 Input Follower To enter these pages press EDIT in the lower EFFECTS sec tion once or twice until the LED flashes and navigate using the PARAMETERS buttons A modulation signal is extracted from the level of the selected input see Input Select below and replaces the filter envelope To hear any effect turn up ENV AMOUNT and or use Filter Envelope as source in the Matrix Input Select gt Off The Input follower is not used The other parameters in this page will not be visible gt Left L R Right Signal source for the envelope follower Attack gt Oto 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 Oto 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 resulting envelope will be Modu lation destination Filter Env Decay Sensitivity gt 0 to 100 Accessible from the panel via the filter SUSTAIN knob Controls the sensitivity of the envelope follower to its input signal note that this parameter does not directly affect signal level The standa
17. Da Funk BC 027 Drmswpr SV 035 Freno BC 043 Goatic SV 051 IndiArp BC 059 Lite JS 067 Muzzle BC 075 Pad 77 083 PlugAsiaMH 091 Red lineSV 099 S amp HOrganBC 107 Spoiled SV 115 T Axxe JS 123 Vapour SV 004Base MH 012 ClubtoolBC 020Dawn JS 028 Duffer BC 036 FripperJ S 044 GoindownSV 052 IntntentSV 060 LongskrtSV 068 NasalbasSV 076 PadAlertMH 084 Plugged J S 092 ReflxshnBC 100 Sawz 2 SV 108 Spring SV 116 Ten Inch S 124 VindictrSV 005 BC NewVoV3 013 Comm basSV 021 Decay JS 029 Etheral SV 037 Furrier BC 045 5 053 Jazzy JS 061Maja JS 069 NewVoV4 077 Pathos BC 085 Polar JS 093 Repeater 5 101Sharp BC 109 SpringPdSV 117 ThirdEar S 125 Ritchie SV Patches By Ben Crosland BC Cosmic Dreamer SV HJ Scheffler 5 and Mikael Hansson MH 183 006 BellAir MH 014 CommerseSV 022 Deep9thsBC 030 Far East S 038 Future XSV 046 Hifive SV 054 J oeZolo BC 062 Mamba JS 070 Noiztoyz S 078 Peace BC 086 PolyGrov 5 094 RestlessBC 102 Sickly BC 110 StellarpSV 118 Tinycat SV 126 ChoralisSV 007 BikvelvtSV 015 Contra BC 023 Devlish SV 031 FatWah 039 FuturwldSV 047 HOA Pad SV 055 KatmanduJ S 063 Mentalit S 071 OctvHoprBC 079 Pensive BC 087 PseudoTBSV 095 Rezoid SV 103 SilkArp SV 111 StickyPdBC 119 TiptaptuSV 127 PizzachiSV ROM I 000 101 Sub RP 008 AlfBass RP 016 Bass Me RP 024 D CM 1 HS 032 Fat Sn RP 040 Imposc03HS 048 Lobster HS 056 Mistik SV 064 Not Pad RP 072P600 R
18. 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 84 If either oscillator 1 or 2 is in HyperSaw mode the sub oscillator is HyperSub instead see About HyperSaw and Sub Oscillators on page 81 and Oscillator 1 HyperSaw on page 86 H Sync Offset Only visible if at least one oscillator is in HyperSaw mode Directly accessible from the panel via FM AMOUNT gt 0 to 127 The frequency offset of the audible HyperSaw with respect to its own internal master oscillator Modulation desti nation FM HyperS ync 97 Volume Accessible from the panel via SUB OSC VOLUME Oto 127 Sub oscillator mix In HyperSaw mode this parame ter crossfades between HyperSaw and HyperSub See About HyperSaw and Sub Oscillators on page 81 Modula tion destination Sub Osc Volume SOUND PARAMETERS REFERENCE Shape Not available if oscillator 1 is in HyperSaw or WaveTable mode See About HyperSaw and Sub Oscillators on page 81 Square Triangle Selects the sub oscillator waveform Noise Volume Accessible from the panel via NOISE VOLUME Off 1to 127 The level of noise If set to Off the Color parameter will not be visible Modulation destination Noise Volume VIRUS T Color gt 64 to 63 Adjusts the noise frequency ran
19. Press the LFO 1 SELECT button once again to open the next page Take Pulse Width the VALUE 1 knob up to maximum and play your key board This is deep cyclic pulse width modulation PWM The FIRST STEPS top three status LEDs for LFO1 are now lit 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 VIRUS T 38 The Matrix Section This is where you can route just about any MATRIX control source to almost any parameter you like modulation wheel to vibrato velocity to panorama filter envelope to phaser frequency a random offset to delay time etc The A DESTINATION Y MATRIX is a playground for anyone who wants 0 90 beyond what the Virus already has to esos Offer in terms of realtime control Six sources s ora can be routed to three different destinations Sn each making a total of eighteen connections uei Let s make a simple old style monophonic lead sound Restore ROM A126 Turn CUTOFF down to 64 take ENV AMOUNT up to 75 and set DETUNE 2 3 to 64 for a bit more thickness than before To make the program monophonic with a typical legato portamento press EDIT in the OSCILLATORS section twice and locate the first Common page via the PARAMETERS buttons Change Key Mode to Mono 4
20. a slave of oscillator 2 Slot In the Virus individual modulation matrix routing module Sound engine That part of a synthesizer responsible for generating sound Source See Modulator Square wave Special form of Pulse wave in which the Pulse Width is exactly 50 Subtractive synthesis VIRUS T Often called Analogue Synthesis The method of creating sounds by removing subtracting frequencies from relatively complex waveforms See also Additive synthesis m Sync Synchronization In oscillator sync one oscillator resets the phase of another usually whenever it crosses zero in the posi tive direction m Sync Phase See Sync above An Assign Target for LFO3 in the Virus this is the phase angle to which oscillator 2 is reset W System Exclusive Sysex Device specific MIDI data used for transferring patches edit ing parameters via computer etc T Template A ready to use blueprint model stencil etc In the Virus a preset for remote control of external devices using the Virus knobs Tremolo 172 Cyclic amplitude modulation similar in effect to Vibrato m Toggle Switch between two distinct states e g on off mono poly etc U Unipolar Possible values can only be positive or negative the range does not include both This term can apply to Amounts as well as modulation sources e g envelopes channel pressure Unison Several instances of
21. a note on your keyboard while turning the WAVE SELECT PW knob The first two entries in the list of WAVEs are available in many different synthesizer models Sine and Triangle All the others 3 to 64 are more complex additive waveforms If you are interested in seeing a graphic image of all these waves have a look at the Oscillator page of the VirusControl plug in If the value of SHAPE is the central Sawtooth or above there is no WAVE in the mixture at all In this case the WAVE SELECT knob is free to change its function entirely it becomes a Pulse Width PW control instead Turn SHAPE up to maximum for a pure 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 31 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 which you will learn how to automate using an LFO later on SEMITONE Use this knob to adjust the pitch of each oscillator over a range of 48 to 48 semitones Go to ROM A126 START we are using a slightly different tem plate this time and play your keyboard You are obviously hear ing two oscillators at the same time and they are slightly out of tune with each other Use the SELECT butto
22. a program A faster alternative to using the PROGRAM buttons to the right of the display PART Used for switching between the Parts in a Multi program or in Sequencer mode See Multi Mode Reference on page 139 and SEQ MODE below MULTI Switch to MULTI mode If the Virus TI is already in Multi mode exits any open menu See Multi Mode Reference on page 139 SOUND PARAMETERS REFERENCE SINGLE Switch to SINGLE mode If the Virus is already in Single mode exits any open menu SEQ MODE Via MULTI SINGLE Switch to Sequencer Mode This gives simultaneous access to 16 Single programs Similar to Multi Mode but there is only one Sequencer mode program and the MIDI channel is always equal to the PART number Note No additional parameters are required tempo panning MIDI volumes etc are all handled by the sequencer application J ust like in Multi Mode Sequencer Mode data can be transmit ted e g recorded into a MIDI sequencer via Arrangement dump see Transmit MIDI Dump on page 129 PARAMETERS BANK While any menu is open use these buttons to scroll through individual pages or parameters see Navigation on page 137 These buttons also move the cursor while naming programs see STORE on page 99 If no menu is open they are used to change the current bank VIRUS T 102 VALUE PROGRAM While a menu is open these buttons decrement increment the currently active parameter If no menu is
23. apply to the newly selected oscillator The sta tus of SELECT also determines which menu will be opened when the EDIT button is pressed EDIT Opens the ocillators menu for the currently selected oscillator Pressing EDIT again toggles between this menu and parameters that are common to all oscillators see Common on page 95 as well as Sub Oscillator Noise and Ring Modulator settings SOUND PARAMETERS REFERENCE 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 94 MONO Toggles between the most recently selected Mono key mode see Key Mode on page 96 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 81 PANIC Via MONO SYNC Resets any hanging notes VIRUS T 84 FM AMOUNT Classic or WaveTable Controls the intensity of frequency mod ulation HyperS aw Controls the HyperSync Offset parameter i e tunes the HyperSaw oscillators upwards relative to their own inaudi ble sync oscillators See About HyperSaw and S
24. cent is one hun dredth of a semitone Pure Tuning Tempered 1 to 63 Natural 65 to 126 Pure Variable degree of Hermode tuning see glossary slight pitch adjustment of each note within a chord to minimize disso nance between them The default value is Tempered i e standard Western keyboard tuning S ystem All Arpeggiators Disabled Enabled Global switch to disable enable any Arpeggios All EQs Disabled Enabled Global switch to disable enable any EQ settings All Delays Disabled Enabled Global switch to disable enable any Delay effects All Reverbs Disabled Enabled Global switch to disable enable any Reverb effects LED Lux Oto 127 Brightness of all LEDs 135 CONFIGURATION REFERENCE BPM LED Brightness gt 0 to 100 Relative brightness of the BPM LED LED Mode Specifies what the LFO1 and LFO2 LEDs at the top of the MODULATORS section will indicate LFO The default value LED intensity follows LFO oscilla tion gt Ext Inputs LED intensity shows the level of external input Auto Either of the above depending on whether there is a signal at the inputs gt Outputl Output2 Output3 LED intensity shows output levels gt Voice Steal Indicates note stealing see glossary LED intensity follows the immediate levels of notes being stolen VIRUS T 136 Mem Protect gt Disabled Data can be stored gt Enabled Ful
25. gt 64 to 63 semitones How much pitch bend is applied when the Pitch Bender is at minimum Bender Scale gt Linear Pitch bend is directly proportional to the position of the Pitch Bender gt Exponential Pitch bend sensitivity is lower when the bender is close to its middle position allowing for more subtle con trol over pitch U nison gt Oto 127 How much the stacked voices are detuned against each other Modulation destination Unison Detune Pan Spread gt Oto 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 filter Routing on page 118 so it is still visible even if Voices see above is set to Off Modu lation destination Pan Spread Unison means several instances of the same note atthe same time In the Virus voices can be stacked up detuned against each other and spread across the stereo field see Pan Spread below for a richer sound The trade off is a reduction in polyph ony Voices Off Twin 3 to 16 How many voices are used for each note Twin is relatively efficient only halving the maximum polyphony while giving fine control over LFO phase see below If set to Off no other Unison parameters will be visible LFO Phase except Pan Spread see below gt 64 to 63 How much the phases of all LFOs are shifted against each other For making Unison sound even more complex Modulati
26. guide for beginners intermediates and experts alike The best starting point before delving into the reference chapters VIRUS T gt 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 gt Configuration Reference All global settings parameters used to adapt the Virus to suit your way of working gt Multi Mode Reference A list of the Multi Mode parame ters with brief explanations gt VirusC ontrol Introduction to the VirusControl application gt Appendices Legal matters charts diagrams glossary gt Index Where to look when you are not sure where to look Safety Precautions Please read the following carefully Some of this advice con cerns your health as well as that of your instrument W Avoid exposing your Virus to moisture dust or dirt Do not place open liquids e g coffee cups anywhere near the unit If any substances get into the Virus housing you should switch it off disconnect the power supply and contact a qualified service techician W Avoid exposing the unit to excessive heat or direct sunlight Especially when rack mounting your Virus desktop version please ensure that relatively cool air can circulate freely around the unit W Avoid exposing the unit to physical shock or vibrations Make sure it is placed firmly on a flat surface or properly secured in a
27. individually let s start by experimenting with the three parameters you will find on any subtractive synthe sizer CUTOFF RESONANCE and ENV AMOUNT as itis called in the Virus FILTERS a 6 S 5 9 6 o Yo 0 12 0 12 0 1 2 CUTOFF FILTER BALANCE RESONANCE 2 KE FOLLOW e ee ern eure eve o ES a CUTOFF 2 EDT MOD SELECT VIRUS T 24 CUTOFF Restore ROM A127 Vary the CUTOFF while playing notes on your keyboard At low values even medium frequencies are fil tered out the sound is very mellow 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 responsible parameter Routing shortly RESONANCE RESONANCE emphasizes any frequencies close to the cutoff position Play a note and sweep CUTOFF as you did just now then turn up RESONANCE and try again At higher RESONANCE values the cutoff frequency becomes quite dominant You should be able to hear individual harmonics being picked out if you turn CUTOFF slowly enough If you like go back to program ROM A 26 and try a lot more RESONANCE ENV AMOUNT Controls how much the filte
28. knob gt 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 via WAVE SELECT PW Oto 127 Nominal detuning between individual waves in the HyperSaw Modulation destination Osc2 Pulse Width Mode Accessible from the panel via SHIFT oscillator SHAPE Classic HyperSaw WaveTable Selects the basic type of oscillator Semitone As in oscillator 1 see Semitone on page 85 Modulation des tination Osc2 Pitch SOUND PARAMETERS REFERENCE Key Follow As in oscillator 1 see Key Follow on page 86 Balance Mirrors the Balance parameter in the oscillator 1 page see Balance on page 86 Detune Accessible from the panel via the DETUNE 2 3 knob when oscillator 1 or 2 is selected gt Oto 127 Fine tunes oscillator 2 upwards Modulation desti nation Osc2 Detune FiltEnv gt Pitch As in Classic mode see FiltEnv gt Pitch on page 90 VIRUS T 92 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 97 gt Oto 127 The frequency offset of any HyperSaw both oscil lator 1 or 2 with respect to its own internal master oscilla tor Modulation destination FM HyperS ync Oscillator
29. 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 HyperSync Note that oscillator 1 allows HyperSync to be defeated via the SYNC button 81 About HyperSaw and Sub Oscillators Similarly HyperSaw oscillators also have their own integrated sub oscillators multiple square waves tuned an octave below the main oscillator To differentiate these from the Classic sub oscillator they are called HyperSub The SUB OSC VOLUME control in the MIX section cross fades between the main HyperSaw oscillator and its HyperSub SOUND PARAMETERS REFERENCE Here is a table showing how oscillator mode selection deter mines what the SYNC button the FM AMOUNT knob and SUB OSCILLATOR knobs actually do Osc 1 Mode Osc 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 Wavetable Classic Activates sync FM amount Hypersaw Osc2 HyperSub mix Wavetable FM amount SHAPE WaveTable Controls the Index parameter the nominal posi Classic Blends the waveforms available within each oscillator tonwithinthe Table Mee 88 See Shape on pa
30. navigate to the next page and set Portamento to 32 Play your keyboard and listen what you ve managed so far Now to the MATRIX In ROM A126 the uppermost LED should already be lit meaning Slot 1 has already been used for some thing in this program Press the SELECT button in the MATRIX section to open Slot 1 and see what it is The modulation source 39 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 LFO3 has been set to modulate the pitch of all oscillators press the LFO3 SELECT button in the MODULA TORS section twice in succession to check this Go back into the MATRIX by pressing its SELECT button Press the righthand DESTINATIONS button change the amount to 5 and the destination to LFO3 Rate using the VALUE knobs Remember that you can nudge values using the VALUE buttons Exit the menu and play your keyboard making use of its mod wheel stick ribbon or whatever Vibrato will now get slightly faster as it deepens If your keyboard also features channel pressure i e aftertouch you could try this Press SELECT twice in succession to open Slot 2 set the source to Chan Pressure the first amount to 32 and its destination to Filterl Cutoff Exit the menu again and play y
31. open they step through programs within the current bank The master EDIT button to the left of the display opens a menu giving access to all parameters which are not specific to any particular section but unlike configuration parameters are still stored within each program Common Tempo Accessible via SHIFT RELEASE in the AMPLIFIER ENVELOPE section 63 bpm to 190 bpm The Virus has an internal clock to which the LFOs arpeggiator and delay reverb can be synchronized see the respective sections The clock automatically slaves to any received MIDI clock signal otherwise it adopts this value See MIDI Clock on page 127 Patch Volume gt 0 to 127 Overall volume of a program particularly useful for balancing levels between different programs or Parts when in Multi or Sequencer modes Note that you may have to keep this value well below 127 to avoid unwanted distortion espe cially when playing many notes at the same time 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 463 The position of the signal across the stereo out puts Reacts to MIDI CC 10 Panorama Modulation destina tion Panorama Transpose 64 to 463 semitones Transposes the pitch of the entire pro gram in semitones Modulation destination Transpose Smooth Mode Right from the very beginning Access
32. or lower of a signal is inverted see Full wave rectification on page 165 or zeroed half wave rectification The Virus offers full wave rec tification Resonance Boosting of frequencies close to the cutoff point in a filter origi nally via Feedback This term derives from the distinctive fre quency formants caused by physical 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 171 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 noise Sample and Glide S G Sample and Hold but smoothed Saturation Usually The smooth distortion caused by overloading a filter input or magnetic tape m Semiquaver Note length Half a Quaver one quarter of a Crotchet m Semitone Pitch interval equal to one twelvth of an Octave The keys on a keyboard are a semitone apart APPENDIX B GLOSSARY Serial in series Routing term The signal is sent to one module e g a filter which in turn sends its output to another module e g another filter See also Parallel Slave Module with reduced functionality following parameters set by another module In the Virus oscillator 3 is partly
33. pitch OSC 2 3 Pulse Width PW Resonance RESO Filter Gain FILT GAIN and another destination called ASSIGN None of the LEDs are lit up at the moment because you haven t specified any modulation yet 37 Although it is already active try pressing LFO1 s SELECT button again this opens the LFO1 Destinations menu Repeatedly press LFO 1 SELECT to switch between the 3 available pages of course 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 minimum The modulation becomes inverted because this parameter is bipolar meaning it can have positive or negative values Now turn Osc2 Pitch the VALUE 3 knob up to maximum The oscillator pitches are now moving in opposite directions Hold down SHIFT and press the SHAPE button once to return to the Triangle wave Take Osc1 2 Pitch to 10 which brutally overrides the other values in this page You should hear a mild vibrato effect Try turning CUTOFF down and ENV AMOUNT up it doesn t matter that you haven t closed the LFO Destinations menu yet Turn the SHAPE knob in the OSCILLATORS section up to maxi mum Oscillator 1 is now a Pulse wave
34. right of the display When any menu is open these buttons are used for PARAMETERS and VALUE instead see About the Menus below To scroll automatically hold one of them down for a while A quick method of reaching any program within the current Bank Hold down SHIFT and turn the VALUE 3 knob VIRUS T 12 By Category Because there are so many sounds to choose from programs can be assigned one or two so called Categories This infor mation is stored within each program A practical demonstra tion Press the SEARCH button to the left of the display and use the VALUE 1 knob to change the category to Drums Then use the VALUE buttons to browse through programs in the bar at the top of the screen you will see programs that are in the Drums category only When you have found a suitable program press the SEXIT button Via MIDI All MIDI sequencers and professional MIDI keyboards are capable of transmitting Bank and Program change messages via MIDI About the Menus How to open menus The main menus 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 orREVERB 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 will
35. selected this value will be ignored one oscillator at the same time To enter these pages press and oscillator 3 pitch will track oscillator 2 pitch Modulation EDIT once or twice until the LED flashes and navigate using the destination Osc3 Pitch PARAMETERS buttons Volume gt 0 to 127 The level of oscillator 3 when switched on see 5 ON on page 84 and Mode Wave above Modula tion destination Osc3 Volume Initial Phase Modulation destination Osc Initial Phase 95 SOUND PARAMETERS REFERENCE Off The phase angle see glossary of each oscillator is reset Osc Volume ta ranom value at We start d each note This closely Accessible from the panel via the OSC VOLUME knob emulates the free running oscillators found in real ana logue synthesizers gt 64 to 63 Determines the total level of all oscillators and input signals but not Noise or Ring Modulator immediately gt 1to 127 The phase angle of oscillator 1 is fixed at 0 oscil a before entering the filters Note The value 0 is unity gain i e lator 2 phase is shifted forward oscillator 3 phase is shifted backwards by the same amount Because it ensures that the already maximum volume positive values control Satura click at the start of notes always sound the same setting tion intensity only see Saturation on page 114 Modula the Initial Phase to a value other than Off is particularly use tion destination Osc Volume
36. 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 55 ENV MODE Toggles the Envelope Mode parameter on and off see Enve lope Mode on page 57 SHAPE Quick selection of Sine Triangle Sawtooth Square or WAVE the waveform specified in the Edit menu see Shape on page 56 RATE Controls the speed of the currently selected LFO see Clock on page 56 and Rate on page 56 LFO CONTOUR Via SHIFT RATE Continuous control over waveform see Contour on page 57 SOUND PARAMETERS REFERENCE SELECT These buttons are used to switch between the three LFOs the upper row of controls ENV MODE SHAPE and RATE will apply to the selected LFO only Pressing an already active SELECT button will jump into the LFO destinations menu and pressing it repeatedly will step through the pages LFO 1 Clock Accessible from the panel via the RATE knob if a value is defined here gt Off LFO1 is not synchronized VIRUS TI 56 gt 1 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 103 Rate Accessible from the panel via the RATE knob if Clock is set to Off gt Oto 127 The speed of LFO1 when not synchronized see Clock above Modulation destination LFO1 Rate Shape gt Sine Trian
37. 017 CrossQ BC 025 DripDropM 033 Fingers M 041 Gntle9thM 049 J etropa M 057 LuckyMan J 065 MiniLeadSM 024 DontFretM 032 ETom2002M 040 GedyLeedM 048 PadMe TISV 056 LFOdecayMH 064 5 55 072 MG 080 Pat sGR M 088 Punchit2SV 096 RimShot BC 104 SubdvisnM 112 Tremor JS 120 Whales JS 002 AerSynthM 010 Bowzerz M 026 Driven M 034 FMChittrM 042 Grander M 050 J unoPowrM 058 CityCat SV 066 ModsweepM 074 OceanusM 082 Perky M 090 QMenMW BC 081 Pergru M 089 Punsh itSV 097 Ripper JS 105 Sunbeams 5 113 TronFit M 121 WineglasM 106 SweePlukM 114 TronStr M 122 WowGrowIM 123 WynwouldM 003 AI2 Pad M 011 Cali AirM 019 D amp B Geneqa 027 EddiWho M 035 FourSaws 043 GrimeyM 051 Kompin M 059 MelodieaM 067 SawFire SV 075 Oh Yeah MG 083 PhazplukM 091 Replika M 099 Rollups M 107 Synchym2M 115 TwinPadsM o 004 AirMonixM 9 012 CheezwizM 020 D amp B Woover 028 EPStage 7M 036 FunkLd 1SM 044 052 Korgan M9 060 MiniBassSM 068 520 5 076 OhEq 8 084 092 ResoChrd S 100 Saw Ya 108 SyncPedIM 116 UofYouthM 124 X Dream J S 005 Apogee 013 Claps2 HS 021 D EchoerM 029 EPTines2M 037 FunkLd 2SM 045 He VPlukM 9 053 Kyrie M 061 5 25 069 NewSnareBC 077 OrbteriaM 085 PortaPoly 093 Reveal JS 101 Spaced JS 109 Tender JS 117 VibePad M 125 X Men JS Patches by Ben Crosland BC HJ Scheffler
38. 053 MuteArp BC 061 OnRun BC 069 Randy BC 077 ShortSawBC 085 Sweptre BC 093 VA4 BC 101 WetBass BC 109 TinFoil BC 117 Claps 2 BC 125 2 006 014 CellStabBC 022 DublArp BC 030 FunkMamaBC 038 HedHuntrBC 046 KraftAr5BC 054 MWBrass BC 062 PercArp1BC 070 RezArp1 078 Sighing BC 086 SyncArp1BC 094 VanOrch BC 102 Whistle BC 110 118 PanLid1 BC 126 LoFiHit BC 007 BigLead BC 015 CheezMe BC 023 Electro1BC 031 FunnyLd BC 039 HoloArp BC 047 KraftAr6BC 055 Navel BC 063 PercArp2BC 071 RezArp2 BC 079 SoftArp1BC 087 ThickPadBC 095 VC ACID BC 103 Zappy 111 808 Cow BC 119 PanLid2 BC 127VDog BC ROM H 000 AutoBendBC 008 BusysawsSV 016 CosmicbsSV 024 DHR Amb BC 032 Five in1BC 040 GarBass8BC 048 Hollow JS 056 Kingsize 5 064 Metalsyn S 072 OddgssaySV 080 Phlute J S 088 Pulsar SV 096 Rezzer2 BC 104 Sinebass S 112 SubmergeSV 120 TwotonesBC 001 Avenues J S 009 Chillout S 017 CreameryBC 025 Digedi JS 033 FlyBy BC 041Girls SV 049 HongKongBC 057 LatitudeSV 065 Move it SV 073 OffSoft BC 081 Pitchy BC 089 Q Pad BC 097 Rise up SV 105 SomethngSV 113 SwingArpPS 121 UniVoV BC 002 B SquareBC 010 ChrunchyJ 5 018 5 026 Driver SV 034 FnkNastyBC 042 Glassey SV 050 Hoppin SV 058 Let s goSV 066 MoveMyMBC 074 Oil crwISV 082 PlaycoolSV 090 RbbrHrp2BC 098 RubbrHrpBC 106 SpitfireJ S 114 BC 122 V Bells JS 003 Back280sSV 011 ClubbassSV 019
39. 1 Sync 32 84 Sync Offset 97 System Requirements 147 System Settings 135 gt T Tap Button 44 99 Tempo 23 103 Time 66 Total Integration 8 Total recall 146 Transmit Dump 129 INDEX Transpose 100 103 130 141 Trigger Phase 57 Tuning 134 gt U Undo 45 100 Unison 33 83 105 USB 146 gt V Value Knobs 101 Velocity 106 VirusControl 8 14 40 145 Vocoder 74 Volume 35 103 gt W Warranty 159 Wave Select 31 83 Wave Shaper 28 Wave Table 47 88 WaveTable 47 88 92 Wavetable Index 47 88 Windows PC Specifics 147 VIRUSI TI 198 199 VIRUSJ TI 200 201 ACCESS MUSIC ELECTRONICS GVBH KONIGSWALL 6 45657 RECKLINGHAUSEN GERMANY WWW ACCESS MUSIC DE Printed in Germany VTIMEU 05 05 Revision A
40. 1 Flys 049 Genssis CC 057 Joni M CC 065 MadrePadCC 073 MINI M CC 081 NewLeadQCC 089 OBeeBee CC 097 People2 CC 105 Scared CC 113 Sweep CC 121 WaitingRCC 002 2LFO 2CC 010 BallenasCC 018 1 026 Diosa 034 Stagga SV 042 FM Perc CC 050 Hancock CC 058 J PEight PS 066 MamasGunCC 074 MiniExp CC 082 NuWaveLdCC 090 OBrass CC 098 PhaseMW CC 106 SeqAlienCC 114 122 003 011 Bandrun 019 2 027 DukaliopC C 035 CC 043 Fm amp Mod 051 Hohner CC 059 KeratArpCC 067 CC 075 Moderno CC 083 O Pitch CC 091 Open P5 CC 099 PhasEns CC 107 SineBudaCC 115 TalkPad CC 004ADN CC 012 Bass CC 020 Circus CC 028 Duke5 CC 036 Falling1C C 044 FM amp MOD2 CC 052 HollowBsPS 060 L Mays1 CC 068 Marbles CC 076 Montero CC 084 O Pitch2CC 0920sc3 CC 100 PPGCruelCC 108 Spain2 CC 116 Transas CC 123 WakMoogyCC 124 WaveSeq CC Patches by Claudio Cardone CC Cosmic Dreamer SV and Peter Schelfhout PS 191 005 AfterpadCC 013 BigArp CC 021 CrystalsMH 029 DX 100 CC 037 FanKWridCC 045 FM MW CC 053 HongKongCC 061 L Mays2 CC 069 Mercado CC 077 MS HammiCC 085 10 CC 093 OuBeeStrCC 101 PPGWavesCC 109 SQRSolo CC 117 UFO 33 CC 125 WavetronCC 006 Alamos CC 014 BigBass2CC 022 D50MorphCC 030 DX ThickCC 038 ChrysPadSV 046 FreakMinCC 054 PluxOr SV 062 LamaLeadC C 070 MeShell2CC 078 Mth Sky CC 0860B8 CC
41. 125 Warper 179 006 Anaklav2 014 BlackHole 022 BsNoog 9 030 Dancer 9 038 Dimril 007 Anaklav3 015 BladeRun 023 BsSpiral 031 Deinos 039 DiayVerb 046 DWBelComp 047 ELP ulse 054 Gently 1 062 Hi Lo Seq 070 LFOverkil 078 Melodica 086 NumanesqM 094 PizzaKato 102 ReedPad 110 Splatter 118 TremThing 126 Wind4p 9 055 Gently 2 063 Industron 071 LikeSkin 079 MixChime 087 OrchBrass 095 PoleNoise 103 RingDrone 111 StpSeqMe 119 TrippyPad 127 Wired ROM E 000 AcidArp M 008 M 016 DieSoon M 024 Explora M 032 Gachet M 040 Hesher M 048 lodine M 056 LastFix M 064 Manga M 072 Mosquito M 080 PadThai M 088 Quazar M 096 Rodan M 104 Socrates M 112 Tasm3 120 Valium 001 AcidRain M 009 CashCrop M 017 DigDoug M 025 FarOut M 033 Gamera M 041 Hideout M 049 aco 057 Lezzie M 065 Mentor M 073 Mothra M 081 Payback M 089 Rasberry M 097 Sandman M 105 SpaceVan M 113 M 121 Vindaloo Patches by Matthew Stolley M VIRUSI TI 002 Anemone M 010 Chimp M 018 DoubleD M 026 Fatass M 034 Ganja M 042 Horror2 jh 050 J ahmekya M 058 LiquidSkyM 066 Mercury M 074Move M 082 Petrol M 090 RatSync M 098 Seagull M 106 Sparta M 114 TechKey2 M 122 Visitor M 003 ArdeKey M 011 Clockers M 019 DubTest M 027 Felcher M 035 GasHuffa M 043Hoth M 051 22 M 059 Lisbon 067 MethLab 075 Napalm M 083 Phantom M 091 RedAlert M 0
42. 16 SELECT These two buttons determine which filter s the RESONANCE and ENV AMOUNT knobs will control Press both at the same time for simultaneous control over both filters VIRUS T 114 Saturation Type Accessible from the panel via SHIFT OSC VOLUME in the MIX section gt 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 116 Light Soft Medium Hard Digital Four different distortion curves Wave Shaper Sinusoidal waveshaping see glossary Can cause drastic changes to a waveform comparable to linear FM Note that the Wave Shaper already starts to take effect atlow OSC VOLUME i e negative values Rectifier Full wave rectification see glossary Inverts half of the signal thus distorting the sound Bit Reducer Bit depth reduction Generates digital quantiza F ilter 1 tion noise similar to early samplers Rate Reducer Sample rate reduction Generates digital aliasing similar to early samplers gt Rate Follow Rate reduction with Key Follow see glossary gt Low Pass Simple low pass filter gt Low Follow Low Pass with Key Follow Cutoff Accessible from the panel via CUTOFF High Pass Simple high pass filter gt High Follow High Pass with Key Follow Oto 127 Filter 1 threshold frequency Modulation destination Filterl Cutoff Osc Volum
43. 2 WaveTable Mode Key Follow Accessible from the panel via SHIFT oscillator SHAPE As in oscillator 1 see Key Follow on page 86 Classic HyperSaw WaveTable Selects the basic type of oscillator Balance Mirrors the Balance parameter in the oscillator 1 page see Balance on page 86 Index gt 1to 127 Selects the nominal position within the WaveTable Modulation destination Wavetable 2 Index or Osc2 Shape these are equivalent Table Sine Violator Selects one of many wavetables Detune Accessible from the panel via the DETUNE 2 3 knob when oscil lator 1 2 is selected gt Oto 127 Fine tunes oscillator 2 upwards Modulation desti nation Osc2 Detune Semitone As in oscillator 1 see Semitone on page 85 Modulation des tination Osc2 Pitch 93 SOUND PARAMETERS REFERENCE FM Mode Specifies the type of FM see glossary Note that the FM modes available in Wavetable mode are different from those available in Classic mode see FM Mode on page 90 FreqMod Analog style FM i e true frequency modulation PhaseMod DX7 style FM i e phase modulation FM Amount Accessible from the panel via FM AMOUNT Oto 127 Controls the intensity of frequency modulation Modulation destination FM HyperS ync FiltEnv gt Pitch gt 64 to 63 How much the filter envelope modulates the pitch of oscillator 2 This was implemented in previous Virus models to all
44. 2 RelativeMS 100 SinePad MS 108 SuperWrmMS 116 UpliftFXMS 124 X Mod MS 177 005 AmbulantMS 013 Bomber MS 021 CoolChrdMS 029 DeepWeepMS 037 Flutex2 MS 045 Genosis MS 053 HihatRunMS 061 KetamineMS 069 MayaFireMS 077 NarcoticMS 085 OrchBIstMS 093 RePunch MS 101 SlowSilkMS 109 TchnolgcMS 117 Vanish MS 125 XylotronMS 006 Anubis MS 014 Brasso MS 022 CreamPikMS 030 DirtBox MS 038 FM BoostMS 046 GianaArpMS 054 HiScore MS 062 Lately MS 070 Megane MS 078 Noomed MS 086 PhoneSqrMS 094 RezoBassMS 102 SoftBassMS 110 The Bug MS 118 Vogue MS 126 YamahFB1MS 007 Atx BassMS 015 ButtrflyMS 023 CrysalisMS 031 DistPickMS 039 ForgivenMS 047 GlobalD MS 055 Holland MS 063 Ligaya MS 071 Mettler MS 079 Noomed2 MS 087 PhonoboyMS 095 SadSaws MS 103 SpheroidMS 111 Theory MS 119 Voltage MS 127 Zapper MS ROM C 000 3 Dumm HS 008 BadCntaxHS 016 Cyber2 HS 024 Droned HS 032 FlagshipHS 040 Gliss2 HS 048 J ester HS 056 LostLeadHS 064 Nanites HS 072 Phazzah HS 080 ProWeed HS 088 Rigby2 HS 096 SleigherHS 104 StarFallHS 112 TinyBee HS 120 VCSwolf HS 001 60sSciFiHS 009 Baryon HS 017 D50 50 HS 025 DuckDivrHS 033 Flam amp Co HS 041 Goudam HS 049 Knock B HS 057 Mandoid HS 065 Needles HS 073 Phloid HS 081 Pstyro3 HS 089 Riptide HS 097 SlipShotHS 105 Sugarl HS 113 Torque HS 121 Vihurgs HS Patches by Howard Scarr HS VIRUSI TI 002 68 CreakHS 010 Bombers HS 018 D CM 1 HS 026 Dworg HS 034 FlatHat HS 042 Handsaw
45. 24 BsTaurean 032 DelayLama 040 DoubleSyn 048 EP Res 0 056 GertLead 064Laura 9 072 LunarArp 9 080 Monterey 088 OrganDigi 096 PowerPluk 104 Shredder 112 Stratpad 120 TXStack86 001 x o o x 009 AprilPad 017 BPF 2P 025 BsWaveSel 033 Dgtalrido 041 Dragons 9 049 EP3DogNyt 057 Gruvalimb 065 LayerHold 073 Olympus 081 MPianoHi 089 p g Chime 097 Comp 105 SineLang 9 113 StringSyn 121 Upwards 9 Patches by Matt Picone M 0 002 38 S ws 010 AtariCr sh 018 BrassKlav 026 BukRogers 034 DigiBell 042 DrownedP Gd 050 Fanfare 058 Halo Pad 066 Ld OB 82 074 M inTheBox 082 MPianoLo 090 p g Poly 098 ProlesLog 106 SnareG te 114 StViolate 122 V Organ 003 Aeternal 011 BeautySyn 019 Bs2Pole 027 CanHappen 035 DigiBel2 043 DrummerG8 051 FeedBkSyn 059 Hammono 067 Ld4Quincy 075 m stock 083 NextOrbit 091 PatiencPd 099 PVC Drum 107 SpAcEvOx 115 StViolint 123 Vampyr 9 004 An gry 005 1 012 Before 013 BellLead 020 BsBuster 021 BsKonKilr 028 CommonTon 029 CrstiCave 036 DigiBel3 037 DigiBel4 044 Dryadae 052 Flangepad 060 Harmoshn2 068 LeedSneed 076 Majman 084 Nocoder 045 DubChrdsM 053 Foogpad2P 061 Heroes 9 069 LFantSqid 077 MalletStk 085 Noog 9 092 PerfectP 093 Phobos 100 Quintesnc 101 Quivery 108 Spiritu 109 Spitter 116 Terraform 117 TouchGate 124 Venusian
46. 26 126 128 Table Of Contents MIDI DUMP TX 128 OSCILLATOR PAGE 150 KEYBOARD 129 FILTER PAGE 151 MIDI CONTROL 131 LFO PAGE 151 INPUTS 132 MATRIX PAGE 152 AUDIO CLOCK 133 ARP PAGE 152 SOFT KNOB GLOBAL SETTINGS 133 FX PAGE 153 KNOB BEHAVIOUR 134 REMOTE PAGE 153 GLOBAL TUNING 134 COMMON PAGE 154 SYSTEM 135 Appendix A Legal Declarations Multi Mode Reference COMPLIANCE 156 PATCH 14 c DECLARATION OF CONFORMITY 158 WARRANTY REGULATIONS 159 VirusC ontrol INTRODUCTION 146 Appendix B Glossary THE VIRUSCONTROL PLUG IN 148 THE PART CONTROL BAR 148 GLOSSARY 162 THE PAGE SELECTOR 148 THE INFORMATION BAR 149 EASY PAGE Appendix Patch Names BROWSER PAGE 149 ROM A 176 Index INDEX OF FUNCTIONS ETC 194 1 Introduction Welcome Dear Virus owner Congratulations on choosing the new Virus TI the latest gener ation in a deliberate process of evolution that has kept the Virus name atthe forefront of synthesizer technology for many years TI stands for Total Integration meaning that the hard ware can be fully integrated into a PC or Mac based studio via the VirusControl plug in VSTi or Apple Audio Unit Before switching your Virus TI on please read this chapter thoroughly The Various Chapters This manual is structured as follows Introduction What you are reading now Fundamental infor mation you should know before trying out your Virus gt First Steps A practical
47. 4 gt Noise 98 Note Length 51 20 Octaves 51 Osc Volume 96 Oscillator 32 150 Oscillator Shape 30 Oscillator Sync 32 Oscillators 81 Oscillators Section 30 Output 141 VIRUS TI gt P Panic Button 84 Panorama 36 61 103 Parallel 4 27 Part 45 101 Part Enable 140 Parts 14 Patch 14 140 Patch Name 110 Patch Volume 22 Phaser 42 72 Pitch 58 Pitch Bender 104 Portamento 34 83 96 Power On Off 100 Predelay 67 Program 101 140 Program Change 127 143 Pulse Width 31 59 83 Punch 96 gt Q Q Factor 42 63 gt R 196 Random 44 100 Random Patch Generator 126 Rate 55 56 Rate Reducer 28 Rate Follow 28 Rear Panel 10 Receive Dump 128 Rectifier 28 Redo 45 100 Release 22 Remote Mode 14 99 136 153 Repair 9 Replacing the Battery 10 Resolution 51 Resonance 24 26 59 113 Reverb 41 65 Reverb Type 66 Ring Modulator 36 80 98 Rotating the sockets 10 Routing 27 gt 5 Sample accurate timing 146 Saturation 27 114 Search 45 Search Button 100 SelectFilter 25 Selecting Programs 12 Semitone 31 88 Semitones 83 Send 64 Sequencer Mode 14 46 102 Serial 4 27 Serial 6 27 Setting Up 11 197 Shape 37 55 56 60 82 Shift Button 100 Single 45 102 Single mode 14 Slot 53 Smooth Mode 103 Soft Knob 109 133 Soft Thru 127 Source 53 Split Mode 27 Spread 47 86 Store 99 110 Sub Oscillator 97 Surround 108 Sustain 21 Sustain Slope 22 Swing Factor 51 Switching On 1
48. 7 BigPipe BC 015 Caustic BC 023 DirtyPIsBC 031 FormerloBC 039 HellGateBC 047 Lacer8r BC 055 MetlFunkBC 063 NeoSphr2BC 071 PizzArp BC 079 RailingsBC 087 Slash BC 095 Syncer BC 103 Torus BC 111 Veldisa BC 119 WT S H BC 127 INIT ROM B 000 64Degee MS 008 BabyloneMS 016 By Zero MS 024 Cubus MS 032 DromeCrdMS 040 Freaks MS 048 Go Rave MS 056 Horror MS 064 Linear MS 072 MnstrSawMS 080 noToy MS 088 PlastoneMS 096 Saw You MS 104 Stack X MS 112 TiberiumMS 120 Voxiter MS 001A Pop MS 009 Bad Pop MS 017 Chapel MS 025 CultOrgnMS 033 DuskwoodMS 041 Frogger MS 049 Halo MS 057 HyperSawMS 065 LoFi SawMS 073 MnstrSw2MS 081 NuNrg MS 089 PsyBat MS 097 Schilla MS 105 Step64 MS 113 TiBuzzerMS 121 WidePad MS 002 AcidC hrdMS 010 BigBeat MS 018 CharactrMS 026 D Phunk MS 034 E Lead MS 042 FunkBassMS 050 HappyVoxMS 058 HyperSqrMS 066 LoFi WhaMS 074 MotoSyncMS 082 OberBrssMS 090 PulvrTrmMS 098 Sharp MS 106 SunPianoMS 114 Tracker MS 122Wind MS 003 Adagio MS 011 BigPhaseMS 019 CoderArpMS 027 D50Lead MS 035 FizzBizzMS 043 FunkTripMS 051 HarakiriMS 059 J Halen MS 067 LoGrooveMS 075 MovinPadMS 083 OiOiBassMS 091 PuristicMS 099 Sick SQ MS 107 SupaCoreMS 115 TriblZapMS 123 MS Patches by Manuel Schleis MS www vengeance sound com 004 AirTonicMS 012 BittBassMS 020 CoderPadMS 028 DarksideMS 036 Flutex MS 044 Gamelan MS 052 Haunted MS 060 essel MS 068 Loviy80sMS 076 MutePickMS 084 OktaviusMS 09
49. 95 Saxpet HS 103 Spring HS 111 TimeStepHS 119 Vorwerk HS 127 Zorch HS ROM G 000 80 sStabBC 008 Bite Me BC 016 ClaviKeyBC 024 ElectrR1BC 032 FuzzFM BC 040 HoloBassBC 048 LktroArpBC 056 NewGBassBC 064 PercArp3BC 072 RingLedrBC 080 SoftArp2BC 088 ThinPad BC 096 VoxOct BC 104 PhatKickBC 112 PercMorfBC 120 AutoShkeBC 001 AmbienceBC 009 BluBoti BC 017 CompressBC 025 ElectrR2BC 033 GritBas1BC 041 Korgi BC 049 LktroPIkBC 057 NiceKeysBC 065 PlukArp1BC 073 Saucer BC 081 SoftArp3BC 089 TremStabBC 097 VoxWave BC 105 SatKick BC 113 PercMrf2BC 121 SineDiveBC Patches By Ben Crosland BC VIRUSI TI 002 BanjArp BC 010 BottiPadBC 018 DelivrncBC 026 Epitaph BC 034 GritBas2BC 042 KraftAr1BC 050 Monday BC 058 NotchPIsBC 066 PlukArp2BC 074 SawMorf BC 082 StacArp1BC 090VA1 BC 098 WarmUp BC 106 DistKickBC 114 RezDrum BC 122 BC 003 BassArp 011 BriteArpBC 019 DesolateBC 027 FlwLead BC 035 HardBassBC 043 KraftAr2BC 051Mooky BC 059 NotchSawBC 067 PlukTremBC 075Sear BC 083 StacArp2BC 091VA2 BC 099 WarpLeadBC 107 SnareMrfBC 115 RezPerc BC 123 Klang BC 004 BassMan1BC 012 Burbler BC 020 DigiSaw BC 028 FlydCoptBC 036 HardLeadBC 044 KraftAr3BC 052 MPScreamBC 060 Ocean BC 068 PPGdual BC 076 ShortBasBC 084 SweetFA BC 092 100 WetArp 108 AutoHat BC 116 Claps 1BC 124 Stick BC 182 005 BassMan2BC 013 BuzzBassBC 021 DirtLeadBC 029 Fritter BC 037 HarshArpBC 045 KraftAr4BC
50. 99 SheMale M 107Spaz M 115 Traffic M 123 Westwego M 004 Atlantis M 012 ComeDown M 020 DuckFeet M 028 FogHat M 036 Gateman M 044 M 052J unkie 060 Loner M 068 Midnite M 076 Nebula M 084 PopTart M 092 Reminise M 100 Simplex M 108 Sqash 116 TwinPeaksM 124 Wombat M 180 005 BadBrain M 013 Cunted M 021Dumbo M 029 Fonkah M 037 Ghoulie M 045 Hydra M 053 KoolFM 061Lycra M 069 Monkfish M 077 NewYork M 085 PorkPie M 093 Resin M 101 SkiMask M 109 StarDust M 117 Undertoe M 125 Wormzer M 006 Beaker M 014 Dayz M 022 Eastside M 030 Forever M 038 GoFigure M 046 Icarus M 054 Kuster M 062 Majesty M 070 Monument M 078 NextKin M 086 Pulsine M 094 Rezonard M 102 Skylab M 110 Tasm1 118 Uranium M 126 Xanax M 007 Beano M 015 Diana M 023 Elevator M 031 Furley M 039 GrapeApe M 047 Industry M 055 Lando M 063 Malfunk M 071Moonie M 079 NO2Head M 087 Python M 095 Roaches M 103 Slayer M 111Tasm2 M 119 Ursula M 127Zest M ROM F 000 AndromdaHS 008 BerimTamHS 016 ClubMed HS 024 Dirtron HS 032 E Grand HS 040 Flutoon HS 048 Hektik HS 056 Latex HS 064 MinorityHS 072 Oddigy HS 080 Picking HS 088 Pstyro2 HS 096 Series3 HS 104 Spy HS 112 Tunnel HS 120 Warlord HS 001 Arctis HS 009 Boingy HS 017 Congoid HS 025 Dr What HS 033 E Rigby HS 041 Froese HS 049 HissPad BC 057 LordOrg HS 065 Monza HS 073 Old S amp H HS 081 PickUp HS 089 Pumpah HS 097 ShineOn HS 105 Squeeze HS 113 TuvaWeelH
51. BC 049 LatentBsBC 057 MoonbugsBC 065 Nitrous BC 073 PolutionBC 081 RingOrgnBC 089 Slinka BC 097 SynEns BC 105 TuchFunkBC 113 VelFmBasBC 121Xaris BC Patches by Ben Crosland BC VIRUS T 002 AoilioA BC 010 BotiStr BC 018 Cicadia BC 026 EnvBass BC 034 GloWormsBC 042 HypassorBC 050 Launch BC 058 MWQuant BC 066 OverblowBC 074 ProdLd1 BC 082 SatuBassBC 090 Sqr Arp BC 098 Syrys BC 106 TwinVox BC 114 VelocrysBC 122 Xianum BC 003 BadmouthBC 011 Britl5thBC 019 Clouds BC 027 Euqria BC 035 GritFunkBC 043 Hysaws BC 051 Majiko BC 059 MWRingMdBC 067 Petite BC 075 Pulsaw BC 083 Sekur BC 091 StabLeadBC 099 Teknoid BC 107 UltraSawBC 115 Vogue2 BC 123 Yaquis BC 004 BassSoupBC 012 BumFluf BC 020 ColdMetiBC 028 FloBass BC 036 GrokBassBC 044 Intim8 BC 052 Manga BC 060 Nanules BC 068 PhatBrazBC 076 PulsFadeBC 084 SempliceBC 092 SteamWavBC 100 ThebuTl BC 108 UpMalletBC 116 WarmWavsBC 124 Zimoux BC 176 005 BelisimoBC 013 BusyKeysBC 021 Crazike BC 029 Flylead BC 037 GrokLeadBC 045 InvisiPdBC 053 Melene BC 061 5 069 077 085 Shortie BC 093 SupaSyk BC 101 Thr3sum BC 109 VelbendaBC 117 WavePad BC 125 gt gt INPUT lt lt 006 BellfireBC 014 Cables BC 022 DampPtchBC 030 FMeUp BC 038 HardwearBC 046 loead BC 054 Metelec BC 062 Nenoa BC 070 PipSqw3kBC 078 Punctu8 BC 086 Simsuki BC 094 Syk BassBC 102 Thryba BC 110 VelBouncBC 118 WhoPad BC 126 START 00
52. C VoV 2BC 018 Braxter J V 026 Crispy2 jh 034 Dysonia BC 042 Frozen JS 050 Guitar4 jh 058 Infected S 066 LoFine jh 074 5 082 5 090 Puncher J S 098 Scary jh 106 Soft3rdsBC 114 Tubular S 122 Walker J S 003 Anima JS 011 VoV 3BC 019 Calliope S 027 Deeper JS 035 EnglArp 5 043 FuzzBellJ S 051 Hackbartj S 059 Infinity S 067 MajorityJ S 075 No Age JS 083 Percold J S 091 Q Lead jh 099 Seglt JS 107 Soloist S 115 Uprite JS 123 Wave PadJ S Patches by J oerg Huettner jh and HJ Scheffler J S VIRUSI TI 004 Animate J S 012 Beatbox J S 020 Carpets J S 028 Dig Me JS 036 EnoesqueJ 5 044 FuzzboxJ S 052 Harmonix 5 060 J aySync JS 068 Mallet J S 076 Odyssey J S 084 Piggy JS 092 Quarx JS 100 Sim SalaJ S 108 Start Up S 116 V Birth1 K 124 Waver JS 186 005 Artificl 5 013 Bella JS 021 Chainsaw 5 029 Dig This S 037 FeedyPadJ S 045 FX Drum J S 053 Hauntin J S 061 J unoApg JS 069 Monolith S 077 OldScol OK 085 PluckMe BC 093 Random JS 101 Simply JS 109 Subaqua BC 117 Vienna JS 125 WeeBell jh 006 S JS 014 BElla 2J S 022 Chant JS 030 Disco OK 038 Feng J ui S 046 Ghost 2 5 054 Hovis JS 062 J ustice J S 070 Moon Pad 5 078 Opener JS 086 PolySin J S 094Raw JS 102 SinderelJ S 110 SweeperJ S 118 Virus 5 126 Whirly JS 007 Bassic JS 015 BellaArp 5 023 Choir 4 BC 031 Donkey JS 039 FM Bass JS 047 GinaPad JS 055 Hybrid JS 063 KyotoLd J S 071 MorsS
53. FERENCE Key Follow gt 64 to 31 Norm 33 to 463 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 normal tuning Norm Balance Accessible from the panel via the OSC BALANCE knob in the MIX section gt 64 to 63 Adjusts the relative levels of oscillator 1 and oscillator 2 including FM whereby 64 is oscillator 1 only and 63 is oscillator 2 only Note that this parameter is mir rored in the oscillator 2 menu Modulation destination Osc Balance Oscillator 1 HyperSaw This information only applies to oscillator 1 in HyperSaw mode VIRUS T 86 Mode Accessible from the panel via SHIFT oscillator SHAPE gt Classic HyperSaw WaveTable Selects the basic type of oscillator Density Accessible from the panel via the oscillator SHAPE knob gt 1 0 to 9 0 The number of sawtooth waves used The vol umes are cross faded for completely smooth transitions Modulation destination Osc1 Shape Spread Accessible from the panel via WAVE SELECT PW gt Oto 127 Detuning of individual sawtooth waves within the HyperSaw Modulation destination Osc1 Pulse Width 64 to 463 Adjusts the relative 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
54. Factor to maximum 15 4 Set Gain to maximum 16 and Frequency to around the centre 747 8 The sound should now be rather nasal Press LFO1 SELECT repeatedly until you see the page containg the Assign Target parameter Change this to EQ Mid Frequency and Amount to 32 The result is an auto matic wah wah effect which is independant of the filter section try adjusting CUTOFF RESONANCE and ENV AMOUNT The following effects are accessed using the lower half of the effects section Distortion Especially if you remember your experiments using Saturation this effect should be fairly obvious the names of the distor tion types are the same The difference between filter Saturation and effect Distortion is that the former 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 VIRUS TI 42 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 The difference is often subtle but well worth trying out after you have programmed a basic sound Chorus Chorus is especially useful to give pads more movement In combination with Feedback the Chorus in your Virus is also capable of Flanging and other related effects Restore
55. HS 050 Kofi B HS 058 MaxiMin HS 066 NewStrumHS 074 Pickles HS 082 PurrBassHS 090 ScrapyrdHS 098 Snakeye HS 106 Sugar2 HS 114 TownshipHS 122 Warbell HS 003 Aah Vin HS 011Brash HS 019 DaBirds HS 027 DX File HS 035 Floooot HS 043 HardOne HS 051 Kordeon HS 059 McCloud HS 067 Nocoder HS 075 PlecBassHS 083 PutzFrauHS 091 SeaThreeHS 099 SpaceP2 HS 107 Sugar5 HS 115 Trancit HS 123 Wendy HS 004 Acidica HS 012 Cadmium HS 020 DayDreamHS 028 Elohim HS 036 FlyingT HS 044 HillAgesHS 052 LA Lore HS 060 McNasty HS 068 OffTopicHS 076 Pluto HS 084 PyroFlowHS 092 SirNevilHS 100 Species HS 108 SunChildHS 116 TrebleB HS 124 WetspaceHS 178 005 AnlogBD HS 013 Clox HS 021 DinoArp HS 029 EmPyre HS 037 Funk U HS 045 05 02 5 053 Latex 2 HS 061 MoonriseHS 069 Old Brs HS 077 Polytix HS 085 Q Fatty HS 093 Sitar2 HS 101 Squink HS 109 Synthar HS 117 Trombic HS 006 AnyMusicHS 014 CutBrassHS 022 Dis Go HS 030 EP Faze HS 038 GlasBirdHS 046 ImpOsc03HS 054 Latinum HS 062 Movmnt2 HS 070 PanDora HS 078 PourDry HS 086 Qricket HS 094 Skrape HS 102 Stabber HS 110 Tack HS 118 Trumps HS 125 WndChimeHS 126 X Mover HS 007 AutobahnHS 015 CuttaD6 HS 023 Doyoyng HS 031 FilmTrpsHS 039 GlasGlisHS 047 lonFlux HS 055 Lobster HS 063 MowGrassHS 071 Phase 2 HS 079 ProFit HS 087 RezBass HS 095 SlaplandHS 103 StarBeesHS 111 TankYou HS 119 UnstableHS 127 YouWish HS ROM D 000 5 1973 9 008 AnlogFeel 016 Bore lis 0
56. ID EQ Q Factor see Q Factor on page 68 If LOW or HIGH EQ is selected this knob is inactive SHIFT TIME COLOR as well as SHIFT FEEDBACK DAMPING will control the other parameter if both are available in the selected effect SOUND PARAMETERS REFERENCE Delay Send Accessible from the panel via the SEND knob gt 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 Mode Off No Delay effect Simple Delay Standard delay effect the left and right chan nels have the same nominal delay times gt Ping Pong 2 1 Ping Pong 8 7 The left and right channels have different delay times indicated by the ratio gt Pattern 1 1 Pattern 5 5 The left and right channels can have different delay times Pattern modes are always syn chronized to the Clock The TIME COLOR knob controls the Coloration parameter see Coloration on page 65 VIRUS T Clock gt 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 via the TIME COLOR knob Delay Time 0 0 ms to 693 6 ms Non synchronized delay expressed in milliseconds This values is used if Clock see above is set to Off Available from the panel via the TIME COLOR knob Modulation destination Del
57. IDI output instead of the original played notes Program Change gt Disabled Enabled Specifies whether the MIDI message Program Change will switch Single programs This applies to programs in Single mode as well as PARTs in Multi or sequencer mode CONFIGURATION REFERENCE Multi Prog Change Disabled Enabled Specifies whether the MIDI message Program Change will switch the entire Multi Mode program if received on the global MIDI channel see Global Channel on page 126 MIDI Dump RX Receive Dump The Virus automatically recognizes the type of data appearing at its MIDI input Whenever individual programs are received they will appear in the Edit Buffer see glossary and must be explicitly stored see STORE on page 99 Therefore the fol lowing options only apply when receiving entire banks Disable Program data arriving at the MIDI input will be ignored VIRUS T 128 gt Enable Bank data 128 sounds will be stored to the Bank from which it was originally dumped regardless of which bank is currently selected gt To Bank A Bank data is always stored in bank A gt To Bank B Bank data is always stored in bank B gt To Bank C Bank data is always stored in bank C gt To Bank D Bank data is always stored in bank D gt To Edit Buffer Incoming bank data is not stored but is treated as a series of individual programs These will appear sequentially in the edit buffer useful
58. IT SEND TIME COLOR FEEDBACK DAMPING EG GAIN EG FREG EG G FACTOR ANALOG BOOST CHORUS PHASER e e 2 6 0 AR 0 12 SELECT EDIT INTENSITY 41 DELAY Restore ROM A127 and select DELAY in the effects section Set all the following knobs to their central positions 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 try adjusting the same three knobs now SEND TIME and DAMPING EQ Although often overlooked the 3 band equalizer is a very pow erful feature of the later Virus models Of course EQ can be used in a conventional way to manipulate the overall tonal character istics of a sound but at least the MID band can be used a little more creatively than that FIRST STEPS Restore ROM A127 Transpose down an octave Select MID EQ in the EFFECTS section The three knobs now control EQ GAIN EQ FREQ and EQ Q FACTOR respectively Experi ment with these knobs to change the character of the raw oscillator sound for a while then try this Make sure MID EQ is still selected press EDIT and set the Q
59. LegacybsSV 067 MstrBrn SV 075 Pad me SV 083 PurpleTBSV 091 Smoky303SV 099 TB ball SV 107 TranzistSV 115 Use Me 1SV 123 Wildie SV 004 AlphA IISV 012 BoomahMgSV 020 Commers2SV 028 Deepest SV 036 Dub seq SV 044 FM stickSV 052 Groggy SV 060 MantorokSV 068 My 909snSV 076 ParadiseSV 084 Q Games jh 092 SmokyBasSV 100 TB cat SV 108 TrippyTBSV 116 V Claps SV 124 WoodenbsSV 190 005 AnachronSV 013 Breezer SV 021 CosmicA SV 029 Deutsch SV 037 DubstickSV 045 FrancaisSV 053 HipclaviSV 061Mars SV 069 Nasal TBSV 077 PearlpadSV 085 RavinmadSV 093 Spazer SV 101 TechnoidSV 109 TrncslidSV 117 V Hats SV 125 Y music SV 006 Analand SV 014 C Break SV 022 Cozze SV 030 DigipnchSV 038 EeriebedSV 046 Funkeys SV 054Hows SV 062 MatricesSV 070 NeoworldSV 078 ProjectXSV 086 Red sawsSV 094 SunorganSV 102 TeeZee SV 110 twinkle SV 118 VA windzSV 126 Yakujim SV 007 Angels SV 015C cup SV 023 CybrlifeSV 031 Digirains V 039 Fishy C SV 047 FutureMgSV 055 I saw aCSV 063 Metalic SV 071 Neurons SV 079 Proto EPSV 087 Redline3SV 095 Swing C SV 103 TimefluxSV 111 Two keysSV 119 Vertigo SV 127 Zeepad SV ROM P 000 CC 008 AussieLdCC 016 C4Phone CC 024Zooz SV 032 EarthLd CC 040 Flower CC 048 Gargara CC 056 J oeZ Vc CC 064 Lullaby CC 072 MgStereoCC 080NN1 CC 088 OB Tero CC 096 People1 104 S amp HSeq2 CC 112 SubBass CC 120 Vi bass4CC 001 50 CC 009 B Boys CC 017Ciko CC 025 DiganOB CC 033 Entropy MH 04
60. O1 modulates the total level of all signals before entering the filters Modulation destination LFO1 gt Filter Gain 59 Assign Target Off Amp Env Attack WaveTable 2 Index Select from a list of available destinations for LFO1 Amount gt 64 to 63 How much LFO1 modulates the Target parameter Modulation destination LFO1 Assign Amt SOUND PARAMETERS REFERENCE LFO 2 Destinations Cutoff 2 64 to 463 How much LFO2 modulates filter 2 cutoff fre quency Like automating the CUTOFF 2 knob Modulation destination LFO2 gt C utoff2 Cutoff 1 gt 64 to 63 How much LFO2 modulates filter 1 cutoff fre quency Like automating the CUTOFF knob when Cutoff Link see Cutoff Link on page 119 is switched off Modulation Shape 1 2 destination LFO2 Cutoff1 gt 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 time Modulation destination LFO2 gt Shape Cutoff 1 2 gt 64 to 63 How much LFO2 modulates filter 1 and filter 2 cutoff frequencies simultaneously controlling the other two values in this page Like automating the CUTOFF knob when FM Amount Cutoff Link see Cutoff Link on page 119 is switched on gt 64 to 63 How much LFO2 modulates the amount of fre quency modulation Like automating the FM AMOUNT knob and CUTOFF 2 is set to 0 Modulation destination LFO2 g
61. OLUME Ring modulation means multiply ing two signals together Like FM the result is highly depend ent upon the basic frequencies and complexity of the two sources For pure bell like tones use Sine waves only Restore ROM A126 take SHAPE down to minimum Select oscillator 2 and do the same Turn OSC VOLUME down to minimum and RING MODULATOR SHIFT NOISE VOLUME up to maximum Turn amplifier RELEASE up to around 90 select oscillator 2 and experiment with the SEMITONE knob The Modulators Section MOYULATORS LFOs Low Frequency eun Oum Oscillators are often e en used to add some e ex cyclic movement to on otherwise static EDIT MODE SHAPE WAVE RATE sounds There are oe three LFOs in your e osc e e cr e y oes core Pima Virus and each one pw sure has a different assort eu ment of preset desti FILTGAIN Pan nations it can SELECT ASSIGN modulate directly SELECT ASSIGN SELECT The three SELECT buttons are used to switch between LFOs the upper row of buttons and the RATE knob will only apply to the LFO you select here Try pressing the LFO2 SELECT button turn the RATE knob and see which white LED changes speed Here s another experiment Restore ROM A126 The row of LEDs to the right of the LFO1 and LFO2 SELECT buttons indicate which parameters you can modulate directly For LFO1 these are Oscillator 1 pitch OSC 1 Oscillator 2
62. P 080 ProWeed HS 088 RoboPad RP 096 Str WoW RP 104 TF Bass RP 112 TranQ SV 120 Vitar RP 001 2 Burst RP 009 AnyMusicHS 017 Be Two RP 025 DaChurchSV 033 FenderB RP 041 IQsnare RP 049 LowKick RP 057 MO TJO RP 065 O ME 2 RP 073 Pac it SV 081 PsychordSV 089 Sadings RP 097 Strings RP 105 The BD2 RP 113 V CI HH RP 121 Vo Pad RP 002 2 Chord RP 010 Arp BD2 RP 018 Borgano SV 026 DarkTombSV 034 Filters RP 042 K Organ RP 050 Mandoid HS 058 MooBass RP 066 Oby Pad RP 074 Pad Flg RP 082 Q Fatty HS 090 SFX X RP 098 T 8 RP 106 TheBirdsHS 114 V Op HH RP 122 VR 78 1 RP 003 68 CreakHS 011B Kewl SV 019 BPM Pad RP 027 DeeBass RP 035 GlasStrgSV 043 Knock B HS 051 MAXWave RP 059 Mover RP 067 Oh Bee SV 075 Padings RP 083 Q Teck RP 091 SH 123 RP 099 T Dream RP 107 Ting RP 115 Varpeg RP 123 VR 78 2 RP 004 7thC ord RP 012 BabyBee HS 020 Chord U RP 028 Dis BD RP 036 Go Bass RP 044 Kofi B HS 052 McCloud HS 060 MS 10 2 RP 068 Omnef RP 076 Phasa RP 084 QT Soft RP 092 SoLead RP 100 TD Seq RP 108 Ti Bell SV 116 Velo Me RP 124 Windo RP Patches By Cosmic Dreamer SV Howard Scarr HS and Rob Papen RP VIRUSI TI 184 005 805 RP 013 BandPad RP 021 Club To RP 029 DSP V RP 037 Hawsch RP 045 Kordeon HS 053 McDonna SV 061MS 99 RP 069 Oz Lead RP 077 PickGTR RP 085 Raw Saw SV 093 Sorry RP 101 TE T42 RP 109 TljLinerSV 117 VeloPEW RP 125 X Mean RP 006 BASS RP 014 Baryon HS 022 Cord 1 RP 030Ease RP 038 Hend
63. PE SECTION 10 11 11 12 13 14 16 17 17 20 21 THE FILTERS SECTION THE FILTER ENVELOPE SECTION THE OSCILLATORS SECTION THE MIX SECTION THE MODULATORS SECTION THE MATRIX SECTION THE ARP SECTION THE EFFECTS SECTION THE MASTER SECTION HYPERSAW AND WAVETABLE Sound Parameters Reference ARP ARPEGGIATOR MATRIX SLOT MODULATORS LFO 1 LFO2 LFO 3 24 29 30 35 37 39 40 41 44 47 50 50 53 53 55 56 58 58 LFO 1 DESTINATIONS LFO 2 DESTINATIONS LFO 3 DESTINATION EFFECTS UPPER ROW DELAY REVERB LOW EQ MID EQ HIGH EQ EFFECTS LOWER ROW DISTORTION ANALOG BOOST CHORUS PHASER VOCODER VOCODER TABLE INPUT FOLLOWER INPUT RING MODULATOR OSCILLATORS OSCILLATOR 1 CLASSIC OSCILLATOR 1 HYPERSAW OSCILLATOR 1 WAVETABLE OSCILLATOR 2 CLASSIC OSCILLATOR 2 HYPERSAW OSCILLATOR 2 WAVETABLE OSCILLATOR 3 COMMON SUB OSCILLATOR NOISE VIRUS TI 58 60 61 63 64 65 67 68 69 69 70 71 72 74 78 79 80 81 84 86 88 89 91 94 95 97 98 RING MODULATOR MASTER COMMON UNISON VELOCITY MAP INPUTS SURROUND CATEGORIES SOFT KNOB STORE STORE MIX FILTERS SATURATION FILTER 1 FILTER 2 COMMON FILTER ENVELOPE AMP ENVELOPE FILTER ENVELOPE AMPLIFIER ENVELOPE Configuration Reference RANDOM PG MIDI MIDI DUMP RX 98 99 102 105 106 107 108 108 109 110 110 111 113 114 115 117 118 119 120 122 123 1
64. RAMETERS REFERENCE STORE Patch No gt Oto 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 Store below To save the current program under the same name to the same position RAM only press STORE three times in succession To abort any of these functions press the EXIT button Patch Name dynamic Displays the name ofthe program currently in the location of Patch No To name the new patch press STORE a s econd time Destination RAM A to RAM D Select a bank to store to Editing the Patch Name Dump Single Send the current program via MIDI to an d g metar external device e g computer or another Virus When you gt dynamic Use the PARAMETERS buttons as cursor and are ready to transmit the program e g another Virus is con any of the VALUE knobs buttons to change the character nected via MIDI or your sequencer has started recording When you have finished press STORE a third time to finally press STORE again save your program VIRUS 110 MIX This section controls the relative levels of all sound sources except audio inputs The MIX section has no EDIT button you will find all MIX parameters in the oscillators edit menu OSC BALANCE Cross fade between oscillator 1 and oscillator 2 See Balance on page 86 PANORAMA Via SHIFT OSC BALANCE Position of the signal output acr
65. ROM A126 select CHORUS and turn the MIX level up to 64 via the TYPE MIX knob Experiment with the INTENSITY knob controls Feedback Press the lower EDIT button once and try out all those other parameters Phaser This is a very good emulation of a multi stage analogue phaser using up to six so called All pass filters The parameters are similar to those for Chorus but here you cannot select a Mod Wave it is always Triangle The Stages parameter specifies the number of allpass filters used and the Spread parameter sets how far apart their cutoff frequencies are Starting from ROM A126 turn down OSC VOLUME turn up NOISE VOLUME and try out all the Phaser parameters 43 FIRST STEPS The Master Section If you have carried out all the little experiments in this chapter so far you should be quite familiar with how the S EXIT SHIFT PARAMETERS BANK and VALUE PROGRAM buttons work in SINGLE mode Which leaves us with the following TAP tum m Use this button to change the Clock rate by ear Select the program ROM A9 Boingy HS and activate the HOLD function SHIFT ARP ON Play some notes on your keyboard then try tapping the TAP button slower than the current BPM the arpeggio will be slowed down STORE UNDO RANYOM REYO MULTI EDIT Via SHIFT EDIT This is only used in Multi mode see Multi Mode Reference on page 139 5 AUYITION CONFIG Press this button for access to many gl
66. S 121 Wheee HS Patches by Howard Scarr HS 002 AT Mini HS 010 BowBouncHS 018 CptKork HS 026 Dread 0 HS 034 Easter1 HS 042 FunctionHS 050 J Edgar HS 058 Macho HS 066 MoonWeedHS 074 Orange HS 082 PingOrg HS 090 Qatsi HS 098 SidKid HS 106 Squoid HS 114 TweakMe HS 122 WishBom HS 003 AwashBs HS 011 Bronze HS 019 Cremoma HS 027 Dublyoo HS 035 EkoRoad HS 043 Ganges HS 051 J amMini HS 059 Manfman HS 067 Multasm HS 075 Oscar1 HS 083 Pit Str HS 091 Quack HS 099 SimSyn HS 107 Sunder HS 115 TwoOfUs HS 123 WoodyBs HS 004 Backing HS 012 BubbIX HS 020 DancePn HS 028 DX Pno1 HS 036 Everest HS 044 GateRim HS 052 Jawdan HS 060 MarkOne HS 068 MW StepsHS 076 Outpost HS 084 Pizza HS 092 RadioG HS 100 SinSolo HS 108 Tabloid HS 116 Untune HS 124 X Didge HS 181 005 BadTape HS 013 CantburyHS 021 Dangelo HS 029 DX Pno2 HS 037 Expense HS 045 Goomby HS 053 J azRoad HS 061 MarsAtx HS 069 Nowhere BC 077 PanShakeHS 085 PlukalogHS 093 Raspry HS 101 Slapska HS 109 TheDome HS 117 Vanilla HS 125 X Werx HS 006 Begin HS 014 ChaosBelHS 022 DB Goer HS 030 DX Pno3 HS 038 Flats HS 046 Ham amp X HS 054 J uicOrg HS 062 Meddle HS 070 NylSolo HS 078 PataFiz HS 086 PopCorn HS 094 Saloon HS 102 SpacePadSV 110 Thustra HS 118 Voodoo HS 126 Xyrimba HS 007 BellBoy BC 015 Choir2 HS 023 DinoBassHS 031 Dynette HS 039 Flutes HS 047 Harpsie HS 055 Kitchen HS 063 MelloVI HS 071 Oboe HS 079 PeaceOrgHS 087 Prions HS 0
67. Virus TI User Manual English Revision 1 0 4 Copyright 2004 2005 Kemper Digital GmbH All rights reserved Written by Howard Scarr 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 for informational use only is subject to change without notice and should not construed as a commit ment by Kemper Digital GmbH Kemper Digital GmbH assumes no responsibility or liability for any errors or inaccura cies that may appear in this book Except as permitted by such license no part ofthis 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 All other trade marks contained herein are the property of their respective owners All features and specifications subject to change with out notice Visit our website here www access music de VIRUS T Table Of Contents Introduction WELCOME THE VARIOUS CHAPTERS SAFETY PRECAUTIONS MAINTENANCE THE REAR PANEL SETTING UP SWITCHING ON AND OFF SELECTING PROGRAMS ABOUT THE MENUS DIFFERENT WAYS OF WORKING ABOUT USB CONNECTION CREATING NEW SOUNDS ABOUT POLYPHONY First Steps CHEESE FOR STARTERS THE AMPLIFIER ENVELO
68. 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 of OSC VOLUME that s why the knob for these parameters is located below it Here s a short practical demonstration Restore ROM A126 and change SEMITONE oscillator 1 to 5 Hold down a note on your keyboard and listen to what happens as you turn up the following FM AMOUNT the OSCILLATORS section 20 SUB OSCILLATOR 80 NOISE VOLUME 80 RING MODULATOR SHIFT NOISE VOLUME 80 Now turn OSC VOLUME all the way down Which sources can you still hear and why FIRST STEPS The upper half at least of OSC VOLUME also has another important job It controls the amount of filter saturation men tioned a few pages earlier The idea was to make OSC VOLUME similar to the gain control on a guitar amplifier the signal starts distorting when you turn it up too high NOISE VOLUME Simply the volume of the Noise generator PANORAMA Via SHIFT OSC BALANCE Pans the entire program across the stereo outputs OSC 3 VOLUME Via SHIFT SUB OSC VOLUME The volume of oscillator 3 when it 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 VIRUS T 36 RING MODULATOR Via SHIFT NOISE V
69. acial M 052 HIDEson M 060 marimba4zs 068 NoFuture M 076 ReBird M 084 ShineC hrdJ 092 Softi J 100 sqPadMM zs 108 UfO 4 M 116 videoG2 zs 124 yahy zs Patches by J oerg Schaaf J Matthew Stolley M and Zack Steinkamp zs 185 005 AnHigh M 013 Basslk 021 Cavsak M 029 deciDAT4zs 037 Dry Bass J 045 FePudn zs 053 HiWaves jh 061 MeBad M 069 orguit zs 077 resPad zs 085 shivrPd zs 093 SoftSeq J 101 squar00 zs 109UKG BC 117 videoG4 zs 125 Yeao M 006 Arcade BC 014 basting zs 022 cirqStb zs 030 dirty zs 038 dstStep zs 046 FlutDrumBC 054 IndustryBC 062 Menace M 070 Plead M 078 Reverse J 086 sineZZZ zs 094 sofueMODzs 102 SrGoo M 110UKG2 BC 118 waowLd zs 126 ZartPad J 007 Atlas J 015 basting2zs 023 CLEeeN M 031 Donky BC 039 Dubsak M 047 fnkStrg zs 055 LepY2 zs 063 MONose zs 071Pluka zs 079 rmBack zs 087 sinMorf zs 095 SoSad M 103 step2it zs 111 V Acid 4 M 119 Weazel M 127 Zupfi J ROM K 000 7thHeavn S 008 Bassta JS 016 BIG FLY JS 024 Cold Saw S 032 DreBeat jh 040 FM Sequ jh 048 Glitch OK 056 Impact MS 064 Laville J S 072 Moving JS 080 Outland J S 088 Puls4thsBC 096 Rough JS 104 SmoothBsBC 112 Tight JS 120 Wailin JS 001 RESOJS 009 Basstard S 017 Birdy JS 025 Concrete 5 033 Dukbass BC 041 For Deep 5 049 Goa4 itJ S 057 Induced J S 065 Lead JS 073 Nasty JS 081 Overload S 089 Pulsic JV 097 Scan ob JS 105 Soaker JS 113 Tubez JS 121 WalkaArp S 002 Anabolic S 010 B
70. all i e they store all plug in settings together with the song data The Page Selector After selecting a Part and loading a sound from memory it can be edited using the different VirusControl pages EASY OSC FILTER LFO MATRIX ARP FX and COMMON The other two pages BROWSER and especially REMOTE are likely to be used less often while working on a song The Information Bar 00x Atthe bottom of the VirusControl window you will find a bar dis playing the complete parameter name its current value and the original value before editing This is updated each time you adjust any control The arrows on the right lower side indicate that a communication link has been established Easy Page Qoccess The Easy Page gives you access to some ofthe most com monly used parameters so you can adjust them on the fly The large central dial is a combination control for filter Cutoff and Resonance at the same time Browser Page Qeccess VirusC ontrol s Browser page is a sound librarian used for organ izing all your programs the hardware s memory as well as on the computer s hard drive as standard MIDI files Banks are selected using the red drop down menu you will see above each list VirusControl includes a sophisticated algorithm to keep the con tents of the browser in sync with the TI hardware S RAM banks Whenever VirusControl is started it checks whether any of these programs have changed in the mean
71. an be mounted in a 19 need replacing after 4 or 5 years by a qualified service techni rack without requiring free space above the back panel cian Remember to backup your data beforehand Many owners will consider themselves skilled enough to attempt the following themselves although this should ideally be done by a professional technician The Rear Panel u Important notice Kemper Digital GmbH takes no responsibility whatsoever for any damage incurred while attempting to carry out these instructions Sockets TA m What you will need A flat and soft working surface e g your gt USB Audio and MIDI communication with computers couch a bowl or similar for the screws a suitable crosspoint gt MIDI IN OUT THRU The usual trio screwdriver and hexagonal key m Remove any attached cables and turn the unit upside down gt S PDIF Digital audio 1 0 Remove the end cheeks using the hexagonal key gt INPUT Audio input jacks m Using a small cross point screwdriver remove the 6 screws in the baseplate Carefully remove the baseplate and set it aside gt OUTPUT 1 Main audio output jacks for the moment Remove the 6 screws between the rear panel sockets gt OUTPUT 2 3 Additional audio output jacks m 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 gt 12V DC IN desktop model Power supply input socket connector from its socket on th
72. and Rate Follow types can be used to emulate the tonal characteristics of early digital syn thesizers and samplers You may not like these at first but they can certainly add grit to a sound VIRUS T 28 Finally you should try out the four additional saturation types which are actually additional filters High F ollow is especially useful for thinning out a sound without using filter 1 for this purpose The Filter Envelope Section This obviously has the same structure as the amplifier envelope Using 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 110 FILTER ENVELOPE ATTACK DECAY SUSTAIN RELEASE SUSTAIN SLOPE 29 FIRST STEPS The Oscillators Section This is where the raw sound is generated There are three main oscillators but only one set of knobs in the top row so we ll start with a very important button the one that selects which particular oscillator you want those knobs to control OSCILLATORS adus UE a MEVS 20 5 o 5 5 o o b D 5 C WAVE 0 18 48 448 0 18 MOYE PORTAMENTO UNISON YETUNE eos osc3 A o e e e e i 3 o o o 0 12 SELECT EDIT OSC3ON MONO SYNC FM AMOUNT e NC FM MOYE VIRUS
73. anel via the TYPE MIX knob Off Distortion is disabled Light Soft Medium Hard Four analog style distortion curves with differing characteristics Digital Digital clipping Can even turn a Saw wave into a square wave Wave Shaper A sinusoidal waveshaper the effect of which is often similar to linear FM Note that the results of the Shaper are highly dependant upon the signal level see OSC VOLUME on page 111 and INTENSITY below Rectifier Full wave rectification with subsequent DC com pensation See glossary gt Bit Reducer Variable reduction of bit depth For generating the digital quantization effects typical of early samplers and digital synthesizers VIRUS TI 70 gt Rate Reducer Variable reduction of sampling rate For gen erating the aliasing effects typical of early samplers and dig ital synthesizers gt 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 gt High Pass Single pole high pass filter for variable reduction of low frequencies Also included for compatibility reasons Intensity Accessible from the panel via the INTENSITY knob gt Oto 127 Generally determines the amount of effect In the two filter models see Low Pass and High Pass above this is the cutoff frequency Modulation destinati
74. ank and Program parameters in the first page are used to copy existing Singles into the current Part If you do this by mistake just press UNDO before adjusting any other parame ters Tip Save your Multi programs regularly Part Enable gt Off On Specifies whether the selected Part is active Bank Also directly available from the panel when this menu is closed via SHIFT PARAMETERS gt Ato T Selects the bank from which a Single program is automatically copied into the current Part Program Can be stepped when this menu is closed via SHIFT VALUE gt Oto 127 Selects the Single program to be automatically copied into the current Part Volume 64 to 463 Bipolar parameter for balancing levels between different Parts Panorama 64 to 463 Stereo position of the Part Overrides overwrites the Single parameter of the same name see Panorama on page 103 MIDI Channel gt 01 to 16 The MIDI channel to which this Part will respond 141 Output Specifies Part output gt Out1 L Out3 R Sends this Part to the selected analogue output jacks Transpose gt 48to 48 semitones Part transposition Adds subtracts from the Single parameter of the same name see Trans pose on page 103 Detune 64 to 463 Tunes all pitched elements oscillators filters within a fairly narrow range MULTI MODE REFERENCE Priority Low High Specifies whether note stealing see glossary
75. ard 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 to a SINGLE program plus a few additional parameters such as MIDI channel fine tuning key range etc Unlike earlier Virus models and many other synthesizers MULTI programs in the Virus TI do not simply reference individ ual sounds but actually contain the data including all effects Multi mode is therefore predestined for more complex pro grams Whenever the Bank or Patch parameters see Patch on page 140 are changed the corresponding Single program is copied into the current Part of the Multi program For details about Multi mode parameters see the Multi Mode Reference on page 139 VIRUS T 14 Sequencer mode Whereas Multi mode offers maximum flexibility for layering sounds defining keyboard splits etc Sequencer Mode is usu ally the better choice for multitrack MIDI sequencing purposes Press the MULTI and SINGLE buttons at the same time or start the VirusC ontrol application see below Sequencer Mode accesses an area of memory containing 16 Single pro grams It couldn t be simpler the MIDI channel is always the same as the PART number 1 to 16 Remote mode The Virus TI can be used as a MIDI controller i e the controls can be configu
76. assing others outside this range m Beating Rhythmic effect usually caused by two oscillators almost but not quite in tune with each other Noticeable beating also occurs between sine oscillators that are nearly an octave fifth or fourth apart m Bipolar Possible values can be negative as well as positive This term can apply to Amounts as well as modulation sources e g LFOs Pitch Bender Key Follow m Bus A common 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 frequency 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 modula tor Category Classification of programs e g Bass Lead Drums etc CC two digit number MIDI continuous controller number MIDI standard index of physical controls Several of these numbers have been speci fied e g Modulation wheel CC 01 volume control 2 CC 07 hold sustain pedal CC 64 etc The list of sources in the Virus modulation matrix includes several of these Channel Pressure Monophonic Aftertouch often simply called Aftertouch MIDI data caused by pressing harder on the keyboard after playing notes See Key Pressure Clock APPENDIX B GLOSSARY Regular signal used for synchronization purposes e g LFO
77. at 64 and take DECAY back up to around 40 FIRST STEPS RELEASE Turn the RELEASE down to minimum the original value is 4 Then while playing notes on your keyboard gradually turn it up again The sound fades more slowly after you release keys Set RELEASE to around 40 the amplifier envelope now looks something like this LEVEL All the red labelling blue in the case of the Pelar model you can see on the panel identifies the SHIFT functions 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 22 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 future SUSTAIN SLOPE Via SHIFT SUSTAIN If SUSTAIN SLOPE is set to any value other than 0 the sustain phase which is normally flat turns into a gradient Note On Note Off TIME Take SUSTAIN SLOPE down to 32 Negative values cause the sustain phase to fall eventually reaching silence you can check this by playing a relatively long note on your keyboard So what do positive SUSTAIN SLOPE values do to an enve lope The sustain phase rises eventually reaching maximum if you don t release the note beforehand Set SUSTAIN SLOPE to 32 and
78. ay Time Feedback Mod Rate gt 0 to 127 For repeated delays Determines how much of the Oto 127 The speed ofthe delay LFO Modulation destination output signal is fed back into delay input affecting the Delay Mod Rate number of audible repeats Modulation destination Delay Feedback Mod Depth gt Oto 127 The amount of modulation applied to Delay Time by the delay s own LFO Note that the left and right channels are affected differently so this parameter can be used to create stereo effects Modulation destination Delay Mod Depth Coloration Mod Shape 64 to 463 Applies progressive filtering within the feedback path see Feedback above Negative values make repeats successively mellower whereas positive values make them brighter Modulation destination Delay Coloration Sine Triangle Sawtooth Square S amp H S amp G The delay LFO s waveform Use S amp G for tape echo type effects Reverb 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 65 SOUND PARAMETERS REFERENCE In the signal path delay and reverb are routed in series i e the dry signal plus any delay is sent to the reverb input Mode Off No effect All other parameters will not be visible Reverb Standard reverb effect with predelay see Prede lay parameter below Feedback 1 Reverb effect with a feedbac
79. below the cutoff point to pass through Note that Resonance see Resonance on page 115 effectively narrows this band making the effect actually more subtle gt Analog 1 Pole Analog 4 Pole Emulation of a classic ana log cascade or ladder filter but with a variable number of poles In this mode the Saturation Type see Type on page 114 is ignored itis replaced by MiniMoog style fil ter saturation This type is interesting for experimentation often yielding surprising results when the resonance is set very high Key Follow Accessible from the panel via SHIFT ENV AMOUNT when filter 1 is selected gt 64 to 63 How much cutoff follows the MIDI note and pitch bender See Key Follow Base on page 119 Env Polarity Positive Negative The effect of Env Amount on filter 1 can be inverted by setting this parameter to Negative Filter 2 Cutoff Accessible from the panel via CUTOFF 2 gt 0 to 127 or 64 to 63 Filter 2 threshold frequency If Cutoff Link see Cutoff Link on page 119 is active filter 2 cutoff becomes a bipolar offset to filter 1 instead of an absolute value Modulation destination Filter2 Cutoff Resonance Accessible from the panel via RESONANCE ff filter 2 is selected gt Oto 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
80. bles aux appareils numerique de la Class prescrites dans la reglement sur le brouillageradioelectrique edicte par le Ministre Des Communication du Canada This only applies to products distributed in Canada Ceci ne s applique qu aux produits distribues dans Canada OTHER STANDARDS REST OF WORLD This product complies with the radio frequency interference requirements of the Council Directive 89 336 EC Cet appareil est conforme aux prescriptions de la directive com munitaire 89 336 EC Dette apparat overholder det gaeldenda EF direktivvedroren dareadiostoj Dieses Ger t entspricht der EG Richtlinie 89 336 EC 192 157 APPENDIX A LEGAL DECLARATIONS DECLARATION OF CONFORMITY The following devices ACCESS VIRUS TI DESKTOP ACCESS VIRUS TI KEYBOARD ACCESS VIRUS TI POLAR are hereby declared to conform with the requirements of Council Directive 89 336 FWG for radio frequency interference 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 K nigswall 6 45657 Recklinghausen Germany VIRUS T 158 WARRANTY REGULATIONS The Kemper Digital GmbH warranty covers all defects in mate rial and workmanship for a period of 24 months from the date of origi
81. col before attempting to create your own templates VIRUSCONTROL Common Page This page contains all parameters from the Virus 5 master edit menu see EDIT MENU on page 102 VIRUS T 154 T Appendix 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 COMPLIANCE FCC INFORMATION U S A IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions con tained in this manual meets FCC requirements Modifications not expressly approved by KEMPER DIGITAL GMBH may void your authority granted by the FCC to use this product IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FCC authorisation to use this product in the USA NOTE This product has been tested and found to comply with the requirements listed in FCC Regulations Part 15 for Class digital devices Compliance with these requirements vides a reasonable level of assurance that your use of this product in residental environment will not result in harmful interference with other electronic devices This equipment gen erates uses radio frequ
82. d run within any professional host program As long as the host programs runs smoothly so will VirusControl Installation Simply insert the installation CD and follow instructions If you have any problems with VirusControl installation please refer to the README file you will find on the CD Also check www access music de for VirusControl updates Especially if your host application uses a wrapper you should rescan all plug ins immediately after installing new versions of VirusControl Apple Mac Specifics VirusControl automatically recognizes patches saved as stand ard MIDI files format 0 in one of the following folders We rec ommend to use the Virus TI folder within the public library User Library Library Application Support Access Music Virus TI Patches 147 Public Library Library Application Support Access Music Virus TI P atches User Patches Documents Access Music Virus TI Patches If you have a large number of banks you may wish to keep them in separate sub folders these will also be recognized by Virus Control Windows PC Specifics VirusControl automatically recognizes patches saved as stand ard MIDI files format 0 in the following folder C My Documents Access Music Virus TI Patches If you have a large number of banks you may wish to keep them in separate sub folders these will also be recognized by Virus Control VIRUSCONTROL The VirusControl Plug In The VirusControl appl
83. data You may have noticed the User Pattern in the TI arpeggiator s EDIT menu each and every program in the Virus TI can have its own custom designed arpeggio W Selecting a PATTERN in the upper field will load this into the pattern editor m The upper row of knobs set a velocity offset for each step Alternatively the bars can be dragged up and down W The row of buttons switch steps on or off VIRUS T 152 W Beneath the bars is a small triangular symbol with the label END Drag this horizontally to define the position at which the arpeggio will restart The lower row of knobs sets note length Alternatively the bars in the window can be dragged horizontally FX Page Control over all the Virus TI effects including Envelope Follower and Vocoder on a single page m The knobs labelled FB in the Phaser Chorus Delay and Reverb panels control the Feedback parameters Remote Page This page is used for making your own custom remote tem plates for when you would like to use the Virus TI hardware as a control surface for other MIDI devices The 32 remote templates currently in your Virus TI are displayed in the upper field dou ble click on one of these to load the corresponding template Knob functions are defined by clicking on one of the knobs entering a system exclusive string and optionally a name for the function Note that you will need detailed information about the target device s SysEx proto
84. e Saturation Accessible from the panel via OSC VOLUME Resonance gt 64 to 63 See Osc Volume on page 96 Because the OSC Accessible from the panel via RESONANCE VOLUME knob also controls saturation this parameter changes its name depending on the value Please remember gt Oto 127 Accentuation of the filter 1 Cutoff frequency The that some saturation types especially Wave Shaper already actual effect of resonance depends on the selected Mode take effect below the central position see below Modulation destination Filterl Resonance 115 SOUND PARAMETERS REFERENCE Env Amount Accessible from the panel via ENV AMOUNT when filter 1 is selected gt Oto 127 The amount of filter envelope applied to filter 1 Cutoff Note that this effect can be inverted see Env Polar ity on page 117 Modulation destination Filter 1 Env Amount Mode Accessible from the panel via the FILT1 button except the Analog modes gt Low Pass LP Allows frequencies below the cutoff point to pass through i e rejects those above the cutoff point High Pass HP Allows frequencies above the cutoff point to pass through i e rejects those below the cutoff point VIRUS T 116 gt Band Pass BP Allows frequencies close to the cutoff point to pass through i e simultaneously rejects those above and below the cutoff point gt Band Stop BS Rejects frequencies close to the cutoff point i e allows frequencies above or
85. e from the panel via FM AMOUNT gt Oto 127 The intensity of frequency modulation Modulation Detune destination FM HyperS ync Accessible from the panel via the DETUNE 2 3 knob when oscillator 1 or 2 is selected gt Oto 127 Fine tunes oscillator 2 upwards Modulation desti nation Osc2 Detune FM Mode Specifies the source of FM modulation FiltEnv gt Pitch gt Pos Triangle Unipolar triangle wave from oscillator 1 gt 64 to 63 How much the filter envelope modulates the pitch of oscillator 2 This was implemented in previous Virus gt Triangle Bipolar triangle wave from oscillator 1 models to facilitate sync sweeps and has been retained for compatibility reasons Wave The selected wave from oscillator 1 see Wave Modulation destination FiltEnv gt Osc2 Pitch Select or Pulse Width on page 85 Noise The Noise signal Sync Accessible from the panel via the SYNC button VIRUS T 90 Off On Activates deactivates oscillator synchronization Whenever oscillator 1 starts a new cycle oscillator 2 resets its phase see Phase angle in the glossary FiltEnv gt FM gt 64 to 63 Controls how much filter envelope is applied to FM Amount This was implemented in previous Virus models to facilitate FM sweeps and has been retained for compatibil ity reasons Modulation destination FiltEnv gt FM Hsync Oscillator 2 HyperSaw Density Accessible from the panel via the oscillator SHAPE
86. e g in Multi mode try minimizing your use of the following prime sus pects first Unison mode Reverb Analog Filter models and Oscillator 3 18 2 First Steps This hands on tutorial introduces every physical control on the panel as well as a few important parameters in the menus Cheese for Starters If your Virus Tl is a desktop model you should have a MIDI key board connected The most effective way of getting to know your Virus is by per forming very simple exercises hands on and that s why many of the sounds you will be asked to make are cheesy to say the least Despite the risk of compromising your aesthetic sensibilities or overstating the obvious hope 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 RS EXIT 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 Like an organ the sound starts abruptly sustains as long as you hold down the key then stops abruptly Unlike an organ you can change this behaviour by adjusting a few envelope parameters VIRUS T 20 The Amplifier Envelope Section The four knobs at the bottom right of the panel control the amplifier
87. e motherboard The sockets unit is now free gt HEADPHONES Stereo audio output jack VIRUS 10 W Using the latest set of screws i e the ones without pointed and right respectively If you prefer to use headphones use the ends attach the sockets unit firmly into the baseplate which HEADPHONES socket on the rear panel necessary holes m Connect your Virus to the mains power Press both TRANS W Position the baseplate with the sockets now firmly in place so POSE buttons atthe same time to wake up the Virus Switch that the 40 way cable can reach the socket on the motherboard the rest of your equipment on in the following order the MIDI Carefully but firmly plug it all the way in send device keyboard or sequencer etc then the mixer and m Close the lid and use the remaining 6 small screws to reattach the baseplate Turn the unit right side up and attach the power Set up the MIDI send device keyboard or sequencer so that it cable to ensure that the 40 way plug has been properly fitted sends on MIDI channel 1 for now Turn up the MASTER VOLUME on your Virus to maximum and while playing some notes adjust the volume controls on your Setting U p mixer amplifier to a reasonable listening level If you are using a mixer you might find some useful advice on setting optimum The following steps include several important precautions In levels in the mixers own documentati
88. ect OSC2 and turn its SHAPE all the way down as well Now find out what the FM AMOUNT knob does to the sound FM MODE Via SHIFT AMOUNT Selects of several different FM modulator sources If you feel like experimenting with this parameter start by changing the FM mode from Pos Triangle to Triangle 33 UNISON DETUNE Via SHIFT DETUNE 2 3 Unison means several instances of the same note at the same time For UNISON 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 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 EXIT the menu Play your keyboard quite a powerful lead sound already Now use SHIFT DETUNE 2 3 to take UNISON DETUNE up to maxi mum For much more of a Hoover type sound turn DETUNE 2 3 without SHIFT this time up to around 115 and add some SUB OSC and NOISE look in the MIX section Might as well activate Oscillator 3 as well for maximum power Press the OSC3 ON button This type of sound is actually much easier to make using the new HyperSaw oscillator mode see the end of this chapter but you should learn about the Classic oscillator models first Now add a simple delay effect by turning delay SEND and FEEDBACK up a little you will find both these knobs in the EFFECTS
89. ectrum of a modulator audio signal see Input Select on page 108 and the other to proc ess a carrier signal usually the internal oscillators accord ingly Please refer to the Vocoder Table on page 78 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 VIRUS T 74 Mode Specifies the carrier signal gt Off The Vocoder is disabled no other Vocoder parameters will be visible gt Oscillator The carrier is the entire oscillator section includ ing any noise gt Osc Hold Identical to Osc except that Hold mode see Key Mode on page 96 is activated for the vocoder gt Noise The carrier is the noise signal only The rest of the oscillator section is disabled thus saving polyphony gt In L In L R In The carrier is one or both of the audio inputs Spread Available if both filter SELECT buttons are active Accessible from the panel via the ENV AMOUNT knob 64 to 463 Simultaneously controls Carrier Spread and Mod ulator S pread see below Q Factor Only available if both filter SELECT buttons are active Accessi ble from the panel via the RESONANCE knob 64 to 463 Simultaneously controls Carrier Q and Mod Q see below
90. ed in milliseconds This can be fed back for multiple reverb tails see Mode on page 66 Modu lation destination Reverb Predelay Feedback Only visible in Feedback 1 or Feedback 2 modes Accessible from the panel via the FEEDBACK knob gt Oto 127 How much of the reverb signal is fed back into it s own input The repeat rate is determined by the Predelay parameter see Predelay above Modulation destination Reverb Feedback Low EQ Frequency gt 32 to 458 Low shelf 1 pole cutoff frequency in Hertz Gain gt 16 dB to 16 dB Low shelf cut or boost SOUND PARAMETERS REFERENCE Mid EQ Gain gt 16dB to 16dB Mid frequency cut or boost in decibels Modulation destination EQ Mid Gain High EQ Frequency gt 19 Hz to 24 0 kHz Centre frequency of the MID EQ Values above 10 000 are given in kHz Modulation destination EQ Mid Frequency Frequency Q Factor gt 1831 to 24 0 High shelf 1 pole cutoff frequency in Hertz gt 0 28 to 15 4 Bandwidth around the centre frequency Low values above 10 000 are given in kHz values are wider high values are narrower For wah wah effects set very high Q Factor and Gain values then modu late EQ Mid Frequency Gain Modulati tination EQ Mid Q Factor E MEERE TON gt 16 dB to 16 dB High shelf cut or boost VIRUS 68 EFFECTS lower row The lower half of the Effects section offers dist
91. eezMasXM 021 DigeriduXM 029 DistortaXM 037 EBMBass2XM 045 GoGrooveXM 053 IOCBass1XM 061 Mad LFO XM 069 MeltArp1XM 077 MoonBassXM 085 OffLoop XM 093 PlainBasXM 101 S9 Loop XM 109 ShoutLd XM 117 SweetSqrXM 125 WetSqrBsXM 006 BD 3 4 XM 014 ChoBell jh 022 DigiGrv XM 030 DistRez XM 038 Error XM 046 Groov7thXM 054 J eanLeadXM 062 Mamamia jh 070 MeltArp2XM 078 MoonLeadXM 086 Ol SkooIXM 094 PPG TI jh 102 S9GrooveXM 110 Simul8r XM 118 SynthPopXM 126 XMorphLdXM 007 Bombast jh 015 ComeOne XM 023 DigiScrmXM 031 DrunkET XM 039 EvilDeadXM 047 HardHousXM 055J MJ Arp XM 063 Massive XM 071 MeltBassXM 079 New IOC XM 087 OldLead jh 095 Pro1 FX XM 103 S9GrooveXM 111Sinus9 XM 119 Talker XM 127 XMorphLpXM ROM M 000 GO 5 008 AlroundrMS 016 Cabinet MS 024 Circles MS 032 DialFFM MS 040 EuroStngMS 048 FMShaperMS 056 InfinityMS 064 LoFiVibeMS 072 OffshoreMS 080 PulsArp MS 088 Re Flex MS 096 Spacy303MS 104 TekStepzMS 112 Typhoon2MS 120 VowelSwpMH 001 Lonely MS 009 AmbienceMS 017 Careful MS 025 ClubbingMS 033 DropzoneMS 041 EuroSubBMS 049 GrgorianMS 057 Bass MS 065 LostinT MS 073 0145 1 5 081 55 5 089 Rising MS 097 SpceBrasMS 105 TranceFXMS 113 Typhoon3MS 121 WaveridrMS 002 N R G MS 010 AmbrStngMS 018 CataclsmMS 026 ClubSub MS 034 DryLand MS 042 FatMoogyMS 050 HackBassMS 058 KemistryMS 066 Maniac MS 074 ParadiseMS 082 PWFatty MS 090 Rvitn303MS 098 SpceDustMS 106 T
92. encies and if not installed and used according to the instructions found in the user manual may cause interference harmful to the operation of other electronic devices Compliance with FCC regulations does not guarantee that interference will 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 VIRUS TI 156 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 line filter s In the case of radio or TV interference relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to coaxialtype cable If these corrective measures do not produce Satisfactory results please contact the local retailer authorised to distribute this type of product The statements above apply ONLY to products distributed in the USA ACCESS VIRUS TI Version 1 191 FCC Information CANADA FCC INFORMATION CANADA The digital section of this apparatus does not exceed the Class B limits for radio noise emmissions from digital appa ratus set out in the radio interference regulation of the Cana dian Department of Communications Le present appareil numerique n emet pas debruit radioelectriques depassant les limites applica
93. ent panels Most of the LEDs on the TI desktop are red those on the Polar are white m LFO Low Frequency Oscillator Generally 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 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 connected to MIDI input on the same device via any route e g through a computer and back again If MIDI input is also mir rored at MIDI output see Soft Thru on page 127 this will cause data feedback m Mode Generic term for any exclusive switchable type or fundamen tal way of working APPENDIX B GLOSSARY m Modular Composed of discrete elements modules that can be arranged in different ways Modulation Any process by which a signal e g LFO or control source e g a modulation wheel is used to modify a parameter The con trolling signal is referred to as the Modulator and the controlled signal as the Carrier In the Virus these are more usually referred to as source and destination m Modulation Wheel General purpose performance control first seen on the Mini Often used for controlling vibrato depth m Modulator Any source of modu
94. envelope i e how volume changes during and immedi ately after each note you play ATTACK How long it takes for the level to go from silence to maximum gt DECAY How long it takes from maximum to the SUSTAIN level SUSTAIN The level of sustained notes immediately after DECAY RELEASE How long it takes to fade out after notes are released Here are a few practical experiments for novices AMPLIFIER ENVELOPE ATTACK DECAY PATCH VOLUME SUSTAIN RELEASE SUSTAIN SLOPE TEMPO 21 ATTACK Turn the ATTACK knob down to minimum to reach the value already stored in ROM A127 which is 0 Now turn it up slowly while repeatedly playing notes 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 becomes a very short blip when DECAY reaches minimum Leave DECAY at minimum for now SUSTAIN Turn the SUSTAIN knob down to minimum the original value was already 0 Now turn it up again while repeatedly playing a note on your keyboard The original value indicator should dis appear and you should hear the volume of the sustained note change accordingly Leave SUSTAIN
95. er envelope generator can also be used for other purposes by setting Filter Envelope as source in the Matrix VIRUS T 122 AMPLIFIER ENVELOPE Direct access to the amplifier envelope parameters Only the two non envelope SHIFT functions will be listed here please refer to Amp Envelope on page 120 for details of the normal knob functions The amplifier envelope section has no EDIT button 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 param eter used for balancing levels between different programs See Patch Volume on page 103 TEMPO Via SHIFT RELEASE Quick access to the internal clock rate see Tempo on page 103 In Multi Mode this controls the Mas ter Clock parameter see Master Clock on page 142 123 SOUND PARAMETERS REFERENCE VIRUSJ TI 124 4 Configuration Reference This menu is opened by pressing the CONFIG button to the left Sc ope of the display It contains global parameters that determine how the entire Virus works Configuration data does not have gt Oto 127 How many program parameters will be affected to be explicitly stored 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 Random PG The Random Prog
96. et destination see next paragraph or using e g Wavetable 1 Index as destination in the MATRIX Press LFO2 SELECT a few times until the Shape 1 2 param eter appears in the menu Take the amount up to 432 Activate ENV MODE and change SHAPE to the falling sawtooth Adjust the Index to taste using the oscillator SHAPE knob Again try out different wavetables via WAVESELECT PW END OF TUTORIAL HAPPY PROGRAMMING FIRST STEPS 48 3 Sound Parameters Reference ARP ARP is short for Arpeggiator a clocked processor that normally takes a chord and outputs individual notes one after the other The Arpeggiator in your Virus also features repeated chords preset and custom rhythmic patterns shuffle infinite hold etc EDIT Opens the Arpeggiator menu see opposite ARP ON Toggles the arpeggiator on and off HOLD Via SHIFT ON Toggles the Hold function see Hold on page 52 VIRUS T 50 Arpeggiator Mode gt Off No arpeggiation No other arpeggiator parameters will be visible gt Up Ascending notes starting with the lowest note gt Down Descending notes starting with the highest note gt Up Down Ascending then descending notes starting with the lowest note gt As Played In the same order as received MIDI notes gt Random Random note order random octave see Octaves parameter below gt Chord Plays all entered notes at the same ti
97. ew parameters from its master EDIT menu m The two large dials control either the oscillator Shape parame ter Classic mode the Density parameter HyperSaw mode the Table parameter WaveTable mode See OSCILLATORS on page 81 m VEL gt OSC1 VEL gt OSC2 are the Velocity Osc Shape parameters see Velocity Map on page 106 150 Filter Page LFO Page All filter parameters Like in the EASY page the large dial simul All parameters in the MODULATORS section of the hardware taneously controls Cutoff and Resonance The large dials control Rate all other controls are self explana tory If in doubt please refer to MODULATORS on page 55 The push button below ENV AMT toggles Envelope Polarity between Pos and Neg see Env Polarity on page 117 m The two Velo knobs in each filter correspond to those in Velocity pages of the hardware see Filter 1 Env Amount on page 107 W Activating the FILTER LINK button is just like pressing both filter SELECT buttons at the same time on the TI hardware KEY BASE in the field above this button is Key Follow Base see Key Follow Base on page 119 151 VIRUSCONTROL Matrix Page ARP Page Qoccess All six Slots of the modulation matrix The unlabelled field This page is used for making your own custom Arpeggio pat above the three Destinations in each Slot is used for selecting terns including individual note lengths and velocity scaling the Source
98. ffects similar to pulse width modulation thus giving the typically rather cold sync sounds more warmth Amount Oto 127 How much LFO3 modulates the selected target Note that unlike the other LFOs this is a unipolar parameter Modulation destination LFO3 Assign Amt VIRUS T 62 EFFECTS upper row The upper half of the Effects section is responsible for delay reverb and 3 band equalisation all of which can be applied simultaneously SELECT Determines whether the three knobs apply to DELAY REVERB or one of the EQ bands and which menu will appear when the EDIT button is pressed once EDIT Opens the menu for DELAY REVERB or one of the EQ bands depending upon which of these is currently selected 63 SEND EQ GAIN If DELAY or REVERB is selected this is an effect send control dry wet mix If one of the EQ bands is selected this knob 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 modes with feedback see Mode on page 66 otherwise it is a Damping control see Damping on page 67 If the MID EQ band is selected it controls the M
99. for trying out sounds without having to overwrite an entire bank Verify Incoming bank data is compared with the memory in the Virus after which a status message appears Use this setting to check whether a bulk dump has been successful MIDI Dump TX Transmit MIDI Dump Transmits various types of system exclusive data to an external device e g a computer or another Virus Single Buffer The contents of the single Edit buffer i e the current Single program or Part without the Multi settings This function is also available in the STORE menu for easy access see the Patch No option under STORE on page 110 Single Bank A All 128 programs in Bank A gt Single Bank All 128 programs in Bank B gt Single Bank All 128 programs in Bank gt Single Bank D All 128 programs Bank D gt Controller Dump A Single program but in the form of a suc cession of individual parameter changes These can take the form of MIDI CCs Polypressure or Sysex depending on the value of two other parameters see MIDI Control on page 131 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 gt Multi Bank All Multi programs Remote Patches All Remote Templates Keyboard Note The Keyboa
100. ge 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 118 Volume Accessible from the panel via SHIFT NOISE VOLUME Off 1to 127 The output level of the ring modulator Inde pendent of OSC VOLUME see OSC VOLUME on page 111 Modulation destination Ring Modulator MASTER The MASTER section not labelled as such includes all the con trols to the left right and below the display SEXIT Closes any menu returns to the current play mode Single M ulti or Sequencer mode TAP A Tap Time function as seen on drum machines and a few delay units Tap this button evenly to change the tempo of the internal MIDI clock the BPM will change accordingly See Tempo on page 103 EDIT Opens the Master edit menu see EDIT MENU on page 102 99 MULTI EDIT Via SHIFT EDIT Access to all MULTI mode settings see Multi Mode Reference on page 139 CONFIG Opens the global configuration menu see Configuration Ref erence on page 125 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
101. ge 115 If Cutoff Link is on see Cutoff Link on page 119 this will also control filter 2 Cutoff RESONANCE The resonance of one or both filters at the same time depend ing on the status of the two SELECT buttons See Resonance on page 115 113 RESONANCE 2 Via SHIFT RESONANCE The 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 depending on the status of the two SELECT buttons FILTER BALANCE The relative contribution of the two filters Actually a complex set of crossfades but the results are intuitive enough At 64 you can only hear the output of filter 1 At 0 both filters contrib ute equally At 63 you can only hear the output of filter 2 SOUND PARAMETERS REFERENCE CUTOFF 2 The cutoff frequency of filter 2 only If Cutoff Link see Cutoff Link on page 119 is on this will be a bipolar offset relative to filter 1 FILT 1 MODE FILT 2 The basic types of filter In addition to the four modes repre sented by each row of LEDs the Virus has four Analog filter modes which are only available from within the filter edit menu see Mode on page 1
102. ge 85 HyperSaw Controls the Density parameter the number of sawtooth waves used See Density on page 86 VIRUSJ TI 82 MODE Via SHIFT SHAPE knob Selects the type of oscillator Classic Virus HyperSaw or WaveTable WAVE SELECT PW Classic Either selects one of the 64 spectral waves or controls Pulse Width depending on the current value of SHAPE See Wave Select or Pulse Width on page 85 for details HyperS aw Controls the Spread parameter See Spread on page 86 WaveTable Selects a Table See Table on page 88 SEMITONE Controls oscillator pitch see Semitone on page 85 While turning the knob pitch is automatically smoothed so that SEMITONE appears to be a continuous frequency control PORTAMENTO Via SHIFT SEMITONE How slowly the pitch of one note glides to the next This parameter is not available in the oscillators menu but in the Master Edit menu This is because it is also applied to filter frequency see Portamento on page 96 83 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 95 UNISON DETUNE Via SHIFT DETUNE Direct access to the Unison Detune parameter also available in the Master edit menu see Detune on page 105 SELECT Switches between the three oscillators so that the upper row of knobs SHAPE WAVE SELECT PW SEMITONE and DETUNE 2 3 will
103. gines m 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 m Phase Phase Angle The position within one cycle of a wave Measured in degrees whereby 360 is the end of the cycle m Phaser Audio processor that shifts the phase of a signal and mixes this with the original for an illusion of motion similar to the Doppler Effect e g a passing ambulance or a rotary speaker cabinet m Pitch Frequency e g how low high a note is Pitch is mainly used for musical notes while frequency is the more scientific and generic term m Pitchbend APPENDIX B GLOSSARY MIDI data usually derived from the sprung wheel stick lever to the left of a MIDI keyboard Note that Pitchbend like Chan nel Pressure is not actually one of the Continuous Controllers m Pole Units of 6dB per octave in filters so e g a 4 pole filter has a slope of 24dB per octave This term has its roots in ladder fil ter design which uses several identical building blocks poles arranged in series Polyphonic Poly Usually Several notes can be played at the same time Can also describe any synthesizer module which has as many instances as the number of notes being played in the Virus the envelopes are polyphonic the EQ is monophonic t
104. gle Sawtooth Square S amp H S amp G Waves 3 to 64 Specifies the LFO waveform If S amp H S amp G or one of the additional waves is selected this can be accessed directly from the panel via the SHAPE button select WAVE If Sine Triangle Sawtooth or square is selected here the status LEDs will move accordingly Contour Envelope Mode Accessible from the panel via SHIFT RATE Accessible from the panel via the ENV MODE button 64 to 463 Continuous control over LFO waveform Modula Off Standard cyclic LFO mode tion destination LFO1 Contour On The LFO effectively becomes an additional Envelope LFOs in Envelope Mode are unipolar see glossary and stop SHAPE NEGATIVE POSITIVE after completing exactly one cycle The start finish point Sine to Triangle to Square within the wave can be specified via Trigger Phase Triangle to falling Saw to rising Saw Saw concavity convexity Square pulse width 5096 pulse width 25096 S amp H 566 3 to 64 zoom into wave Trigger Phase Mode gt 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 gt Poly Each voice has its own LFO and these are slightly All other values set the starting point within the wave detuned against each other gt Mono All voices share a common LFO Only applies if the parameters Envelope Mode and Trigger Phase
105. h 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 above the OSC3 ON button are lit If you now try changing SEMITONE you won t notice any effect This is because oscillator 3 is currently a slave to oscillator 2 Try changing WAVE SELECT from Slave to Saw then adjust SEMITONE to 4 Tip When oscillator 3 is active you can control oscillator 3 vol ume from the panel via SHIFT SUB OSC VOLUME MONO This button selects whether the entire sound is polyphonic or monophonic there are several mono key modes available Although your Virus is polyphonic at heart monophonic sounds can be particularly expressive especially when porta mento coming shortly is applied Tip To step through all Key Modes hold down SHIFT before pressing the MONO button FM AMOUNT FM stands for Frequency Modulation This means that the fre quency of one audio source is modulated by another the FM AMOUNT parameter determines how much As well as being able to create bell like tones FM is often used to add grit to a sound You should always think of the FM signal as being an integral part of oscillator 2 Restore ROM A126 and turn oscillator 1 SHAPE down to 0 fora pure sine wave Sel
106. hange the Mode to HyperSaw The other two parameters in this page should now read Density and Spread Density also via SHAPE knob sets the number of saws Spread also via WAVE SELECT detunes them Set Density to 9 0 and Spread to about 80 Turn CUTOFF and FILTER BALANCE to minimum and ENV AMOUNT to maximum Experiment with filter DECAY and RESONANCE Experiment with SUB OSC VOLUME then press the SYNC but ton and try turning the FM AMOUNT amount knob All three of these controls have different meanings in HyperSaw mode SUB OSC VOLUME determines the balance between HyperSaw and its own integrated sub oscillators SYNC activates the integrated synchronization FM AMOUNT controls sync offset Note The preceding paragraph applies to oscillator 1 only 47 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 Setthe 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 available wavetables Each Table except Sine consists of multiple waveforms Unlike scrolling through the spectral waves available in Classic mode the indexed waves are cross faded for smooth transitions To make full use of wavetables the Index should be modulated by using e g the LFO2 Shape 1 2 pres
107. have been applying a technique called Adaptive Control Smoothing ACS in all their synthesizer models thus avoiding the zipper noise that rapid changes knob movements modulation would otherwise cause Off Smoothing is disabled Pros Value jumps are immediate with no glitches Useful for gater effects etc when using a sequencer Cons Continuous control changes are incremen tal meaning you may have to accept some zipper noise SOUND PARAMETERS REFERENCE On Smoothing is enabled Pros Continuous control changes are smooth so this setting is generally the better option Cons Sometimes too slow for intentional rapid jumps e g gater effects Auto Control changes are analysed and smoothing is switched on or off depending upon how fast these change sare Pros Smooth and sudden control changes can be applied to the same sound Cons Rapidly repeating jumps may be too fast to analyse correctly Note Smoothing is disabled any changes are only heard at the start of each played note not inbetween Pros No glitches Cons Smooth transitions not possible gt 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 103 VIRUS T 104 Bend Up gt 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
108. he LFO1 and LFO2 can be either See Monophonic Polypressure Also called Polyphonic Aftertouch or Key Pressure Independ ant MIDI data relative to the pressure applied 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 S ysex data See also Chan nel Pressure Portamento VIRUS TI Classical term for gliding pitch from one note to the next Often simply called glide in synthesizers Preset Ready to use sound i e one that is already programmed into the synthesizer before leaving the factory Often used more loosely as a synonym for patch sound program etc Program The term used by Access for individual sounds patches See Patch m Pulse wave Oscillator waveform alternating between two discrete levels Pulse Width The ratio between the lengths of the upper and lower levels in a pulse wave Often given as a percentage Q m Quality Q Term describing the slope of a filter band usually in an equal izer Often misused as a synonym for Resonance 170 m Quaver Classical term for the length of a note equal to half of a Crotchet R m Rate Speed Rectifier Rectification Type of signal processing where one half either upper
109. he most recently edited program During STORE use it to compare your edited program with the one you are about to overwrite J ust press UNDO again to return to your sound REDO Via SHIFT UNDO Restores the current program to its previous 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 108 Use the VALUE 1 knob to select a category and the 45 VALUE buttons to scroll through programs the names appear in the upper bar When you have found a suitable one press the S EXIT button AUDITION Via SHIFT SEARCH Plays a note without you having to connect a keyboard or sequencer MULTI Switch to Multi Mode see Multi Mode Refer ence on page 139 4 PART gt PART These buttons have no function in Single mode see Multi Mode Reference on page 139 MULTI SINGLE _ seamove 4 PARAMETERS gt SINGLE Switch to SIngle Mode Also exits any open menu VALUE PROGRAM FIRST STEPS SEQ MODE Via MULTI SINGLE Switch to Sequencer Mode the mode of choice for multitrack MIDI sequencing see Sequencer mode on page 14 and VirusControl on page 145 VIRUS T 46 HyperSaw and WaveTable To supplement their Classic Virus oscillators Access has added two very powerful oscillator modes HyperSaw Restore ROM A127 open the oscillator 1 EDIT menu and c
110. ia the lower ATTACK knob gt 64 to 63 Negative values cause the sustain phase to decay to zero positive values cause it to rise to maximum gt Oto 127 The time it takes for the amplifier envelope to rise See the images in FILTER ENVELOPE on page 122 from 0 to maximum VIRUS T 120 Decay Accessible from the panel via the lower DECAY knob gt 0 to 127 The time it takes to fall from maximum to the Sus tain level see below Sustain Accessible from the panel via the amp SUSTAIN knob gt 0 to 127 The nominal level after the Decay Sustain Slope Accessible from the panel via SHIFT SUSTAIN in the Amplifier Envelope section 64 to 463 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 22 121 Release Accessible from the panel via the amp RELEASE knob gt Oto 127 The time it takes to fall from the current level to zero after the note is released SOUND PARAMETERS REFERENCE FILTER ENVELOPE Direct access to the filter envelope parameters Please refer to Filter Envelope on page 119 for details of the individual knob functions The FILTER 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 113 The effects of SUSTAIN SLOPE are illustrated in The Amplifier Envelope Section on page 21 Note that the filt
111. ication has been designed to be self explanatory it helps if you already know your way around the TI hardware and its menus The Part Control Bar Adjustments made in VirusControl will only affect one of the 16 available Parts at a time To select Parts click on the numbered buttons to the far left of the VirusControl window Immediately to the right of the Part selectors are two buttons labelled M and S Mute and Solo buttons Similar in operation to the buttons in each channel strip of a mixing desk or in your host application s track control The horizontal slider is for adjusting channel volume and the small knob to the right of this is for controlling Panorama The LOAD button lets you load a single sound into the selected Part Here you will find all sounds in the TI hardware as well as all sounds you have saved as MIDI files to your computer s VIRUS T 148 hard drive see Installation Procedure above The most com monly used sounds will automatically appear under Favour ites Any Bank Select and or Program Change message sent to the Virus TI will load the corresponding program from the Virus TI hardware Similarly the SAVE button stores the current sound either to the Virus TI hardware or as a standard MIDI file to your com puter s hard drive Note that individual Virus sounds do not need to be explicitly saved as long as you save the song pro fessional sequencer programs feature total rec
112. idth of the Split mode signal i e the rel ative levels of the left and right signals Pan Spread also applies to Unison sounds and is therefore mirrored in the Master edit menu See Unison on page 105 Modulation destination Pan Spread Filter Envelope Please refer to the images in The Amplifier Envelope Section on page 21 Key Follow Base C 2to G8 The pivot note for Key Follow see Key Follow on page 116 Notes below and above this point will be affected by Key Follow Attack Accessible from the panel via the upper ATTACK knob Oto 127 The time it takes forthe filter envelope to rise from 0 to maximum 119 SOUND PARAMETERS REFERENCE Decay Release Accessible from the panel via the upper DECAY knob Accessible from the panel via the RELEASE knob gt Oto 127 The time it takes to fall from maximum to the Sus gt Oto 127 Starts as soon as a note is released the time it tain level see below 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 parameters are accessed via the EDIT button in the FILTERS section Sustain Accessible from the panel via the filter SUSTAIN knob Oto 127 The nominal level after the Decay Sustain Slope Accessible from the panel via SHIFT SUSTAIN in the Filter Envelope section Attack Accessible from the panel v
113. ing this parameter to Negative VIRUS T 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 116 gt Serial 4 The filters are routed in series with 2 poles see glossary each gt Serial 6 The filters are routed in series filter 1 has 4 poles and filter 2 has 2 poles gt Parallel 4 The filters are routed in parallel with 2 poles each gt Split Mode The filters are also routed in parallel with 2 poles each but each filter receives a different set of signals Oscil lator 1 and the sub oscillator are sent to filter 1 oscillator 2 including FM oscillator 3 and noise are sent to filter 2 The ring modulator is disabled Filter Balance 64 to 463 Put as simply as possible this is the relative con tribution of each filter to the overall output of the filter section Actually a complex set of cross fades but the result is highly intuitive At 64 you can only hear the output of Filter 1 At 0 both filters contribute equally At 63 you can only hear the output of Filter 2 Cutoff Link gt Off The filter 1 CUTOFF knob only affects filter 1 gt On The upper CUTOFF knob also controls filter 2 The lower knob CUTOFF 2 becomes a bipolar 64 to 63 offset to filter 1 cutoff instead of an independant value Pan Spread Only visible here in Split mode see Routing above gt Oto 127 The stereo w
114. is in most pro grams including ROM A126 and ROM A127 About Saturation The term Filter Saturation was originally coined to describe the effect caused by pushing the input of a filter beyond its nat ural limits Hammer s work on Birds of Fire Mahavishnu Orchestra is a classic example but depending on your age and or musical tastes you might be more familiar with the sear ing techno bass lines and various other distorted synthesizer sounds used in more recent music FIRST STEPS In the signal flow the saturation stage comes immediately after Filter 1 Therefore if you have added a lot of overtones you can still filter them out using filter 2 assuming the routing is serial see above Access have kept the term Saturation but greatly expanded on the idea several different Saturation types can be selected via SHIFT OSC VOLUME Here are a few experiments to get you started Hold down the SHIFT button and turn the OSC VOLUME knob to see the various SATURATION TYPEs Select one of the more drastic types e g Digital release the SHIFT 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
115. it is not already open Off Pitch Bend Random Specifies the modulation source envelopes LFOs MIDI controllers etc This source can be simultaneously routed to a maximum of three destinations per slot SELECT Opens the modulation matrix menu If pressed again moves on Amount to the next slot SHIFT SELECT will move to the previous slot Alternative navigation use the PARAMETERS buttons VALUE 2 knob 53 SOUND PARAMETERS REFERENCE gt 64to 63 Modulation amount for the specified destination The range is bipolar so that modulation can be inverted and amounts are internally 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 51044 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 VIRUS T 54 MODULATORS Traditionally LFOs low frequency oscillators are used for cyclic modulation e g vibrato tremolo etc Alternatively two of the three LFOs in the Virus can serve as simple envelopes see Envelope Mode on page 57 so the label Modulators seems more appropriate than LFOs for this section Note that each LFO in the Virus has a different set of preset des tinations and that LFO3 allows just one destination to be selected EDIT Opens
116. k loop in the pre delay line thus allowing multiple reverb tails Feedback 2 The same as Feedback 1 except that the first reverb 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 VIRUS T 66 gt 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 gt Off 1 64 3 4 Used to synchronize Predelay to the Clock see Predelay below Expressed as a 4 4 bar division Time Accessible from the panel via the TIME COLOR knob gt Oto 127 The length of the reverb tail Modulation destina tion Reverb Time Damping gt 0 to 127 For simulating different surface materials by pro gressively removing higher frequencies Carpets and drapes etc tend to absorb a lot of high frequencies while tiled floors and walls do not Modulation destination Reverb Damping Coloration gt 64 to 63 Post EQ for the reverb signal Negative values are mellower positive values are brighter Modulation destination Reverb Coloration Predelay Only visible if the Clock parameter is set to Off see above gt 0 0 ms to 300 4 ms The time between the original signal and the reverb signal express
117. l memory protect no data can be overwritten LCD Contrast gt Oto 127 Optimize the display for different viewing angles Remote Mode Determines what the MASTER VOLUME knob will control in while in Remote mode see REMOTE on page 99 gt Volume gt Virus As in the other modes i e it will control out put levels of the Virus gt Volume gt MIDI The MASTER VOLUME knob will send MIDI Volume data Navigation Determines how the PARAMETERS buttons work while navigat ing within menus gt 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 137 CONFIGURATION REFERENCE VIRUSJ TI 138 5 Multi Mode Reference In earlier Virus models Multi mode programs consisted of 16 Parts each one referencing a Single program The downside Multi programs depended on the location of all their referenced Singles so if you changed any program while working in Single mode Multi programs would change accordingly In the Virus TI however each of the 16 Parts actually contains the equivalent of a Single program Parts also require a few additional parameters e g transposition keyboard range which are all accessed via MULTI EDIT hold down SHIFT and press the master EDIT button to the left of the display Patch VIRUS T 140 The B
118. l settings Three identical menu pages one for each Soft Knob 133 CONFIGURATION REFERENCE Knob Behaviour Response Determines when and how parameters react to knob move ments Required because the position of knobs seldom reflects the stored values after changing to another program The Snap and Rel modes are useful for preventing sudden changes in the sound especially during live performance Off Knobs have no effect whatsoever Jump The value jumps immediately to reflect the new knob position Snap The value is not affected until the original is reached by turning the knob Rel The value immediately changes in the direction 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 VIRUS TI 134 Display Time gt Off Knob values not be displayed gt Off 1 to 127 Knob values will be displayed for up to 7 sec onds Target gt Internal Knobs control internal functions directly and do not send MIDI gt Internal MIDI Knob data is also sent to MIDI Out gt MIDI Knobs do not directly control internal functions the data is sent to MIDI Out only This setting is similar to the Local Off mode found in several other synthesizers Global Tuning Master Tuning gt 64 to 63 Fine control over the pitch of the entire Virus from 50 cents lower to 50 cents higher A
119. lation See also Carrier m Monophonic Mono Only one note can be played at a time e g flute Minimoog See Polyphonic m Multi Mode VIRUS T 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 m Noise Waveform consisting of a theoretically infinite and continuous range of frequencies Nominal In name only For synth parameter values this usually means the value as you Set it disregarding any subsequent modula tion Note Stealing When the number of played notes exceeds the maximum number of voices a synthesizer is capable of generating older notes must be stolen i e cut short for the sake of newer notes All Virus operating systems use an advanced note steal ing algorithm so this is seldom if ever heard 168 0 m Octave A musical interval 12 semitones apart e g C1 to C2 m One Shot Non cyclic of finite length See also Cyclic P Panorama Pan Traditionally the position of an audio signal in a stereo field i e the left right volume ratio Parallel Routing term Not connected one after the other see Serial but alongside each other Parameter In general Any variable element within a system The values of parameters define how the system will function m Part In the Virus TI Multi mode One of the 16 separate sound en
120. me Octaves gt 1 to 4 Notes can be successively transposed up an octave at the start of each new arpeggio cycle The value here is equal to the number of cycles before the arpeggio reverts to its orig inal pitch so a value of 1 means no transposition Pattern gt User 2 to 64 Selects the arpeggiator pattern A User pat tern can be created for each program using the VirusControl application see VirusC ontrol on page 145 As well as posi tions and lengths most patterns contain extra velocity data for added rhythmic effect To apply velocity data set the Velocity parameters see Velocity Map on page 106 or use the modulation matrix see MATRIX on page 53 with Veloc ity as the source Modulation destination Arp Pattern 51 Resolution gt 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 103 Note Length gt 64 to 63 Scales the lengths hold time of all notes Nega tive values shorten the notes positive values lengthen them The audible effect of this parameter is highly dependant upon the envelope settings Modulation destination Arp Note Length Swing Factor gt Off 50 2 to 75 0 Affects the
121. n to choose oscillator 2 and turn the SEMITONE knob up to 7 The steps are automatically smoothed while you turn the knob but the pitch will always settle on semitones This means you don t use SEMITONE for fine tuning DETUNE 2 3 this is the knob you can use for fine tuning oscillator 2 and or oscillator 3 Take SEMITONE back to the centre 0 and try out different DETUNE 2 3 values while playing your keyboard FIRST STEPS At moderate values you can get some pleasant phasing effects High values can make the oscillators sound completely out of tune with each other also a useful effect when used in the right context SYNC When this function is active while using Classic oscillators oscillator 2 is synchronized to oscillator 1 Look up Sync in the glossary if necessary One popular use of Sync is to create an effect similar to a bandpass filter with a lot of resonance and some distortion Restore ROM A126 and press the SYNC button the rhythmic beating between the two oscillators is eliminated Select oscil lator 2 and play some notes while sweeping the SEMITONE control from slightly below centre to maximum If you would like to hear oscillator 2 in isolation turn the OSC BALANCE knob you will find it in the MIX section up to maximum If you leave SEMITONE at certain fixed positions you can get some interesting static overtones Tip If a sound ever gets annoying filter it VIRUS T 32 OSC 3 ON Althoug
122. nal purchase This warranty does not cover defects due to abuse faulty connections or operation under other than speci fied conditions Warranty coverage is also voided when the device is repaired by unauthorized persons or tampered with in any way Kemper Digital reserves the right to refuse warranty claims if the product was not sold from an Authorised Base Dealer to the respective end customer This warranty is limited to replacement or repair 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 defect occurs during the warranty period contact the Autorised Base Dealer from whom you bought the synthesizer or contact us directly using the forms on the Access website The synthesizer can only be returned upon prior approval and the following requirements have to be fulfilled The unit is sent in its original package or one of equal quality A detailed description of the defect and a copy of the pur chase receipt is included 159 APPENDIX A LEGAL DECLARATIONS VIRUSJ TI 160 8 Appendix B Glossary Glossary Most of the definitions below only apply to syn
123. nu see Cutoff Link on page 119 MODE FLT2 Using the FILT1 and FILT2 buttons you can set each filter to one of following types gt LP z Low Pass Allows frequencies below the cutoff point to pass through i e rejects those above the cutoff point gt HP High Pass Allows frequencies above the cutoff point to pass through i e rejects those below the cutoff point gt BP Band Pass Allows frequencies close to the cutoff point to pass through i e simultaneously rejects those above and below the cutoff point FIRST STEPS BS Band Stop Rejects frequencies close to the cutoff point within a certain band i e allows frequencies above or below the cutoff point to pass through Your Virus actually has yet another filter mode which simulates the classic Minimoog low pass including it s typical self oscillation This cannot be selected directly from the panel but only from within the filter EDIT menu If you simply can t wait to try it out bookmark this paragraph and see Mode on page 116 Atthis point you should experiment with each filter mode in isolation i e listen to only one of the filters at a time Restore ROM A127 take FILTER BALANCE down to 64 this isolates Filter 1 and use the FILT1 button to select another mode Play your keyboard while adjusting CUTOFF and RESONANCE Repeat until you have become familiar with all four modes While experimenting with BS Band Stop did you notice how t
124. o categories to make it easier to find particulartypes Lead Pad Drums etc via the SEARCH function 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 VIRUS TI 108 Name Cat 1 Name Cat2 Tip Instead of direct control it is fairly common to specify a continuous controller e g 06 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 multiple destinations with variable ranges complex morphing at the twist of a knob gt Off Acid Favourites 3 Select Category names As certain sounds could conceivably belong to more than one such cat egory e g Bass and Digital two can be specified Soft Knob Name 43rds Width Specifies a word that will appear above the VALUE knob try to choose the most appropriate name for the overall effect of adjusting this knob As well as being used for editing the three VALUE knobs below the display function as extra performance controls called Soft Knobs for instant access to parameters that might otherwise not be directly available See also Soft Knob global settings on page 133 Function as gt Off Analog Boost Int Velo Volume Select from a list of Soft Knob destinations 109 SOUND PA
125. ob gt 48 to 48 semitones The nominal pitch of oscillator 1 Modulation destination Osc1 Pitch Key Follow gt 64 to 31 Norm 33 to 463 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 normal tuning Norm Balance Accessible from the panel via the OSC BALANCE knob in the MIX section 64 to 463 Adjusts the relative levels of oscillator 1 and oscil lator 2 including FM whereby 64 is oscillator 1 only and 463 is oscillator 2 only Note that this parameter is mirrored in the oscillator 2 menu Modulation destination Osc Balance Oscillator 2 Classic Mode Accessible from the panel via SHIFT oscillator SHAPE Classic HyperSaw WaveTable Selects the basic type of oscillator Shape As in oscillator 1 see Shape on page 85 Modulation desti nation Osc2 Shape Wave Select or Pulse Width As in oscillator 1 see Wave Select or Pulse Width on page 85 Modulation destination Osc2 Wave Select or Osc2 Pulse Width Semitone As in oscillator 1 see Semitone on page 85 Modulation des tination Osc2 Pitch Key Follow As in oscillator 1 see Key Follow on page 86 Balance Mirrors the Balance parameter in the oscillator 1 page see Balance on page 86 SOUND PARAMETERS REFERENCE gt In L In L R In One or both of the Audio inputs see rear panel FM Amount Accessibl
126. obal parameters which govern how the entire Virus works see the chapter Configu ration Reference on page 125 VIRUS TI 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 wide variety of popular devices and the capability of creating your own see Virus Control on page 145 If you only see a message here your Virus TI has a very early version of the operating sytem Go to www access music de for operating system updates and additional Remote Tem plates as well as many other useful downloads RANDOM Via SHIFT STORE Randomizes the current program to cre ate a new sound the CONFIG menu contains parameters which determine just how random the results will be Start with any sound you like and use the RANDOM function several times in succession each time checking how the sound has been affected UNDO Try pressing UNDO after a particularly unsuccessful press of the RANDOM button see above UNDO actually has 3 related functions While a program is being edited it cancels the most recent parameter change Immedi ately after selecting another program it retrieves t
127. on Distortion Intensity Analog Boost Analog Boost can be used to emulate the frequency response of various real analogue synthesizers Note that boosting bass frequencies will reduce the proportion of high frequencies in the resulting signal Intensity Accessible from the panel via the INTENSITY knob Off 1to 127 The degree of Analog Boost Modulation desti nation Analog Boost Int Frequency Accessible from the panel via the TY PE MIX knob Only visible if Intensity is not set to Off gt 0 to 127 The frequency where Analog Boost is applied Very high values will even boost mid range frequencies Chorus Typically Chorus is a thickening effect caused by modulating a pair of very short delay lines via a dedicated LFO then mixing this with 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 1to 127 Cross fade between the dry and wet signal Set this to 64 for maximum Chorus or to 127 for a vibrato effects If set to Off none of the other parameters in this menu will be visible Modulation destination Chorus Mix Delay gt Oto 127 The nominal delay time modulated by a dedicated LFO see Mod Rate etc below Very high values resul
128. on addition to the simple setup described here the Virus TI can be connected in a variety of ways to suit virtually any audio envi ronment Switc hing On and Off m Please do not plug the Virus into the mains power yet First of all temporarily switch off any devices you will eventually be connecting your Virus to and turn all main volume controls mixer amplifier down to minimum Virus TI models do not have a physical on off switch To putthe unit into standby mode press and hold both TRANSPOSE but tons until the countdown reaches zero Press the same buttons to wake up the Virus again m f your Virus is a desktop version connect the MIDI OUT from a keyboard or sequencer to the MIDI IN socket on the Virus Connect both the OUTPUT 1 sockets standard mono jacks to two line inputs on your stereo amplifier or audio mixer When using two separate mixer channels pan them to the extreme left 11 Selecting Programs Your Virus TI has 20 banks of memory RAM A to RAM D ROM A to ROM P each containing 128 SINGLE programs numbered from 0 to 127 A total of 2560 sounds To try out some sounds make sure you are in SINGLE mode and that no menu is open you might have to press the SINGLE button in the Master section to the right of the dis play first There are three basic methods of selection Sequentially The most obvious way to select programs is by stepping through them using the BANK and PROGRAM buttons to the
129. on destination Unison LFO Phase Detune Available from the panel via SHIFT DETUNE in the OSCILLA TORS section 105 SOUND PARAMETERS REFERENCE Velocity Map FM Amount These pages give you access to several fixed destinations for d an 1 42 bat MIDI velocit i e i Such HyperSaw oscillators this affects HyperSync offset instead see About HyperSaw and Sync on page 81 Volume gt 64 to 63 How much velocity affects the total volume of all Osc 1 5 internal sound generation sources 64 to 463 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 Panorama parameter gt 64 to 63 How much velocity affects panorama position Osc 2 Shape 64 to 463 How much velocity affects oscillator 2 Shape If oscillator 2 is in HyperSaw mode this is the Density parame ter If oscillator 2 is in WaveTable mode this is the Index parameter VIRUS T 106 Pulse Width 64 to 463 How much velocity affects the pulse width of all main oscillators For oscillators in HyperSaw mode this affects the Spread parameter Filter 1 Env Amount 64 to 463 How much velocity affects the envelope amount of filter 1 See ENV AMOUNT on page 113 Resonance 1 64 to 463 How much velocity affects the resonance of filter 1 See RESONANCE on page 113 Filter
130. ond 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 MULTI MODE REFERENCE 144 6 VirusControl Introduction The main purpose of VirusControl is to integrate the Virus TI hardware into your host application e g an audio MIDI sequencer so that it will appear just like any other standard plug in instrument VirusControl also has three additional uses There is a BROWSER page for library functions an ARP page for user definable arpeggios and a REMOTE page for user definable remote control templates the Virus TI panel can be used as a control surface for other MIDI devices e g synthesizers Depending upon the performance specifications of your host application you now own a hardware synthesizer with the fol lowing software typical features Total recall all plug in settings are saved with the song m Sample accurate timing much more precise than MIDI Delay compensation adjustment for different latencies all of which had previously been the domain of software synths until the arrival of the Virus Please note that less sophisticated host applications especially freeware may not support all functions e g delay compensation VIRUS T 146 VirusControl requires that the TI hardware is in Sequencer Mode so as s
131. oon as communication is established it auto matically switches the TI into this mode Also note that Virus Control includes only those parameters which are stored as part of a Single program all global parameters with the exep tion of Tempo see the TI hardware s CONFIG menu are only available on the TI hardware Depending upon the host program VirusControl may give you a choice of two basic forms standard stereo or multi output The multi output version available if you work with e g Apple Logic or Steinberg Cubase allows multiple TI streams to be edited from within the host program via multiple instances of the plug in About USB connection Connecting the Virus TI to your computer via a USB hub is not recommended Although certain usually powered hubs may seem to work fine for the sake of system stability you should connect the TI directly to one of your computer s USB sockets The USB cable between the Virus and your computer normally be hot plugged i e connected or disconnected at any time without this having any adverse effect on the system However some host applications can even cause problems if any ASIO hardware is disconnected irrespective of whether this is currently being used System Requirements The VirusControl plug in is available for the Mac as Audio Unit or VST instrument as well as for the Windows PC platform as VSTi There are no specific system requirements VirusControl shoul
132. ortion analog boost chorus and phasing effects all of which can be applied simultaneously Effects which involve audio input Vocoder Input Follower Input Ring Modulator are also available here see EDIT below SELECT Determines which effect the knobs will control and which menu will appear when the EDIT button is pressed EDIT Opens the menu for to the currently selected effect Repeatedly pressing EDIT toggles between the audio input effects pages and the selected effect See Vocoder on page 74 Input Fol lower on page 79 and Input Ring Modulator on page 80 69 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 71 If Chorus or Phaser is selected it controls the Mix parameter see e g Mix on page 71 INTENSITY If DISTORTION or ANALOG BOOST is selected this controls the intensity parameter see Intensity on page 71 If Chorus or PHASER is selected it controls the feedback parameter see Feedback on page 72 and Feedback on page 73 Distortion The choice of Distortion effects in the lower EFFECTS section are similar those available in the FILTERS menu see Satura tion on page 114 but here they treat the signal as a whole i e not each individual voice The difference is particularly noticea ble when playing chords SOUND PARAMETERS REFERENCE Type Accessible from the p
133. oss the stereo field SUB OSC VOLUME Sub oscillator volume See About HyperSaw and Sub Oscillators on page 81 OSC3 VOLUME Via SHIFT SUB OSC VOLUME The volume of oscillator 3 when it is switched on via the OSC3 ON button 111 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 See Osc Volume on page 96 and Saturation on page 114 SATURATION TYPE Via SHIFT OSC VOLUME Filter saturation type See Saturation on page 114 NOISE VOLUME The level of the noise signal independant of OSC VOLUME See Noise on page 98 RING MODULATOR Via SHIFT NOISE VOLUME The level of the ring modulator signal independant of OSC VOLUME SOUND PARAMETERS REFERENCE 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 118 and Ring Modula tor on page 98 VIRUS T 112 FILTERS The Virus TI has two multimode filters that can be configured in series parallel or split i e separate left and right channels with differing signal sources CUTOFF The cutoff frequency of filter 1 see Cutoff on pa
134. our keyboard again try pressing harder on the keys this time FIRST STEPS The Arp Section ARP Arpeggiators are so much fun that will leave e you to experiment on your own the following is just to help you get started Go to program ROM A 7 BellBoy BC take amplifier RELEASE down to 42 and press the ARP ON button Hold down a 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 EDIT ARP ON HOLY If all those preset patterns are not enough you can program your own using the VirusControl software see VirusControl on page 145 VIRUS T 40 The Effects Section This section is split into two halves with separate EDIT buttons The top half is dedicated to Delay Reverb and EQ effects while the lower half features Distortion Analog Boost Chorus and Phaser Any or all of these effects can be applied atthe same time just press the SELECT button to choose the required effect e g REVERB then adjust values using the knobs The most useful parameters for realtime performance are directly available to reach all the others open the EDIT menu EFFECTS DELAY REVERB LOWEG uicH co 1 0 12 0 12 0 Tg SELECT ED
135. ow especially sync sweeps without using up VIRUS TI 94 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 gt Osc2 Pitch FiltEnv gt FM gt 64 to 63 Controls how much filter envelope is applied to FM Amount Modulation destination FiltEnv gt FM Hsync Oscillator 3 Mode Wave Accessible from the panel via WAVE SELECT PW when oscil lator 3 is selected The waveform of oscillator 3 gt Deactivates oscillator 3 see OSC3 ON button All other oscillator 3 parameters will be invisible Slave Oscillator 3 will follow oscillator 2 The mixture of Detune waveforms i e SHAPE and any modulation applied to oscilla Accessible from the panel via the DETUNE 2 3 knob if tor 2 will also apply to oscillator 3 The values of Semitone and Detune see below are ignored oscillator 3 is selected Ignored if Slave mode see Mode Wave above is selected Saw Pulse Sine Triangle Wave 3 to Wave 64 Oscillator 3 waveform Note that if Pulse is selected here its gt Oto 127 Fine tunes oscillator 3 downwards Modulation pulse width will follow that of oscillator 2 destination Osc3 Detune Semitone Common gt 48 to 48 The pitch of oscillator 3 If Slave mode see The Common pages contain parameters which affect more than Mode Wave above is
136. pc JS 079 Organic J S 087 Prodigy J S 095 Rhy ArpJ S 103 SineBeez 5 111 Taurus JS 119 Voyager J S 127 X Bellz JS ROM L 000 8BitHellXM 008 BP Pad XM 016 CydonialXM 024 DistArp1XM 032 DrunkSpcXM 040 EvilLeadXM 048 HP Bass XM 056 Killers XM 064 Mayhem XM 072 Melter XM 080 NitzerBsXM 088 OscilateXM 096 RatPack jh 104 SawArp XM 112 SpaceLabXM 120 TranzArpXM 001 8 bitPadXM 009 BPGrooveXM 017 Cydonia2XM 025 DistArp2XM 033 Du Hast XM 041 Feeder XM 049 IconArp XM 057 KraftArpXM 065 Mellow XM 073 MeltGrv XM 081 NoizBassXM 089 OutThereXM 097 ResoMeloXM 105 SawComm XM 113 SqrArp2 XM 121 TranzBasXM 002 AcidLineXM 010 BpHpOsc XM 018 DaBrain jh 026 DistBassXM 034 EBM Ld1 XM 042 Front242XM 050 Intense XM 058 LectroLdXM 066 MelodiBzXM 074 MeltintrXM 082 NuSkool jh 090 PB AlienXM 098 RezArp XM 106 Scores jh 114 SqrArp2 XM 122UFO XM 003 AllRoundXM 011 CheezArpXM 019 DeepAb XM 027 DistLd1 XM 035 EBM Ld2 XM 043 FutureBsXM 05110C 3 4 XM 059 LFO move jh 067 MelodiTWXM 075 MeltSyn XM 083 O My GodXM 091 PhaseLd XM 099 RezPad XM 107 ScrmArp XM 115 SqrBass XM 123 UndawrldXM Patches By Xmorph Icon Of Coil XM and J oerg Huettner jh 004 AngstPadXM 012 CheezLd XM 020 Detuner XM 028 DistLd2 XM 036 EBMBass1XM 044 FuturEP XM 052 IOC BassXM 060 LoTatar jh 068 MeloDM XM 076 MoonArp XM 084 OffBass XM 092 PhasrArpXM 100 RezStrngXM 108 ShalloBsXM 116 SubBass XM 124 VocoPad XM 187 005 Bass 87 XM 013 Ch
137. play a long note LEVEL TIME All these envelope times Attack Decay and Release as well as what appears to be a gradient Sustain Slope are actually rates This technicality can be safely ignored in practice TEMPO Via SHIFT RELEASE in AMP ENVELOPE section 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 DrWhat 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 the clock Now experiment with TEMPO SHIFT RELEASE in the AMPLIFIER ENVELOPE section Did you notice how smoothly the delay effect catches up with any tempo changes you make TEMPO has a range of 63 to 190 bpm However the master clock automatically slaves to any incoming MIDI clock data including rates which are beyond these limits In this case the TEMPO parameter is simply ignored FIRST STEPS The Filters Section In comparison with Dr What the few sounds you have been asked to create so far have been primitive and harsh In sub tractive synthesizers such as the Virus the tonal quality of the oscillators can be radically altered by sending them through fil ters There are two main filters in your Virus but before learning how to access them
138. position in time of every other 16th note At 6696 the rhythm is full swing i e triplets The values 16C 16D 16E and 16F are the same as those in Apple Logic a popular sequencer program Note Swing will not affect the original User Pattern because this is made up of steady 8th notes only Modulation destination Arp Swing SOUND PARAMETERS REFERENCE Hold Accessible from the panel via SHIFT ARP ON Off The arpeggio stops 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 VIRUS T 52 MATRIX The modulation matrix is used for custom control routing Six S lot sources can be routed to three destinations each Available sources include the internal envelopes and LFOs as well as The information below applies to any slot in the matrix Use the most MIDI controllers channel pressure aftertouch etc The DESTINATIONS buttons to move the cursor up and down list of destinations includes almost every Single Mode parame ter in the Virus DESTINATION Source This pair of buttons is used for up and down cursor control VALUE 1 knob within the menu required because each page displays all three destinations and amounts at once Either of the DESTINATION buttons will open the menu if
139. r Mix gt Oto 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 Frequency Phaser Mod Rate gt 0 to 127 The average frequency of resonant peaks see Spread below Modulation destination Phaser Frequency Mod Depth gt Oto 127 How much the Frequency parameter see above is Feedback modulated by the Phaser s LFO Modulation destination Phaser Mod Depth 64 to 463 The amount of signal fed back into the Phaser input causing a resonance effect The Feedback parameter is bipolar because positive and negative values result in differ ent tonal characteristics Modulation destination Phaser Feedback Stages gt 1to 6 The number of all pass filters used in the Phaser This value affects the complexity of the phased signal 73 SOUND PARAMETERS REFERENCE Spread gt Oto 127 How far apart the resonant peaks between multiple stages are Modulation destination Phaser Spread Vocoder To enter these pages press EDIT lower EFFECTS section once ortwice so that its LED flashes then navigate using the PARAMETERS buttons Although available as effect the Virus Vocoder actually replaces the entire filter section i e Voc oder and normal filters cannot be used at the same time within a single program The Virus vocoder has two banks of up to 32 bandpass filters One to analyse the frequency sp
140. r envelope affects cutoff like auto mating the CUTOFF knob with each and every note you play Here s how to make a very simple analogue bass sound Restore ROM A127 and turn CUTOFF down to minimum Play individual notes while adjusting ENV AMOUNT until you hear a satisfying plunk somewhere around 70 then take the RESO NANCE up a little Locate the TRANSPOSE buttons to the left of the display and change the setting to 1 or 2 Play your favour ite funky bass riff The FILTER ENVELOPE section has the same structure as the AMPLIFIER ENVELOPE so you should already know how to use these knobs effectively to modify your bass sound Don t forget to try SUSTAIN SLOPE SHIFT SUSTAIN You should try adjusting ENV AMOUNT and RESONANCE again filter parameters are highly interactive FILTER BALANCE At 64 you can only hear the output of filter 1 In the central position 0 both filters contribute equally At 63 you can only hear the output of filter 2 25 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 cutoff control for filter 2 This can be either an offset i e a constant amount below or above filter 1 or an independ ent value depending on another parameter in the filter s EDIT me
141. rack m f your Virus model requires a 12V DC external power supply only use the one that was included with the unit Never connect the Virus to a power outlet that does not fully comply with national safety regulations m Disconnect the power whenever you are unlikely to use the Virus fora 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 when using headphones connected directly to the unit Please keep levels reasonable at all times Maintenance Updating the OS Access Music is famous for improving their products via free updates to the operating system We recommend that you visit WWW access music de regularly and download the latest OS Cleaning Only use a soft dry cloth or soft brush to clean the panel do not apply any liquids Note that industrial or household solvents can cause severe damage to surfaces Repair Never open the Virus yourself there are no user servicable parts inside If your Virus ever needs repairing please contact a qualified service technician Replacing the Battery Rotating the sockets To prevent your sounds from being lost whenever you switch The sockets on the rear panel of the Virus TI desktop model off the power there is a battery inside your Virus This may can be rotated 90 so that the unit c
142. ram Generator global settings Use the RAN M IDI DOM function SHIFT STORE to randomly modify an existing program Global Channel Strength gt 1to 16 Specifies a MIDI channel used for SINGLE mode as g well as for switching between MULTI mode programs via the gt Oto 127 How drastically the Random function will affect MIDI message Program Change program parameters VIRUS T 126 Soft Thru gt Off On Specifies whether received MIDI data is also directly routed to i e mirrored at the MIDI out socket Before switch ing this parameter on make sure there will be no MIDI loop in your system MIDI Device ID 1to 16 Omni 17 Identification number for transmitting receiving System Exclusive data see glossary To allow SysEx communication between two devices they must be set to the same device ID If set to Omni the Virus will receive Sysex data with any ID and transmit with ID 17 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 MIDI Clock is sent to the MIDI out put MIDI Volume gt Disabled Enabled Specifies whether MIDI CC 7 volume will be recognized Arp Note Send gt Off On Specifies whether the notes created by the arpeggia tor see Arpeggiator on page 50 will be sent to the M
143. ration 67 Common 95 118 Configuration 14 44 99 Contour 57 Cutoff 24 25 60 113 Cutoff Link 27 gt D Damping 63 67 Decay 21 Delay 41 Delay compensation 146 Delay Time 64 Density 47 86 Destination 53 54 Destinations 39 Detune 30 31 33 83 141 Distortion 42 69 Dump 128 gt E Easy Page 149 Edit Buttons 13 Effects Section 41 Envelope Amount 25 Envelope Mode 55 57 194 EQ 41 63 67 Exit button 13 gt F Fade In 61 FCC Information 156 Feedback 42 63 65 67 FiltEnv gt Hsync 97 Filter 24 113 151 Filter Balance 25 113 Filter Envelope 29 Filter Gain 59 FM 33 84 FM Amount 60 FM Mode 90 gt G Gain 68 Global Channel 126 Glossary 161 gt H High Key 142 High Pass 25 Hold 50 Hold Pedal 130 143 HyperSaw 47 86 91 HyperS ync Offset 97 195 gt INIT Programs 17 Initial Phase 95 Input 80 Input Follower 79 Input Modes 74 Inputs 107 Installation 147 gt K Key Follow 26 58 86 88 113 Key Mode 96 Keyboard 129 142 143 gt L LED 135 LFO 37 151 LFO Contour 55 LocalOn 129 Low Key 142 Low Pass 25 gt M Mac Specifics 147 Master Section 44 99 Matrix 152 Matrix Section 39 Memory Protect 136 Menus 13 INDEX MIDI 126 MIDI Channel 141 MIDI Clock 127 MIDI controller 14 MIDI Device ID 127 Mix 111 Mix Section 35 Mod Wheel 130 Modulation Matrix 53 Modulator 74 Modulators 55 Modulators Section 37 Mono 32 84 Multi 44 45 101 Multi Edit 99 Multi mode 1
144. rd pages are only available in keyboard ver sions of the Virus Local Off Keyboard data notes modulation wheel pitch bend etc is sent only to MIDI OUT notto the internal sound generation On Standard setting The keyboard is directly connected to the internal sound generation as well as to MIDI out Mode This parameter can be set in Single mode but it only applies to MULTI mode See Multi Mode Reference on page 139 CONFIGURATION REFERENCE One Channel The keyboard transmits MIDI data notes etc to the currently selected Part via the MIDI channel defined in that Part Multi Channels The keyboard transmits MIDI data notes etc to all Parts regardless of the assigned MIDI channel Transpose gt 64 to 63 Transposes in semitones either the sound engine see glossary 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 VIRUS T 130 Mod Wheel gt Oto 127 Specifies the MIDI CC number see glossary trans mitted by the modulation wheel The standard value is 1 Mod Wheel Hold Pedal gt Oto 127 Specifies the MIDI CC number transmitted by a device usually a Hold sustain pedal connected to the HOLD socket The standard value is 64 Hold Pedal 2 gt 0 to 127
145. rd value is 5096 Modulation destination Filter Env Sustain SOUND PARAMETERS REFERENCE Input Ring Modulator To enter this page press EDIT in the lower EFFECTS section until the LED flashes and navigate with the PARAMETERS but tons The source specified by the Input Select parameter see Input Select on page 108 can be ring modulated with the oscillator signal Mix gt Off 1to 63 Ringmod 65 to 126 Input Off means 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 VIRUS T 80 OSCILLATORS The Virus has a total of five internal sound generation sources Three main oscillators a sub oscillator and a noise generator The levels of these sources can be adjusted using the knobs in the MIX section see MIX on page 111 To enter the Common Sub Oscillator Noise and Ring Modulator pages of the OSCILLATORS section press EDIT once or twice until its own LED flashes The Virus TI offers three fundamentally different oscillator modes Classic as in previous Virus models HyperSaw up to 9 layered detunable Saw waves and WaveTable smoothly interpolated additive waves About HyperSaw and Sync Unlike Classic oscillators where oscillator 2 can be synchro nized to oscillator 1 HyperSaws are always synchronized to their own inaudible
146. red 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 be a multi channel VST AU soft synth within any suitable host program e g Logic Cubase etc Virus Tl is the world s first hardware synthesizer featuring sample accurate timing and delay compensated audio MIDI See VirusControl on page 145 for details of this revolutionary feature 15 About USB Connection A Typical Setup Don t use a hub To achieve the level of performance and inte gration the Virus TI series provides you must reserve a USB slot exclusively for the Virus TI i e this specific port should not be shared with any other USB device During beta testing with FETTE various PC and Mac setups we found that using certain USB HHBC 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 Changing knob response A global parameter see Response on page 134 affect
147. ri AngIMS 114 U Punk MS 122 WhatThe MS 003 Photex MS 011 Angels MS 019 CavePizzMS 027 CoolBlipMS 035 DscotheqMS 043 FiltopiaMS 051 Hazard MS 059 KoolSawsMS 067 MegaFuzzMS 075 PartyOn MS 083 PwrStackMS 091 SciFiChrMS 099 SquarDncMS 107 TriShaprMS 115 UK Bass MS 123 Wicked MS Patches by Manuel Schleis MS and Mikael Hansson MH VIRUSI TI 004 1 FingerMS 012 Binary MS 020 ChainSawMS 028 5 036 E motionMS 044 FingomatMS 052 Heaven MS 060 KraftLd MS 068 MegaraveMS 076 Plastic MS 084 R Whip MS 092 Smoothy MS 100 StrburstMS 108 TrncTipsMS 116 UniBass MS 124 Wraith MS 188 005 303Sync MS 013 BombTraxMS 021 ChilloutMS 029 CrystalsMS 037 EuroBassMS 045 Fltopia2MS 053 Hoboken MS 061 KraftLd2MS 069 MegaWattMS 077 PowerPadMS 085 RaverLneMS 093 Snapper MS 101 SuprNovaMS 109 TrnsfrmrMS 117 V ger MS 125 Wraith2 MS 006 AftrglowMS 014 BPMover PS 022 ChinaToyMS 030 DarksideMS 038 EuroSaw MS 046 Fitopia3MS 054 HolywoodMS 062 KrftworxMS 070 ModMnstrMS 078 Public MS 086 RawBlineMS 094 Softie MS 102 SyncStarMS 110 TubeDstxMS 118 Vintage MS 126 X FlangeMS 007 Alert MS 015 BubblizeMS 023 ChordMe MS 031 DaydreamMS 039 EuroSaw2MS 047 FM Bass MS 055 IceDartsMS 063 LdStrngzMS 071 OffbtDbIMS 079 Pulsar MS 087 RckDaCIbMS 095 SolidGoaMS 103 Tachyon MS 111 Typhoon MS 119 VocodrPdMS 127 5 ROM N 000 AandreasM 001 Aerosol J 008 BGot90s M 009 BigPadSwM 016 COMPump MQ
148. rix RP 046 Latex 2 HS 054 Mellotr RP 062 NA Bass RP 070 P Lead RP 078 PolyPha RP 086 RealFlutHS 094 Str Arp RP 102 Tec Str RP 110 TomBass RP 118 Vi Rtro RP 126 Kck RP 007 Acidica HS 015 BasemineHS 023 CuttaD6 HS 031 eXtream RP 039 Howner RP 047 Latinum HS 055 Mistery RP 063 NoiseAA RP 071 P Organ RP 079 Pro 12 RP 087 Riptide HS 095 STR II RP 103 TecBass RP 111 Torque HS 119 Vichord RP 127 Z Keys SV ROM 000 AESound zs 008 Attack J 016 bigTung zs 024 Cloakin M 032 dopeEp zs 040 Dumb M 048 GBEp3 zs 056 LepY3 zs 064 mostHih zs 072 PowerStrn 080 rngPort zs 088 sitar zs 096 SpaceNigh 104 Subbass zs 112 V Acid 7 120 WetThn zs 001 AldoNovaM 009 AutoTknoBC 017 Bleu M 025 cutRes zs 033 Dragon M 041 Empira 2M 049 george2 zs 057 lootRng zs 065 MrBig jh 073 pulsRay zs 081Roboe zs 089 Skware zs 097 spasDrv zs 105 Sunday M 113 V Acid 49 M 121 wire 1 BC 002 AmbientB j 010 B Deep M 018 Blotto M 026 decDATA1zs 034 dropIT zs 042 Entropie J 050 GooHat M 058Lost M 066 Mr Foo M 074 Quarp BC 082 RuffLea jh 090 smoovLd zs 098 Spinner M 106 Tomita 114 VCS 3a 122 Wobble M 003 AmbientF XJ 011B Foe M 019 Bubble2 M 027 decDATA2zs 035 drpBomb zs 043 Everest J 051 GotHAM M 059 LowBass jh 067 Necro M 075 RbbrBellBC 083 Shifted BC 091 SoftBell J 099 spoolPd zs 107 Torque 115 videoG1 zs 123 xPandr zs 004 ambiRgM zs 012 BadLand M 020 CappSt M 028 decDATA3zs 036 Drubber BC 044 F
149. s delay times etc Color Coloration Parameter affecting the cutoff frequency of a simple filter e g the Noise generator or Delay Reverb tails Continuous Controller See CC Contour In the Virus A continuous parameter determining the shape of an LFO Cross fade Term borrowed from cinematography when two successive sounds are mixed in such a way that they appear to blend smoothly from one to the next B Crotchet 1 4 note Classical term for the length of one beat as in bom 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 VIRUS TI Cyclic Recurring regularly e g an LFO when not in envelope mode Also called periodic D m dB Decibel Relative unit of attenuation or gain Destination Carrier or target of a modulation See also Source Detune Fine tuning of oscillators Dissonance Opposite of harmony Dry Untreated portion of an audio signal in any effect module e g chorus reverb DSP 164 Digital Signal Processor Practically all modern hardware syn thesizers are based on DSP chips not on standard computer CPUs Pentium Athlon etc m Edit Buffer Area of memory used to temporarily hold program data Whenever a program is selected its data is copied into an edit buffer and then used to genera
150. s how most of the knobs on your Virus react and the current value of this parameter may not suit your needs VIRUSI TI 16 Press the CONFIG button to the left of the display and use the PARAMETERS buttons to scroll through the pages until you reach the one shown above Using the VALUE 1 knob change Response to J ump if this is not already selected Press the SEXIT button to return to normal operation Later on you may prefer one of the other options Snap or Rel to prevent glitches during live performance Note that some knobs will have no audible effect because they depend on other parameters e g the RATE of an LFO that isn t being used or the DECAY of an envelope when SUSTAIN is at maximum etc 17 Creating New Sounds The INIT Programs 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 giddy heights the TI makes very dynamic use of resources i e using certain features can lower polyphony to well below these figures For instance doubling the number of Unison voices e g from 3 to 6 will reduce polyphony by half If you ever find you need to maximize polyphony
151. s the CONFIG button on your Virus TI to adjust global parameters H Harmonic Series All frequencies in a sound i e the partials which are integer multiples of the fundamental Starting at A 440 the harmonic series would therefore be 440 Hz 880 Hz 1320 Hz 1760 Hz etc Hermode Tuning VIRUS TI Method of maximizing 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 m Hertz Hz Measurement of frequency Formerly called cps cycles per second m Hoover Term borrowed from a household appliance company to describe a distinctive fuzzy sound often used in electronic dance music The HyperSaw oscillator model in your TI gives you instant access to such sounds Interactive Two or more parts of any system capable of affecting each other e g a conversation or synthesizer modules m Impulse Signal with a very short peak e g a very narrow pulse wave or an envelope with zero decay 166 K Key Follow Modulation source proportional to the MIDI note number i e which key you play Key Pressure See Polypressure L Layer Two or more sounds played in unison Achievable in Multi mode by setting PARTS to the same MIDI channel LED Light Emitting Diode Electronic component often used for displaying switch status on instrum
152. section Play your keyboard while tweaking the CUTOFF knob FIRST STEPS PORTAMENTO Via SHIFT SEMITONE 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 96 VIRUS T 34 The Mix Section Most of the knobs here are self explanatory They are volume controls for the signal sources OSC BALANCE This knob controls the relative mix of oscillators 1 4 and 2 while keeping the total level constant The 12 00 o clock position is 50 50 mix of both these oscilla OSC BALANCE tors Try this Restore ROM A127 Play a note and turn SEMI TONE down to 5 Keep playing your keyboard swosvawe While turning OSC BALANCE slowly up to maxi mum You can only hear oscillator 2 now Turn up FM AMOUNT and leave it at a medium level Now turn OSC BALANCE down again You can only hear 4 oscillator 1 No oscillator 2 and perhaps surpris ingly no FM That s because FM is really part of oscillator 2 remember OSC VOLUME SATURATION T PE 2 12 NOISE VOLUME RING MOYULATOR 35 SUB OSC 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
153. step through the menu pages Those in the OSCILLATORS and lower EFFECTS sections toggle between the selectable element specific pages and additional non selectable parameters e g the Vocoder Similarly the one in the MODULATORS section toggles between the selected LFO s main settings and its Destinations menu How to navigate within menus Many menus in your Virus require more than one page These can be found by using the PARAMETERS buttons in the Master section to the right of the display 13 If a menu is already open selecting a different element within the same section e g LFO3 instead of LFO1 OSC1 instead of OSC2 or LOW EQ instead of REVERB will jump to the new menu How to change values within menus Use the VALUE knobs below the display Whenever you enter a menu page one of the parameters will already be active indi cated by a triangular cursor Its value can be decremented incremented via the VALUE buttons To move the cursor without changing values hold down SHIFT and press one of the PARAMETERS buttons There is actually a system parameter which governs how the PARAMETERS buttons work see Navigation on page 137 How to close menus To exit any menu press the S EXIT button to the left of the dis play It is not necessary to press S EXIT before opening a new menu Re selecting the current basic mode SINGLE MULTI will also exit menus Different Ways of Working Single mode This is the stand
154. t FM Amount VIRUS T 60 Panorama 64 to 463 How much LFO2 modulates the position of the signal across the stereo outputs Like automating the PANO RAMA knob SHIFT OSC BALANCE Modulation destina tion LFO2 gt Panorama Assign Target Off Amp Env Attack WaveTable 2 Index Selects one of the many possible destinations for LFO2 Amount 64 to 463 How much LFO2 modulates the specified Assign Target see above Modulation destination LFO2 Assign Amt LFO 3 Destination Fade In gt Oto 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 gt Osc1 Pitch Oscillator 1 pitch gt Osc1 2 Pitch The pitch of all oscillators gt Osc2 Pitch Oscillator 2 pitch Note that oscillator 3 automat ically follows any pitch modulation applied to oscillator 2 gt Osc1 Pulse Width The pulse width of oscillator 1 SOUND PARAMETERS REFERENCE gt 05 1 2 Pulse Width The pulse width of both oscillators at the same time Osc2 Pulse Width The pulse width of oscillator 2 Sync Phase When Sync is switched on see SYNC on page 84 this defines the absolute phase of oscillator 2 each time it is reset by oscillator 1 Modulating Sync Phase can cause e
155. t in a short but noticable stereo delay effect Modulation destina tion Chorus Delay SOUND PARAMETERS REFERENCE Feedback gt 64 to 63 The amount of signal fed back into the Chorus input The Feedback parameter is bipolar because positive and negative values have different tonal characteristics Modulation destination Chorus Feedback Mod Rate gt Oto 127 Modulation rate the speed of the dedicated LFO Modulation destination Chorus Mod Rate Mod Depth gt Oto 127 How much the LFO modulates the Delay parame ter Modulation destination Chorus Mod Depth VIRUS T 72 Mod Shape gt Sine Triangle Sawtooth Square S amp H S amp 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 phaseris also capable of resonator ensemble vibrato and flanging 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 gt Off 1 to 127 Cross fade between the dry and wet signal Set Mod Rate this to 64 for normal phasing together with zero Feedback see below Modulation destination Phase
156. te the sound m Envelope Synthesizer module originally used to simulate the way a note appears and fades out Can also be used for many other pur poses e g filter cutoff pitch m EQ Equalizer A set of filters used to modify the spectrum of a sound either for creative effect or as a corrective F Feedback 165 A loop in any signal path e g feeding the output of a delay back into its own input mFilter Module present in all subtractive synthesizers used to pass cer tain frequencies while rejecting attenuating others Filter saturation See Saturation B Full wave rectification Signal process that results in half of the signal upper or lower being fully inverted An often subtle but useful effect available in the Saturation stage for each individual note as well as in the Effects section Distortion is applied to the overall signal See Rectifier Rectification on page 171 m FM Frequency Modulation e g FM radio FM synthesis Pitch modulation when the source and destination are both audio sig nals resulting in a compex tone m Frequency Speed of oscillation Measured in Hertz Hz Human hearing ranges from about 30 to 20 000 Hz APPENDIX B GLOSSARY G Gain Increase of amplitude etc Usually measured in dB Opposite of Attenuation m Glide See Portamento Global parameter A parameter affecting the entire synthesizer e g Knob Response MIDI Device ID etc Pres
157. the same note at the same time V VA Acronym for Virtual Analogue Traditional subtractive synthesis emulated via software Vibrato Cyclic pitch modulation usually around 5Hz LFO3 is the most common source of vibrato in the Virus m Vocoder Voice Encoder Device often used to impose the formant char acteristics 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 LFOs etc A monophonic synthesizer has only one voice Unison mode uses up 2 or more voices per note W Waveshaping Applying a distortion transfer function to a signal for complex timbral modification m Wet The treated e g reverb portion of a sound i e without the origi nal dry signal APPENDIX B GLOSSARY Z m Zipper Noise Generally unpleasant audio artifacts usually caused by quan tized modulation Eliminated in the Virus via Adaptive Control Smoothing VIRUS T 174 9 Appendix Patch Names ROM A 000 T I BC 008 BombasdrBC 016 ChimePadBC 024 DivngBelBC 032 Glacier BC 040 HypaFlowBC 048 Laquis BC 056 Misty BC 064 NewkLeadBC 072 Plang BC 080 RezbiantBC 088 Sledge BC 096 SyncloneBC 104 Touchy BC 112 VelevateBC 120 WT1 BC 001 Alead 009 BothEndsBC 017 ChoirBelBC 025 DualiTl BC 033 GlasofonBC 041 HypaHype
158. thesizer tech nology or even specifically to the Virus A Adaptive Control Smoothing ACS Smooth but rapid interpolation of parameter changes to elimi nate zipper noise Additive synthesis Method of creating sounds by summing simple waveforms usually sine waves Complex sounds therefore require many oscillators See also Subtractive synthesis Aftertouch Obsolete term for either Channel Pressure or Key Pressure Allpass filter Type of filter which does not remove frequencies from the sig nal but only affects its phase Amount VIRUS TI How much a modulation source affects its destination m Amplitude A non scientific definition would be loudness level volume etc m 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 Arpeggiators are clocked processors that turn chords into usually repeating sequences Attenuation Reduction of amplitude etc Usually measured in dB Opposite of Gain Balance Simultaneous control over the relative levels of two signals See also cross fade Bandpass filter BP 162 Filter which passes a range band of frequencies while rejecting others outside this range Bandstop filter BS Also called notch filter or band reject filter Practically the oppo site of a bandpass filter i e rejects a range of frequencies while p
159. time and adjusts its own list accordingly This can take a while if many of the programs have changed VIRUSCONTROL The browser is divided into two sections so that sounds can be copied via drag and drop between two different banks It works like this Select the source sound s and while still pressing the mouse button move the sound s to a new posi tion Release the mouse button Please note the following points m Make sure you don t overwrite sounds you have not saved elsewhere the browser does not disturb your workflow with annoying Are you sure messages m Multiple selection works in a similar way to e g Windows Explorer Hold down Shift or Command Mac Ctrl PC while clicking on sounds m Double clicking a sound will load it into the currently selected Part The computer s cursor keys can then be used to load sounds sequentially m If sounds are drag dropped within the same list the source and destination sounds will be swapped If drag dropped from one list to the other they are copied Swapping or copying multiple sounds retains contiguity i e their order including any gaps For example If you select sounds 1 2 and 4 and drag drop them to position 11 they will then occupy positions 11 12 and 14 the sounds in positions 3 and 13 will not be affected VIRUS T Oscillator Page This page includes all parameters in the OSCILLATORS and MIX sections of your Virus TI hardware as well as a f
160. urning the RESONANCE knob up doesn 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 VIRUS T 26 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 SHIFT ENV AMOUNT High notes are generally brighter than low notes when played on acoustic instruments KEY FOLLOW can emulate this effect by making Cutoff follow the notes you play Restore ROM A127 take CUTOFF down to around 64 and play the keyboard to get used to the sound of a flat filter across the entire keyboard Then hold down SHIFT and turn KEY FOLLOW i e the ENV AMOUNT knob up to maximum Play your keyboard again There are several important parameters in the filter menu a few of which have already been mentioned in passing here are the ones you should become familiar with first Press the EDIT button in the FILTERS section and use the PARAMETER buttons to find the following page Routing Here s that Routing parameter mentioned earlier twist the VALUE 1 knob to see the various options So far you have used the filters either in series the output of fil ter 1 is sent to the input of filter 2 or in isolation by setting extreme FILTER BALANCE
161. values Here is a list of all four rout ing options you might like to look up the word Pole in the glossary Serial 4 The filters are routed in series with two poles each 12dB per octave This adds up to a total of four poles i e 24dB per octave if FILTER BALANCE is dead centre 0 gt Serial 6 The filters are routed in series Filter 1 has four poles 24dB per octave and filter 2 has two poles This adds up to a total of six poles i e 36dB per octave if FILTER BALANCE is dead centre 40 Parallel 4 The filters are routed in parallel with two poles each 27 Split Mode The filters are also routed in parallel with two poles each Unlike the Parallel 4 mode each filter processes a different set 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 111 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 other CUTOFF controls filter 1 CUTOFF 2 controls filter 2 When Cutoff Link is set to On the CUTOFF knob can control both filters at the same time CUTOFF 2 becomes an offset i e it determines how much lower or higher filter 2 is than filter 1 Note that Cutoff Link is normally left on as it
162. www access music de and download the latest collection of templates for a variety of popular MIDI devices Alternatively custom templates can be created using the VirusControl application see VirusControl on page 145 Note that in REMOTE mode the MASTER VOLUME knob can be set to control MIDI volume CC 7 instead of output levels see Remote Mode on page 136 STORE Opens a menu in which you can name and store edited pro grams or send system exclusive data via MIDI See Store on page 110 SOUND PARAMETERS REFERENCE RANDOM Via SHIFT STORE Creates a random program based on the current one See Random PG on page 126 UNDO 1 While a program is being edited Cancels the most recent parameter change 2 After changing to a different program Retrieves the most recently edited program 3 During STORE compare the edited program with the origi nal in the specified location REDO Via SHIFT UNDO Undo the Undo see above TRANSPOSE Use this pair of buttons to transpose the entire program in octaves To transpose beyond the limits 2 to 2 octaves orto transpose in semitones use the Transpose parameter in the MASTER EDIT menu see Transpose on page 103 VIRUS T 100 In keyboard models of the Virus TI 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 130 POWER ON OFF TRANSPOSE down
163. ync on page 81 FM MODE Via SHIFT FM AMOUNT Specifies the FM modulator source See FM Mode on page 90 Oscillator 1 Classic The following information applies to oscillator 1 in Classic mode only 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 Mode Sine Triangle Waves 3 to 64 Spectral Wave function Mod Accessible from the panel via SHIFT oscillator SHAPE knob ulation destination Osc1 Wave Select Classic HyperSaw WaveTable Selects the basic type of or oscillator gt 50 0 to 100 Pulse width function Modulation destination Osc1 Pulse Width Shape Accessible from the panel via the SHAPE knob Modulation destination Osc1 Shape gt Spectral Wave Sawtooth Pulse Waveform mix At min imum you will only hear one of the 64 spectral waves at dead centre you will hear a pure Sawtooth at maximum a pure Pulse wave Set intermediate values for different mix tures these are displayed as percentages Semitone Accessible from the panel via the SEMITONE knob gt 48 to 48 semitones The nominal pitch of oscillator 1 Modulation destination Osc1 Pitch 85 SOUND PARAMETERS RE

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