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1. 46 CHAPTER 4 Introduction You can also use S amp H and S amp G in ENV MODE to come up with some attractive results S amp H generates a single random value at the start of a note in this case the RATE pot has no effect S amp G works in the same manner although in this case the RATE value is crucial It deter mines the amount of time it takes to glide from the previous to the new random value LFO 2 The design of the second LFO is essentially the same as the first so we ll spare you the repetition of details SHAPE 1 and 2 are available as a joint modulation target the filter frequencies and the Pan orama position can be manipu lated individually You may also freely select a parameter for your modulation destination LFO 2 oo O 1 e e O Ny e e O ZN BD ms ON o E O PL RATE SHAPE O WAVE O O O SHAPE H2 FILTER I PAN EDIT ENV_ AMOUNT O ASSIGN MODE d Volume and Panorama Posi tion You probably noticed that the many of the sound shaping options available in the Virus occa sionally influence the volume level For instance an unfiltered saw tooth is naturally louder than a highly filtered sawtooth because whenever you blend a part of the frequency spectrum out of the mix you are automatically reduc ing the overall volume of the sig nal This is why the Virus is equipped with a programmable volume pot for each SINGLE PRO GRAM It enables you to balance out the volume levels o
2. A value of 1 4 halves the speed of the Arpeggiator 1 16 doubles it The other CLOCK positions yield fairly exotic time signatures in ref erence to the clock generator s tempo 1 Arressistor Clock 1 164 ARPEGGIATOR OCTAVES Controls the ascending transposition of arpeggios by octaves Control range 1 to 4 octaves 1 ARFPEGGIATOR Uctaye 24 Wi ARPEGGIATOR HOLD When this parameter is activate the arpeg giator continues to play after you release the keys Not until you release all keys and press a new key are the notes that were held up to this point released 1 ARPEGGIATOR Hold OFFA ARPEGGIATOR PATTERN This parameter selects one of the rhythmic patterns for the Arpeg giator 1 ARFFEGGIATOR Pattern 24 ARPEGGIATOR NOTE LENGTH This parameter changes the lengths of the rhythm patterns notes The center position leaves the notes at their original length Positive values lengthen the notes nega tive values shorten them relatively to their original lengths 1 ARPEGGIATOR HoteLensth 14 ARPEGGIATOR SWING This param eter controls the swing factor of the rhythm patterns Higher SWING values delay the even meter or straight sixteenths that is every second sixteenth note This lends the rhythm a swing feel When SWING is set to the lowest value 50 the interval between the individual sixteenth beats is identical and the length of an eighth note is divided into two identical beats in
3. OUTPUT SELECT before you can 1 IHPUT establish a signal connection Select In L R4 between the two PARTS Several PARTs can simultaneously access the external input or the internal If the selected signal source is a aux paths via INPUT SELECT stereo source i e IN L R AUX 1 L R or AUX 2 L R then the sound program is automatically switched internally to UNISON MODE Twin regardless of the UNISON MODE parameter setting so that the input signal is processed in ste reo In this case the UNISON parameters PAN SPREAD and LFO PHASE see appropriate section are active When you select an internal aux path as a signal source you of course must route the signals of another PART to this aux path via 154 CHAPTER 16 Parameter of the effects menu FOLLOWER ENVELOPE FOLLOWER The envelope follower generates a modulation signal from an audio signal This modulation signal can be used to control sound parame ters When the envelope follower is activated it takes the place of the filter envelope This means that you can modulate the filters using the ENV AMOUNT knob in the filter section The envelope follower is also available as a modulation source in the ASSIGN section in the form of the option called FiltEnv MODE Activates the envelope fol lower Set to the OFF position the envelope follower is inactive and the filter envelope works in the usual manner The remaining settings for FOL LOWER mode let y
4. SHAPE SEMITONE DETUNE 6 80 o O O 6 a O o ee Bp an a 7 PW DIT SYNC FM AMOUNT OSCILLATOR 3 The Virus offers a third master oscillator per voice that you can activate whenever you need it It lets you come up with even more complex sounds by adding more oscillations and spectra to the sig nal When Oscillator 3 is switched on i e OSCILLATOR 3 mode is not set to the OFF position the polyphony of the Virus decreases by up to six voices depending on how many voices use the third oscillator in MULTI mode The second position of OSCILLATOR 3 mode is called SLAVE Here Oscil lator 3 is active but just like when it is set to the OFF position no further parameters are avail able and visible In this operating mode Oscillator 3 is the twin of Oscillator 2 It adds further oscilla tions thus making the sound fat ter and more animated Oscillator 2 and 3 are handled collectively using Oscillator 2 s control features just as if the two were a single oscillator All settings that you dial in for Oscillator 2 apply to Oscilla tor 3 with one exception DETUNE This parameter runs counter to that of Oscillator 2 You can select the waveshapes individually for Oscillator 3 via the following OSCILLATOR 3 mode options sawtooth square pulse width modulation sine triangle and all further spectral wave shapes You have three further parameters available once you set Oscillator 3 to an individua
5. STORE E 7o belabor the point when you store a MULTI program only the content of the MULTI edit buffer is saved not however the sound pro grams in the PARTs These must be stored individually in MULTI SINGLE mode If you want to store the SINGLE programs in the PARTS to their original slots in the SINGLE banks all at the same time simply press STORE and 1 C126 Init 1 Ci 6 Init CSTORE TO COMPARE When you press STORE and then EDIT or CTRL you will activate Compare mode After you have programmed or edited a SINGLE sound Compare mode lets you hear the unedited sound that was originally stored in this memory slot Press EDIT or CTRL repeatedly to switch back and forth between the Compare sound and the edited sound so that you can surprise surprise compare the two sounds Use the PARAMETER BANK buttons and the VALUE buttons to step through the bank and pro gram numbers of the Compare sound This lets you search for a new memory slot for the edited ACCESS VIRUS OS4 69 Compare sound and at the same time hear the sound that you will overwrite The edited sound is not modified or overwritten during this process Press STORE to do just that to the edited sound store it Press MULTI or SINGLE to quit the STORE process and or exit Compare mode 1 Cite Init COMrPare 70 CHAPTER 7 All about the memory Master AA 72 CHAPTER 8 Master Clock and Midi Clock MASTER CLOCK A
6. Switch and control pedals are available in your local music store The only suitable control pedals are the typical synthesizer control pedals with a single three pole plug similar to a headphone plug What does not work are volume or Wahwah pedals that guitarists use In addition some manufactur ers control pedals have a different polarity so that the pedals do not function correctly with the Virus kb Indigo no control effect or erratic control We suggest you try out a control pedal before you buy it Some manufacturers switch pedals also have a different polar ity The Virus kb Indigo however recognizes this polarity when you switch it on or whenever you hit the Panic Reset Double click both Transpose buttons Panic Func tion on page 92 Aftertouch also commonly referred to as Channel Pressure is a control signal that is generated by hitting a key and whilst holding it press ing it a bit harder not too hard lest the function be changed to repair required The harder the keys are pressed the stronger the control signal becomes excellent for modulating any parameters while playing the Virus via its modulation matrix ASSIGN The sensitivity of the Aftertouch func tion is set with the parameter KEY BOARD PRESSURE Sensitivity Off 1 127 Normal sensitivity is around 64 this allows you to exploit the entire aftertouch range If you are using the key board to rec
7. TER BALANCE Default o middle FILTER BALANCE creates a mixture of the vocoder signal and the mod ulator respectively carrier signal Turning FILTER BALANCE to the left adds a certain amount of the car rier signal to the vocoder signal A turn to the right adds the modula tor signal Turning the FILTER BALANCE hard left or right can be used to monitor the vocoder s input signals only Vocoder Spectral Balance Knob FILTER SUSTAIN TIME Default 64 middle Spectral balance between the higher and lower fre quencies of the vocoder signal This parameter works similar to a simple equalizer which is e g capable to increase the quality of speech The Spectral Balance highly influences the overall char acter of the vocoder Several vocoder related parame ters can be modulated by LFO 1 and LFO 2 gt LFO1RESO1 2 modulates the bandpass filter quality of the mod ulator and carrier bank gt LFO2FILT1 modulates the bandpass filter frequency of the carrier bank ACCESS VIRUS OS4 209 The parameters of the VIRUS vocoder gt LFO2FILT2 modulates the bandpass filter frequency of the modulator bank 210 CHAPTER 21 The Vocoder of the VIRUS NOTES ABOUT THE VOCODER The vocoder can also be controlled by any part of the multimode If more than one part of the multi mode contains an activated vocoder only the vocoder of the part with the lowest part number is active The vocoder takes a lot of comp
8. 57 HANDLING 59 Parameter Selection and Data EMEY repena ana 60 KnobModes 63 Displayofvalues 64 ALL ABOUT THE MEMORY 67 MASTER CLOCK amp MIDI CLOCK 71 Master Clock and Midi Clock 72 THE MODULATION MATRIX AND DEFINABLE KNOB 75 Creating Modulation Configurations VIAASSIQIN sarisi 76 The DefinableKnobs 78 THE EFFECTS SECTION 81 The EffectSection 82 AUDIO INPUTS 83 Audiolnputs 84 OSCVolume Input 85 Inputlevelindicator 86 INTERNAL AUDIO ROUTING 87 AUX BUSCS m ais nini 88 TheAudioOutputs 89 ADDITIONAL FUNCTIONS 91 PanicFunction 92 Auditionfunction 92 ResetFunction 92 THE PARAMETERS 93 Sound Parameters with a Dedicated ControlElement 94 LFO T Panel adin 95 IFO1 EDITMenu 97 LFO 2 Panel isisisi 100 LIFO gt Edit Menu 101 Meke ER SER SEE 102 OSCILLATOR 1 Front Panel 104 Oscillator 2 frontPanel 105 OSCILLATOR EDIT Menu 106 Menu parameters for Oscillator 2 107 Men
9. SUSTAIN Determines a variable level for the filter envelope at which it remains after the end of the DECAY phase see appropriate section The duration of the SUS TAIN phase depends on the TIME value see appropriate section 118 CHAPTER 14 The Parameters TIME Sets the bipolar time param eter for the filter envelope It determines the envelope s response once it reaches the SUS TAIN phase see appropriate sec tion If the knob is set to the center position 12 o clock indi cated by the mathematical infinity symbol then the SUSTAIN level remains constant through to the end of the note if you turn it counter clockwise to the left towards FALL then the level drops off at an increasing rate towards the minimum level If you turn the knob clockwise to the right towards RISE the level rises at an increasing rate to maximum RELEASE Determines the speed or rate at which the volume of the fil ter envelope decreases after the end of a note The higher the DECAY value the longer it takes for the envelope to fall from its cur rent level to the minimum level when the key is released FILTER EDIT MENU SATURATION CURVE The SATURA TION stage in the filter section offers a selection of different satu ration or distortion characteristics You can use these to add overtones to a sound Beyond that you are free to radically bend sounds using further DSP effects The intensity of the distortion or DSP effects
10. Single nn Parameter Number 0 127 see parameter list vv Parameter Valueo 127 see parameter list Fo 00 20 33 01 dd 7x pp nn vv F7 M The SysEx Parameterchange affects one of the sixteen single edit buffer in Multi Mode addressed by the part number 00 oF or the Sin gle buffer in Single Mode part number 40 If a global parameter or a Multi parameter is accessed which is not part sensitive e g Input Boost or Multi Delay Time the part number is ignored Example F0 00 20 33 01 10 70 05 28 5F F7 Set Cutoff on Part 6 to decimal value 95 10 device ID omni 70 page A 05 part 6 28 parameter Cutoff 5F decimal value 95 Single Dump message 10 Single Dump bb Bank Number oo Single Edit buffer 01 04 Single Bank A D SS Program Number 0 127 256 single bytes cs Checksum optional FO 00 20 33 01 dd 10 bb ss 256 single bytes cs F7 E When bank number is set to oo the program number is the part number that addresses one of the sixteen Single Edit buffer in Multi Mode 00 oF or the Single buffer in Single Mode 40 256 single bytes contains the Sin gle parameter pages A and B each 128 bytes long ACCESS VIRUS OS4 255 System Exclusive Data Checksum is the sum DevicelD 10 BankNumber ProgramNum ber 256 single bytes AND 7F A dump with a wrong checksum will be received but an error message will appear on the display Multi Dump message 11 Multi Dump bb
11. Tel 02636 976464 Fax 02636 976499 info tsi gmbh de Ferner mussen folgende Voraus setzungen erf llt sein Das Ger t befindet sich in der Ori ginalverpackung oder zumindest gleichwertiger Verpackung Dem Ger t liegt eine genaue Feh lerbeschreibung und eine Kopie des Kaufbelegs bei WARRANTY The access music electronics war ranty covers all defects in material and workmanship for a period of six months from the date of origi nal purchase This warranty does not cover defects due to abuse faulty con nections or operation under other than specified conditions Warranty coverage is also voided when the device is repaired by unauthorized persons or tampered with in any way To ensure the warranty is valid fill out the warranty card completely including serial no date of sale company stamp signature of the authorized dealer as well as your name an adress and return it to the adress given below ACCESS VIRUS OS4 293 Warranty If a defect occurs during the war ranty period contact the following adress before sending the device TSI Neustra e 9 12 D 53498 Waldorf Germany Phone 0049 2636 976464 Fax 0049 2636 976499 email info tsi gmbh de The following stipulations also apply Ensure the unit is sent in its origi nal package or one of equal qual ity Include a detailed description of the defect and a copy of the pur chase receipt 294 CHAPTER 24 Appendix
12. The Virus is equipped with two main oscillators and a so called suboscillator We will first take a look at Oscillator 1 which is the oscillator you have already heard in action during your experiments thus far Dial in the same basic sound that you started with at the very begin ning Now modify the amplifier envelope so you are working with a less grating sound but hold back on any other filter or SATURATION modifications so you can hear the purest oscillator signal possible Locate the section labeled 1 it is bordered off in a separate area at the far left of the section labeled OSCILLATORS No check out the two pots labeled SHAPE and WAVE SEL PW These enable you determine the waveshape and consequently the tonal spectrum of Oscillator 1 OSCILLATORS l im e I e NED Pw In the sound program SHAPE is preset to the center position 12 o clock which is equivalent to a value of 64 On the pot this posi tion is identified via a graphic depiction of a sawtooth wave You can definitely see why this wave shape bears the name sawtooth Press and hold a key and slowly turn the pot clockwise You should be able to hear how the tone becomes increasingly more hol ACCESS VIRUS OS4 35 The First Oscillator low sounding You might say this effect thins the sound out but in any case the entire tonal spectrum is affected by an equal measure which is an audio result filters are unable to achieve
13. The waveshape that is audible when you turn the SHAPE pot to the far right is a so called pulse wave The graphical representation of this waveshape on the control panel gives you a good idea of its appearance It is unique because the duration of the negative pulse is equal to the duration of the pos itive pulse It has a so called pulse width of 50 The tone of a pulse wave is different to that of a saw tooth wave because it does not contain all overtones in the natural overtone scale only the odd num bered tones i e the first the root note that determines the pitch third fifth and so forth By turning the SHAPE pot from the sawtooth control range towards the pulse control range you are actually dial ing every other overtone out of the mix which explains why the sound becomes thinner 36 CHAPTER 4 Introduction You can continue modifying the sound by reducing the symmetri cal width of the pulse wave In the Virus you can execute this sound shaping measure via the WAVE SEL PW PW pulse width pot PROVIDED THE SHAPE POT IS SET TO A POSITION IN THE RIGHT HALF OF ITS CONTROL RANGE LATER THAN 12 O CLOCK Rotate the WAVE SEL PW pot slowly from the left to the right and leave the SHAPE pot at the far right position You can hear how the treble content of the sound increases while the sound becomes ever thinner At the far right position the signal is no longer audible because the pulse width is equivalent t
14. This effect is stronger with walls that have soft surfaces wood wallpaper than it is with walls that have hard surfaces glass tiles Consequently high end damping has a significant influ ence the vibe and warmth of the room sound 1 FENERE Dameind 124 170 CHAPTER 16 Parameter of the effects menu REVERB COLOR This parameters influences the room s static frequency response Natural reverb will always have some high frequency attenuation since the sound bounces off at least one wall REVERB COLOR is identical to DELAY COLOR here you re dealing with a variable filter that can act as a low pass filter negative control range as well as a high pass filter positive control range For a natural sounding room simulation you should always set REVERB COLOR to a slightly negative value to dampen the higher frequencies of the room signal This will make the effect sound more authentic and the room sound warmer You can how ever opt to create interesting arti ficial sounding effects by cutting the lower frequencies radically To this end experiment by varying the high pass filter within REVERB COLOR s positive control range REVERB COLOR is a static filter which means it generates a differ ent effect than that of REVERB DAMPING where the amount of high end damping is a factor of time In the signal path the filter is located at the output of the pre delay This means that the filter also influences p
15. This lets you create complex modulations for pad like sounds and puts an end to the sonic monotony of a wob bly monophonic LFO In SINGLE mode one LFO controls several voices so that the modulation will affect several voices in the same way This which will make the effect stand out in the mix 1 LFOl Mode Polud LFO Trig Phase When this function is activate the given LFO will no longer oscillate freely instead it restarts its wave cycle at the beginning of each note Next to the obligatory OFF posi tion this parameter has 127 further increments These let you chose different positions within the wave cycle at which the LFO will start oscillating at the start of each note In contrast to ENV mode which is available independently of KEY TRIG PHASE an LFO with KEY TRIG PHASE will continue to oscillate ACCESS VIRUS OS4 241 LFOs once it has been triggered In other words in behaves like a real LFO rather than an envelope This triggering option will also work when the LFO is synced up to the master clock This means that synced LFOs can be triggered via note on messages The LFO rate however is still determined via the master clock and or MIDI clock i LFO 1 TrisPhase OFFA External LFO Trigger You can also trigger an LFO at any time by means of a controller in other words restart its waveform cycle via remote control LFO1 mode Ctr 70 LFO2 mode Ctr 82 and LFO3 mode provis
16. are carried out continuously and smoothly DSide effect Parameter jumps are also carried out continuously meaning that glitches may be gen erated inadvertently AUTO Adaptive Control Smooth ing analyzes the nature of incom ing parameter changes and carries these out continuously or abruptly as the case may be gt Application Both continuous as well as sudden parameter changes may be implemented in the same sound Side effect This analysis of radi cal parameter changes can t cope with jumps that occur in rapid suc cession NOTE Adaptive Control Smooth ing works continuously but jumps when a new note is played gt Application Both continuous as well as sudden parameter changes may be implemented whereby the jumps are always inserted at the beginning of a new note Conse quently this option is well suited when you want to control sounds via a step sequencer Side effect When you re playing polyphonically parameter jumps also affect notes that were played previously and are still sounding when a new note is played ACCESS VIRUS OS4 219 Notes on Adaptive Parameter Smoothing 220 CHAPTER 22 The Virus and Sequencers The Control Smooth mode param eter setting is considered a compo nent part of a SINGLE sound and is thus stored with it E Step sequencers let you assign a new cutoff value for every note You can create the same effect on a con ventional sequencer To this end all you
17. aux produits distribues dans Canada ACCESS VIRUS OS4 289 Other Standards Rest of World OTHER STANDARDS REST OF WORLD This product complies with the radio frequency interference requirements ofthe Council Directive 89 336 EC Cet appareil est conforme aux prescriptions de la directive communautaire 89 336 EC Dette apparat overholder det gaeldenda EF direktiv vedrorendareadiostoj Diese Gerate entsprechen der EG Richtlinie 89 336 EC 290 CHAPTER 24 Appendix DECLARATION OF CONFORMITY EG Konformitatserklarung Fur das folgend bezeichnete Erzeugnis For the following named product Access VIRUS Synthesizer Model b kb Indigo Wird hiermit best tigt da es den Schutzanforderungen entspricht die in der Richtlinie 89 336 FWG des Rates zur Angleichung der Rechtsvor schriften der Mitgliedstaaten ber die elektromagnetische Vertr glichkeit festgelegt sind au erdem entspricht es den Vorschriften des Gesetzes ber die elektromagnetische Vertr glichkeit von Ger ten EMVG vom 30 August 1995 Will hereby declared that it conforms to the requirements of the Council Directive 89 336 FWG for radio frequency interference It also complies with the regulations about radio interference of electronic devices dated on August 301 1995 Zur Beurteilung des Erzeugnisses hinsichtlich der elektromagnetischen Vertraglichkeit wurden folgende harmonisierte Normen herangezogen The following standards have been used
18. lowed by an envelope follower which uses the level of the signal to create a control signal This part of the vocoder is called a modula tor bank The carrier signal is treated in a similar way It is split into several bands by a chain of bandbass fil ters Different to the technique used above the bandpass filters are not followed by envelope fol lowers The circuit uses amplifiers which are levelled by the control signal output of the envelope fol lowers of the modulator banks This part of the vocoder is called the carrier bank or synthesis part As soon as the modulator detects a signal in a certain frequency range its envelope follower levels the cor responding band in the synthesis part In other words Just the fre quency band of the carrier signal the steady tone which is a part of the modulator signal the spoken voice in this second is being passed to the output This is why the steady tone starts to speak The pitch of the output signal depends on the carrier If a cord e g a polyphonic pad sound is being used instead on a single tone you can listen to a typical vocoder choir Of course you can use a different Modulator than a spoken voice Have a try with a drumloop All you need is the internal synthe sizer of the Virus It is also possible to process external signals The feature set of the VIRUS includes 32 filter bands shifting the fre quency s relation of modulator and carrier adjust
19. original sound to pass gt BS The band stop filter band reject filter or notch filter which works in the opposite manner of the bandpass filter It allows all of the frequencies of a signal except for a narrow frequency band around the cutoff to pass The term notch is fairly descriptive you might say this filter chops a notch out of the sound spectrum OPO OHPO E gt gt 8 Omo FITI MODE FITZ Now activate the different operat ing modes and rotate the CUTOFF potto get a feel for the way each filtering option works Along with the CUTOFF pot the RESONANCE pot is the most impor tant control feature of a filter The filter resonance increases the vol ume of the freguencies located near the cutoff freguencies and suppresses the more remote fre guencies This sound shaping fea ture has a striking effect especially when used in conjunc tion with the low pass filter it pro duces a nasal or honking type of tone which increases as you turn the resonance up Experiment by varying the RESONANCE setting in the different operating modes in conjunction with different CUTOFF settings You will find the effect that the RESONANCE pot achieves is markedly different for the band stop filter in comparison to the effect it has on the other filter types as the resonance increases the bandwidth of the notch decreases in other words more frequencies on both sides of the filter frequency are allowed to pass
20. the higher end plays a pad sound that is mixed with brass and so on The parts are assigned to the keyboard areas in the Virus Multi where they are also saved which means in the sound generator or in other words the receiver as mentioned in our Three in One definition The keyboard simply sends out the CHAPTER 20 The keyboard versions of the Virus data and the various notes are dis tributed to the correlating parts in the sound generator With the help of the Keyboard Mode Parameter we can turn the entire thing around It can relocate the Multi s note assignment back to the transmitter side i e the key board The notes are checked and assigned in the keyboard and not in the sound generator The idea behind this option is that it is an easy and elegant way to include external sound generators in the split and layer configurations The bass mentioned in the exam ple above was only activated by the lower half of the keyboard Now the sound would no longer have to come from the Virus any other MIDI controlled synthesizer would do Selected keyboard ranges can be diverted at the MIDI Out long before they reach the Virus sound generator During a live performance this enables you to tie in external sound generators by using the Virus as a masterkey board This is not possible in nor mal MULTI MODE because the organizing and assigning func tions only apply to the internal sound generators T
21. until the end of the song if you not close it manually or close it via con trollers Moreover when you start the song from the top you ll again hear the sound with the filter open because the Virus hasn t received a command at the beginning of the song to close the filter Not until the song arrives at the position where the recorded event begins does the Virus receive the first con troller value for the filter If on the other hand the song is started with the stored and unedited ver sion of the filter sound everything will be fine The filter is closed and won t be opened until the recorded event tells the Virus to do just that ACCESS VIRUS OS4 221 Problems Related to Parameter Control If you understand this connection between recorded parameter changes and the current parame ter status of the Virus you ll find it easy to come up with solutions for these kinds of problems Sticking with our example you could send a controller value to the Virus that closes the filter again in a suitable position within the song for instance at some point after the filter opens or at the beginning of the song However this procedure can become tedious rather quickly if you have recorded many param eter changes after all what you re actually doing is literally copying the original values of dif ferent parameter in order to enter them into the sequencer You could of course simply activate the soundat the beginning of the so
22. you can adjust the central frequency of the spec trum you edit Frequency Spread Knob KEYFOL LOW Default 63 right The spread of the filter bands used by the modulator and carrier bank This parameter can adjust both banks together or separately The mode depends on the setting of the filter select buttons FILT1 is assigned to the carrier FILT2 con trols the modulator With maxi mum KEYFOLLOW 63 the filters cover the whole frequency spec trum Reducing the KEYFOLLOW results in narrower spread whereby just a part of the fre quency spectrum is covered CUT OFF 1 2 define the centre frequency Linking FILT1 and FILT2 results in identical frequencies for the modulator and the carrier If only the spread of the carrier bank is being reduced the analysed spectrum is being rendered ona part of the carrier signal If you reduce the spread of the modula tor bank FILT2 just a part of the modulator signal is analysed but applied on the whole carrier signal This leads to an increased spread of the spectrum If one of the two KEYFOLLOW parameters has a neg ative amount the modulator spec trum is applied on the carrier spectrum in a mirror symmetrical way This causes a very interesting change in the bands The modula tor s treble frequencies control the carrier s bass frequencies and vice versa for instance a human voice still has the sound of the human voice but it would be virtually impossible to unders
23. you can also use the UNISON Pan Spread parameter to determine the basic width of the panorama and UNISON LFO Phase to shift the LFO phase position between the voices ACCESS VIRUS OS4 85 OSC Volume Input gt TOEFFECTS An alternative to INPUT Static mode here the audio signal is routed directly to the effects section of the SINGLE pro gram or PART This mode doesn t use the voices of the Virus which means that its polyphonic perfor mance remains fully intact and available The filter section is unavailable in this mode 1 INPUT Mode Dsnsamicd OSC VOLUME INPUT When one of the two INPUT modes is activated the OSC VOL knob rather than the oscillators controls the level of the INPUT sig nal in front ofthe Filter section and of course also the gain of the SATU RATION stage In INPUT Dynamic mode the level increases quite rapidly when you play several voices polyphonically The reason for this is that in contrast to when you re dealing with several oscillator signals the voices are 86 CHAPTER 11 Audio Inputs correlated because they are receiv ing an identical input signal In the event that the Virus generates dis tortion when you re dealing with this type of signal routing set up be sure to back off the input level a tad via the OSC VOL knob INPUT LEVEL INDICA TOR Alternatively the RATE LEDs of LFO 1 and 2 can also serve as level indi cators for the left and right exter nal aud
24. 127 A44 a Filter Env Amt 0 127 A46 a Filter1 Keyfollow 0 127 64 63 A48 a Filter Balance 0 127 64 63 As a Filter Mode 0 3 o LP 1 HP 2 BP 3 BS A53 a Filter Routing 0 3 o Ser4 1 Ser6 2 Par4 3 Split A55 a Filter Env Decay 0 127 A57 a Filter Env Sustain 0 127 64 63 Fall Infinite Rise Time A59 a Amp Env Attack 0 127 A6 a Amp Env Sustain 0 127 ACCESS VIRUS OS4 261 Parameters Describtion A6 a Amp Env Release O 127 A65 p Portamento Pedal A67 a Lfo1 Rate 0 127 A6g a Lfo1 Env Mode 0 1 o Off 1 0n Az a Lfo Symmetry 0 127 64 63 AZ a Lfo1 Keytrigger 0 127 o Off 1 127 Keytrigger Phase A735 a Osc2 Lfo1 Amount 0 127 64 63 A7 a Reso Lfo Amount 0 127 64 63 A79 a Lfo2 Rate 0 127 A81 a Lfo2 Env Mode 0 1 o Off 1 0n A83 a Lfo2 Symmetry 0 127 64 63 262 CHAPTER 24 Appendix A85 a Lfo2 Keytrigger 0 127 0 0ff 1 127 Keytrigger Phase A87 a FmAmount Lfo2 0 127 64 63 Amount A8 a Cutoff2 Lfo2 0 127 64 63 Amount Agi a Patch Volume 0 127 A94 a Key Mode 0 4 o Poly 1 4 Mono1 4 A98 a Unison Detune 0 127 A100 a Unison Lfo Phase 0 127 64 63 A102 a Input Select 0 8 o ln L 1 1n L R 2 In R A106 a Chorus Rate 0 127 ACCESS VIRUS OS4 263 Parameters Describtion A108 a Chorus Delay 0 127 Ano a Chorus Lfo Shape 0 5 o Sine 1 Tri 2 Saw 3 Square 4 S amp H 5 S amp G A 3 ams Effect Send
25. AMOUNT to o Set Filter 1Filter 1 to low pass mode and decrease the filter frequency until you just barely hear a muddy sig nal when you play notes in the mid range Now play a few higher and lower notes You will find that the lower notes have a greater overtone con tent whereas the higher notes sound muddier and their volume decreases until the notes are com pletely inaudible You might already suspect what this is all about As the notes are transposed ever lower more portions of the signal fall below the cutoff fre quency whereas with the notes that are transposed ever higher more portions of the signal rise above the cutoff frequency and subsequently are suppressed until the root note and the last audible portion of the signal is silenced To avoid this effect or if desirable to amplify it you have the option of influencing the cutoff frequency via the pitch of the note i e the note number The degree of influ ence is determined by the KEY FOL LOW pot Please note that KEY FOLLOW is a so called bipolar parameter Its control range is not limited to the positive end of the spectrum 0 to a maximum of 127 Bipolar con trols effect negative values as well in this case from the negative maximum of 64 through o an on to the positive maximum of 63 Consequently if this pot is set to the center position 12 o clock or o the pitch of the notes correspond ing to the keys on your keyboard has no effect
26. Although vocoder sounds have seen a comeback in the recent time many musicians do not spe cifically know how they work or even more importantly how they sound Various Vocoder presets are stored In the last section of SINGLE bank B grammalogue VOC These SINGLEs require an audio signal being fed to the external inputs The keyboard also needs to be played on most of the presets The Virus Vocoder is not necessar ily easy to handle You should always refer to an existing Vocoder preset for editing The Vocoder is one of the most complex sections of the Virus For this reason we recommend that you use factory sounds that use the Vocoder as your point of depar ture and edit these to create your own sounds This means that you don t have to start from scratch and that the Vocoder s parameters are set to viable values which will facilitate programming consider ably A Vocoder creates a new sound by combining two signals The timbre of the so called analysis signal or modulator signal forms the carrier signal A typical example for a modulator signal is the human voice another suitable carrier sig nal can be a steady tone with rich harmonics The sound characteristic is being rendered into the new sound by two cascades of bandpass filters The modulator signal is being send through several parallel bandpass filters which only pass through a certain part of the whole spec trum Every bandpass filter is fol
27. BAL Determines the balance between the Oscillators 1 and 2 vol ume level SUB OSC Determines the volume level of the SubOscillator ACCESS VIRUS OS4 113 Mixer OSC VOL This knob has two func tions gt In the left half of its control range up to the center position MIDI value 64 OSC VOL deter mines the master volume of the three oscillators prior to the filter section input The Noise Generator and the Ringmodulator are not affected by the master volume knob OSC VOL Their level is con trolled separately in the OSCILLA TOR EDIT menu see appropriate section gt In the right half of the control range from the center position to the far right OSC VOL increases the saturation intensity Gain for the input of the SATURATION stage see appropriate section however this adjustment is compensated post SATURATION stage so that when you adjust the gain you are not actually increasing the volume only manipulating the tonal spec trum in terms of saturation The intensity of the remaining DSP effects available in the SATURA TION Stage is controlled via the OSC VOL knob 114 CHAPTER 14 The Parameters FILTERS PANEL CUTOFF Determines the cutoff fre quency of Filter 1 and 2 with exceptions see CUTOFF 2 RESONANCE Controls the reso nance also called filter feedback or Q factor Depending on the FILT SELECT setting RESONANCE affects the first filter the second filter or both filters ENV AMOU
28. Clock This feature lets you control the LFOs and arpeggiators of several MULTI PARTS in a common rhyth mic context E A small will appear in the dis play when the Virus is receiving MIDI Clock data If you re sure you do NOT want the device to be syn chronized automatically to MIDI clock set MIDI CLOCK RX to Off in the CTRL menu To avoid confu sion please keep in mind that MIDI Clock is not the same thing as MIDI Time Code The latter doesn t deal with tempo at all but with time related information structured in hours minutes seconds etc which is of no benefit to you in this con text 74 CHAPTER 8 Master Clock and Midi Clock The Modulation Matrix A Knob 76 CHAPTER 9 The Modulation Matrix and Definable Knob CREATING MODULA TION CONFIGURA TIONS VIA ASSIGN As arule it is of course desirable to be able to create modulation rout ing configurations on a synthe sizer In other words you want to enjoy the freedom to combine dif ferent modulation sources and destinations as you see fit Some times you may come up with ideas for standard modulations that the hard wired factory modulation routing options simply can t sat isfy This is why we opted to equip the Virus with a versatile Modula tion Matrix you re sure to find it a welcome addition On the Virus you can create modulation routing configurations freely as you see fit using ASSIGN options They are located in the EDIT m
29. Controller Assignments for more Information Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO O Yes Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO X No 286 CHAPTER 24 Appendix FCC INFORMATION U S A IMPORTANT NOTICE DO NOT MODIFY THIS UNIT This product when installed as indicated in the instructions contained in this manual meets FCC requirements Modifications not expressly approved by ACCESS MUSIC ELECTRONICS may void your authority granted by the FCC to use this prod uct 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 require ments listed in FCC Regulations Part 15 for Class B digital devices Compli ance with these requirements provides 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 generates uses radio frequencies and if not installed and used according to the instruc tions 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 installa
30. FILTER MODULATION Of course we don t want to require you to execute every sound modifi cation manually by twiddling pots All kinds of sound modifications in the Virus can be executed auto matically much in the way of your previous experiments with the vol ume controls The amplifier enve lope can be described as a variable curve which depending on the type and duration of attack hold and release data automatically influences turns it up or down an imaginary volume pot Similar procedures are applicable to the filter frequencies The FIL TERS section features its own enve lope the structure of which is identical to the amplifier envelope located directly above the ampli fier envelope on the control fea ture panel Much like the amplifier envelope the filter envelope auto matically rotates the CUTOFF pot However there is one significant difference between the two enve lopes With the amplifier envelope you are always dealing with an ini ACCESS VIRUS OS4 25 Filter Modulation tial volume level of o because of course you want absolute silence prior to the beginning of a note Afterthe RELEASE phase itis again highly desirable that your box is silent With the filter envelope the situation is somewhat different It always starts at the CUTOFF value that you determined manually And it is definitely not always desirable that the filter frequency is brought to the maximum level Consequently yo
31. FOLLOW Determines the intensity of the pitch control via the keyboard At the value 32 standard setting the oscillator is controlled normally i e the octave you are playing is identical to the oscillator octave at 63 every ascending octave you play trans poses the oscillator upwards by two octaves whole note scale 15 transposes the oscillator upwards by one octave for every two ascending octaves you play quar ter note scale at o the keyboard control option is off Negative val ues generate opposite control intensities 1 OSCILLATOR 1 KFEesfollou 5274 ACCESS VIRUS OS4 107 Menu parameters for Oscillator 2 MENU PARAMETERS FOR OSCILLATOR 2 WAVE and KEYFOLLOW Same as OSCILLATOR 1 see paragraph above FM MODE Oscillator 2 s frequency modulation can be executed in a variety of ways using a different signal or modulation sources You can also select an external audio signal for frequency modulation Set the intensity of the modulation via the FA AMOUNT knob Choose the sine wave for Oscillator 2 in order to achieve the most trans parent form of frequency modula tion Here s a look at the FM sources that you have at your dis posal 1 OSCILLATOR 2 FmnMode PosTrid gt POSTRI One way FM with a positive triangle generated by Osc 108 CHAPTER 14 The Parameters gt TRI Linear FM with a bipolar tri angle generated by Osc gt WAVE The selected Osc wave is the FM source This lets
32. Parameters master clock you can also select the desired note value via the LFO RATE knob 1 eo Clock 1 244 Mode gt POLY In polyphonic mode each of the voices involved is assigned a dedicated LFO The LFOs oscillate in different phase positions for each voice This livens up the LFO modu lation gt MONO In polyphonic mode all voices are assigned the same LFO This accentuates the LFO modula tion making it more pronounced 1 ee Clock Folsd Trigger Phase Selects the position in the wave cycle i e the phase position at which the LFO starts oscillating in response to the start of a note The control range of 1 to 127 is equiva lent to phase positions of o to 360 degrees the value o switches the KEY TRIGGER function completely off so that the LFO oscillates freely and appears on random phase positions at the start of a note 1 LF I TrisFhase offa Key Follow Controls the intensity of the KEY FOLLOW function i e the rate at which the LFO follows the pitch of a played note At a value of o KEY FOLLOW is deactivated At a value of 127 the rate doubles with each octave 1 LFOi KFEesfollou ff Filter Gain An additional modulation destina tion of LFO 1 Here the input level of the filter section is modulated and thus the subseguent satura tion level The effect of a FILT GAIN modulation is a periodic change in the saturation level which is linked to a corresponding tremolo
33. a mono signal OSC VOL Default o middle OSC VOL adjusts the output level of the vocoder This is independent of the signal source which can be assigned using the vocoder mode parameter INPUT SELECT in the Edit menu While INPUT Select regularly assigns the input source for INPUT Mode the modulator bank input is assigned here when the vocoder is activated Again stereo sources like L R are mixed to a monopho nic signal ACCESS VIRUS OS4 205 The parameters of the VIRUS vocoder Vocoder Band Quantity Knob FIL TER RELEASE It is possible to con trol the number of filter bands here between 1 and 32 This param eter changes the sonic complexity of the sound by using more or less filter bands Less filter bands result in a typical vocoder sound More filter bands increase the quality of the signal s reproduction e g how easily you can understand a vocoded voice The Virus polyph ony might vary depending on the number of active filter bands VOCODER Se 0 Se Se o fe o le o ie CENTER FREQUENCY O FACTOR o 6 6 MODULATOR OFFSET Se 0 ATTACK RELEASE 206 CHAPTER 21 The Vocoder of the VIRUS Center Frequency Knob CUTOFF Default 64 middle The central frequency of the bandpass filters in the modulator and carrier bank Using a high Q filter quality parameter which is controlled using KEYFOLLOW
34. ame 202 The parameters of the vocoder 204 Notes aboutthevocoder 210 THE VIRUS AND SEQUENCERS 213 Parameter Control via MID 214 Organizational Information 214 Handling MIDI Parameter Control 216 Notes on Adaptive Parameter SIMOOTNING iin ilim asmin 217 Problems Related to Parameter COMENON 88 isleme ee 221 DUMP The Sound in the Song 222 TIPS TRICKS AND OTHER WORDS OF WISDOM 227 MUITISINGLEMode 228 ValueButtons 229 Allaboutsinputs 229 AbouttheDelay Reverb 231 The Virus as an Effect Device 232 EnveloperFollower 233 OSGI ATOMS se seman n anam 234 Eilters alya nnnnmanllladin 237 SATURATION for Added Dirt 239 VolumeControl 242 ASSIGN and the DEFINABLE Knobs 243 ARPEGG ATOR 244 M D R m ai na 245 PRIORITY Zeiss ill 247 Installing an operating system Update ns ai 247 Loading the Operating System from One Virus to Another SoftwareUpdates APPENDIX 251 System ExclusiveData 252 Parameters Describtion 258 MulttiDumplTable 273 El E ES EE 276 Mod Matrix Sources 280 Mod Matrix Destin
35. display will read SYSTEM UPDATE SYSTEM UPOATE CSTORE Feceived 3 Then press the Value Store Store buttons in this sequence 4 Ensure that Virus 2 is connected and then press Virus 1 s Value button to launch the operation 5 The operating system will be loaded to Virus 2 You ll see that this is the case by the fact the both devices will indicate high numbers in their displays 250 CHAPTER 23 Tips tricks and other Words of Wisdom SOFTWARE UPDATES Access is known for their policy of free software updates Simply download the latest Virus operat ing system from our web site and enjoy new Virus features Maybe you are in need of some fresh sounds In either way here s the place you ll find what you need http www access music de Click to Check Access Website Appendix 252 CHAPTER 24 Appendix SYSTEM EXCLUSIVE DATA VIRUS MIDI SYSTEM EXCLU SIVE IMPLEMENTATION The Parameters of the VIRUS are organized in three so called pages A B and C Each page contains 128 parameters addressed by numbers from o to 127 Each parameter is represented by one byte with a maximum value of 127 All parame ters are individually accessible by SysEx Parameterchange The pages A and B represent a Sin gle Program thus a Single Pro gram contains 256 Bytes Page A LowPage contains Single parameters that are usefull for MIDI automation The parameters of this page are additionally c
36. dumps ona sequencer individu ally rather than loading them directly to the banks of the Virus where they would delete that the sounds that you have stored there Set the MIDI DUMP RX parameter to Force To Edit Buffer With this option sounds that would other wise be loaded directly to a sound bank via MIDI are instead loaded to the Edit buffer The name of the given sound is shown in the dis play and can be played straight away When additional sounds are sent via MIDI the sounds that were sent previously are overwrit ten in the Edit buffer If you set the tempo of the sequencer that is sending sounds to a very slow speed you can load individual sounds and store them to the desired memory slot by pressing the STORE button ACCESS VIRUS OS4 245 MIDI The two Force To Bank A and Force To Bank B options send an incom ing sound dump to the respective bank irrespective of which bank the sounds were originally stored in The Verify option compares a MIDI dump to the memory content of the Virus It checks if a dump was recorded properly on the sequencer and if it can be played back correctly Load data from the sequencer into the Virus while Verify is enabled The Virus dis play will indicate if the device is actually receiving data and it will call your attention to any transmis sion errors that may occur Data stored in the Virus remains unaf fected by this operation 1 MIDI DUMF TH Arrandenenta
37. ear The longer the sound travels and the more often it is reflected the softer it will become You could say that this effect is comparable to a pool or billiards ball that travels a greater distance bouncing of several cush ioned edges along the way This friction depletes energy and causes the pool ball to slow down The sound s loss of energy is con trolled via DECAY TIME When you dial in the minimum value the decay time is extremely short so you ll hear just the early reflec tions At the peak value no energy Reverb Type Ambience SmallRoom LargeRoom Resonance 1 REVERB DecayTimne 164 REVERB DAMPING This parameter controls high fre quency attenuation of the room s fading reflections Ina real room walls don t reflect high frequencies as well as they do lower frequencies an effect that can be likened to natural low pass filtering of the sound The longer the sound travels the more often it bounces off walls and the more ACCESS VIRUS OS4 169 Delay Reverb is lost so the decay time is infinite which is of course physically impossible in the real world Pre delay with up to 500 ms of pre delay with up to 400 ms of pre delay with up to 300 ms of pre delay with up to 150 ms of pre delay intense this filtering effect For this reason the amount of high end damping depends on the amount of time that the signal carries the signal thrown back by the room becomes muddier as time goes by
38. it to a qualified electrician gt Always pull the power plug out of the mains socket when you won t be using the device for pro longed periods gt Never touch the mains plug with wet hands CHAPTER 2 Safety Remarks gt Always pull the actual plug never the cord when you re unplugging the device Operation gt Don t set beverages or any other receptacle containing liguids on the device gt Make sure the device is placed on a solid base Set it on a stable tabletop or mount it to a rack gt Make sure that no foreign objects fall into or somehow end up inside the device s housing In the event that this should occur switch the device off and pull the power plug Then get in touch with an authorized dealer gt Used on its own and in conjunc tion with amps loudspeakers or headphones this device is able to generate levels that can lead to irreversible hearing damage For this reason always operate it at a reasonable volume level Memory battery change The Virus stores its sound pro grams in a battery buffered RAM This battery general type designa tion CR2032 should be replaced every three to four years The hous ing has to be opened to change the battery so take the device to a qualified service technician Do your part in protecting our envi ronment and take it to a shop that disposes of batteries properly Before you have the battery changed save the entire memory content of
39. menus let you access the usual SINGLE parameters In this operating mode you ll find that the CTRL menu has been expanded to include some organizational parameters for instance the PART s volume level panorama and output assignments You ll always see the number of the selected PART on the upper left in the dis play The PART buttons don t actu ally change sounds they simply set the user interface of the Virus to the desired PART Irrespective of the given setting all PARTs can be controlled simultaneously via MIDI Consequently MULTI SINGLE mode which makes handling so much easier is the ideal choice when you re working with a con nected sequencer Please bear in mind that MULTI SINGLE mode is really just another view of the normal MULTI mode MULTI SINGLE mode doesn t offer a unique data type for storing sounds it always works with the MULTI program currently selected in normal MULTI mode All of the normal MULTI mode parameters keyboard zones etc remain intact and in force even though you can t view or vary them in MULTI SINGLE mode You can set the device to normal MULTI mode at any time by pressing the MULTI button To return to the MULTI SIN GLE mode view simply press the MULTI and SINGLE buttons simul taneously When you re working with a sequencer start with a MULTI pro gram that features neutral set tings for its administrative parameters for example the MULTI program Mo Seq
40. modulation S amp H short for Sample amp Hold a smooth ran dom modulation S amp G short for Sample amp Glide and 62 cyclic mod ulations that are based on the oscillator modes The latter allow you to create interesting rhythmic LFO modulations 96 CHAPTER 14 The Parameters ENV MODE Activates an operating mode in which the LFO oscillates like an envelope The LFO cycles once only following the start of the note the response of the LFO shifts from bipolar to unipolar If the LFO waveshape S amp H Sample amp Hold is active then the LFO is assigned a new random value with each new note This new value is valid for the entire duration of the note AMOUNT This button does not actually control a parameter it opens a local menu This menu contains independent modulation intensities for controlling the fol lowing parameters via LFO 1 OSC 1 Pitch of Oscillator 1 OSC 2 Pitch of Oscillator 2 PW 1 2 Both pulse widths jointly RESO 1 2 Both filter resonances ASSIGN Dest A freely selectable sound parameter for LFO modula tion ASSIGN Amount Modulation intensity for the freely selected sound parameter W While you are dealing with one of the parameters discussed here the corresponding LED will flash If this parameter is assigned a value other than o it will illuminate con tinuously when you exit the menu Located between OSC 1 and OSC 2 you ll find OSC 1 2 It lets you deter mine the modulation i
41. morph smoothly from slope to another which effectively makes it infi nitely variable Set the filter rout ing option to SER 6 and both filters to low pass LP This gives you a serial setup comprised of a 24 dB and a 12 dB filter When you set the FILT BALANCE knob to the center position you end up with a filter that has a slope of 36 dB oct As you turn the knob to the left you re fading Filter 2 out and con sequently steadily reducing the slope until you arrive at 24 dB oct You can morph from 24 decibels to 12 decibels by using the filter rout ing option SER 4 In this configura tion both filters have a slope of 12 dB oct so it doesn t matter in which direction you dial the FILT BALANCE knob Ge Oe H2 o le 100 100 I ENV AMOUNT KEYFOLLOW T FILTER BALANCE FILT FILT 2 OrO ser4 O O OHPO O SER6 il oea epir MODE ___FILT2 FILTER ROUTING SELECT Filter Routing SPLIT In Filter SPLIT mode each ofthe two oscillators sends its signal into one of the two filters Each filtered signal in turn is sent into a sepa rate VCA The two VCAs can be spread in the panorama via the UNISON Pan Spread parameter The difference to UNISON mode is that you only have one oscillator and one filter available for each side although each with the full complement of voices SATURATION FOR ADDED GRIT AND DIRT SATURATION and OSC VOL In
42. notes you should be able to hear this sound and a ffi note the round dot at the end of the note staff is solid black should appear in the display every time you press a key and release a key If you do not hear a sound but you see a half note blank note head check to see if you are sending on the wrong MIDI Channel Press the VALUE button to call up the 128 single programs of Bank A in sequence The VALUE pot is inactive in this operating mode In order to hear the sound programs in banks B C and D simply use the PARAMETER BANK buttons to step from one program bank to another You ll find that some sound pro grams are labeled with the abbre viations INP or VOC These use the external audio input as a signal source for the filter section INP or vocoder VOC This means that you won t hear anything until you route an audio signal into the external audio inputs O O MULTI SINGLE MULTISINGLE Listening to the Multi Pro grams The Virus not only has the capabil ity of playing SINGLE PROGAMs but also combinations consisting of more than one sound simulta neously MIDI Multi Mode To call up the MULTI PROGRAMS press the MULTI button and select these combination programs via the VALUE button The Virus features only 128 MULTI PROGRAMS so you don t have to switch back and forth between banks they way you just did while activating single pro grams The majority of available MULT
43. of Oscillator 3 is controlled via OSCVOL 110 CHAPTER 14 The Parameters VOLUME The individual volume level of oscillator 3 Additionally the level is controlled by OSC VOL Not available if OSCILLATOR 3 MODE OFF or SLAVE 1 OSCILLATOR 3 Uolume D SEMITONE Transposes Oscillator 1 in semitone steps Control range 4 octaves Not available if OSCILLATOR 3 MODE OFF or SLAVE 1 OSCILLATOR 5 Semitones H4 DETUNE Detunes the third oscilla tor relatively to the first With this parameter you can dial in every thing from slight deviations in pitch to major fluctuations rela tively to the other oscillators 1 OSCILLATOR 3 Detune H4 OSCILLATORS PHASE INIT This fea ture lets you select the oscillator phase position at the start of a note At a value of o all oscillators oscillate freely much like in a tradi tional analog synthesizer At values of 1 and higher Oscillator 1 starts the note with a phase angle of o whereas the phase position of the second oscillator is shifted increas ingly at ascending values The Phase position of oscillator 3 is shifted to the opposite direction With this parameter the attack phase of every note is identical which is a handy feature for pro gramming drums and percussive sounds In conjunction with Oscil lator 3 and PHASE INIT you can cre ate prominent overtones that are initiated at the beginning of a note 1 OSCILLATOR
44. other words the rhythm is binary At 66 the rhythm is ternary the length of a eighth note is divided by a factor of 2 1 ACCESS VIRUS OSq 139 ARPEGGIATOR At the highest value 75 the eighth note is divided by a factor of 3 1 The odd sixteenth notes are lengthened to a dotted sixteenth note the even sixteenth notes are shortened to the length of a 32nd note 1 ARFEGGI Zwina ATOR LEE E within the list you ll find land marks such as 16A 16F known from Emagic s Logic Audio series E Every arpeggiator pattern con tains note velocity information which enhance the rhythmical meaning of the pattern The arpeg giator velocity completely substi tutes the note velocity In case you are in need to assign the velocity to a certain parameter simply use the Modulation Matrix 140 CHAPTER 15 Within the CTRL Menu DEFINABLE 1 DEFINA BLE 2 The Virus is equipped with two knobs that rather than being dedi cated to predefined tasks may be assigned to different parameters by you the user This option is quite handy for it lets you control directly the many menu parame ters that do not feature a dedi cated knob These DEFINABLE knobs operate in three different modes DEFINABLE MODES gt GLOBAL The knob controls the parameter that you have set to Global in the DEFINABLE menu regardless of what the other set tings and the selected SINGLE pro gram may be gt SINGLE The knob contro
45. routed to Filter 1 whereas Oscilla tor 2 and the Noise Generator are routed to Filter 2 Although the sound sources are split into two signal paths you can still control the volume levels of the different elements as well as OSC VOL in the usual manner ACCESS VIRUS OS4 41 The LFOs THE LFOS When you first started this series of experiments with sounds we promised that many of the func tions the Virus can be pro grammed so that they are executed automatically You have already learned how to control the volume and cutoff frequencies of both filters as well as the pitch and intensity of the frequency modula tion of Oscillator 2 via prepro grammed envelopes These options are great but you have already encountered a number of functions where it would be a helpful if you could also program them to be executed automati cally And of course envelopes are great modulation sources but you have to play a note every time you want to initiate an envelope Dur ing your experiments you probably came across a function or two you would like to be able to control periodically independently of notes Some features that come to mind are traditional techniques such as vibrato periodic pitch con trol and tremolo periodic volume 42 CHAPTER 4 Introduction control Another option you might like to have at your disposal is ran dom parameter control In the Virus both of these tasks are executed by a so call
46. s full range the interval you hear is equivalent to exactly half of the value you set for BEND UP see paragraph above gt EXP Starting from the o value center position the pitch bend is exponential at first the bend is gradual and as you move further away from the center position the pitch is bent ever more radically In this mode you can achieve slight fluctuations in pitch for instance a manual vibrato provided you can maintain a soft touch yet still have the option of generating greater intervals because of the exponen tial increase in range 1 COMMOH BendScale ExF SMOOTH MODE This is an adaptive parameter smoothing mode Adaptive Control Smoothing You ll find a detailed explanation of this parameter in The Virus and Sequencers on page 213 You have the following options to chose from gt OFF Adaptive Control Smooth ing is disabled and parameter changes are carried out incremen tally without smoothing gt ON Adaptive Control Smooth ing is enabled and parameter changes are smooth ACCESS VIRUS OS4 127 Main Edit Menu Common gt AUTO Adaptive Control Smoothing analyzes the character istics of the incoming in parameter changes and carries out these out either continuously smoothed or incrementally gt NOTE Adaptive Control Smoothing is carried out continu ously smoothed but jumps in steps when a new note is played COMMOH mod t htio gde Und 1 Unison Mode
47. serial filter modes the SATURA TION unit is located between the filters This configuration gives you the option of first filtering the oscillator signal in the conven tional manner then distorting it and finally sending the distorted signal to a second filter where it can be processed again as you see fit Next to serving as a volume con trol for the OSCILLATOR section in the right half of its control range the OSC VOL knob lets you control the gain level of the distortion module SATURATION within a wide range of 12 decibels without increasing the volume level At 24 decibels the control range of the Digital SATURATION Curve is even greater The OSC VOL knob retains its function as a volume control in Input mode as well as in Vocoder mode ACCESS VIRUS OS4 239 SATURATION for Added Grit and Dirt SATURATION Curve Shaper The Shaper s saturation response differs from that of the other SAT URATION Curves Its characteristic curve is a sine wave with several cycles The Shaper lets you radically bend signals whereby the results are at times reminiscent of the spectra of linear frequency modu lation The response of the Shaper depends largely on the input sig nal This means that the Filter 1 settings have a profound impact on the outcome You should use Filter 2 independently of Filter 1 in order to further process the raw output signal of the Shaper As is the case with the other SATURA TION Curves th
48. sums and differences The more harmonics in the incoming signal the more dis tinct the modulation Especially drumloops modulated with a sine wave create interesting sounds The incoming signal is determined with INPUT SELECT Depending on the incoming signal the ring mod ulator operates in mono or stereo Dir eff gt LEFT The ring modulator is inactive only the direct signal is audible gt CENTER Purely the ring modu lator signal is audible b RIGHT The external audio sig nal is audible 156 CHAPTER 16 Parameter of the effects menu You ll find a further ring modulator in the Oscillator section of the VOCODER Virus It operates individually for each voice using the signals of Oscillators 1 and 2 Vocoder Mode 1 I 5 P 3 RING a 5 gt This is where you switch the DirsEf off Vocoder on and select the signal source for the Carrier Bank For more information on the Vocoder please see The Vocoder of the VIRUS on page 201 DISTORTION Curve Here s a rundown on the various DISTORTION modes gt OFF The signal is not processed gt LIGHT SOFT MIDDLE HARD Different analog distortion curves with different characteristics and intensities gt DIGITAL Digital distortion with hard clipping SHAPER Sine characteristic curve with several wave cycles With the Shaper you can drasti cally warp signals In some cases the results are similar to the spec tra of linear frequency modu
49. the KEY FOLLOW setting see appropri ate section for the filters As the interval between the KEYFOLLOW BASE value and the keys increases as you move up towards the higher end of the keyboard the influence of KEY FOLLOW increases accord ingly KEYFOLLOW BASE affects both filters simultaneously 122 CHAPTER 14 The Parameters AMPLIFIER ATTACK Determines the amount of time it takes for the amplifier envelope to rise to its maximum level The higher the ATTACK value the longer it takes for the envelope to rise to maximum volume after the start of a note DECAY Determines the amount of time it takes for the amplifier envelope to fade out The higher the DECAY value the longer it takes for the envelope to fall from its peak level to the SUSTAIN value SUSTAIN Sets a variable level value for the amplifier envelope at which it remains after the end of the DECAY phase see appropriate sec tion The duration of the SUSTAIN phase depends on the TIME value see appropriate section TIME Sets the bipolar time param eter for the amplifier envelope It determines the envelope s response once it reaches the SUS TAIN level see appropriate sec tion If the knob is set to the center position 12 o clock indi cated by the mathematical infinity symbol then the SUSTAIN level remains constant through to the end of the note if you turn it counter clockwise to the left towards FALL then the level drops off at an in
50. the VIRUS switches an entire multi setup by a program change The global MIDI channel has to be used to receive the program change Please note that the multi program change will not work in the single multi mode because in this mode the display is unable to show the change 1 MIDI MultiPraths Dis Midi Device Id Here you can enter the identifica tion number for system exclusive data transfer To enable communi cation between two Virus units ACCESS VIRUS OS4 179 Global Parameters i e to exchange system exclusive exclusive data SysEx or as MIDI data you must assign the same PolyPressure data PolyPrs When MIDI DEVICE ID to both units you set it to SysEx polypressure data is disabled on the receive side if you set it to Contr both poly 1 MIDI pressure and SysEx data are Deyiceld Omnia received 1 MIDI CONTROL HiPase PolyPrea Midi Control Low Page Here you can determine if you want the first 128 parameters Page A to be sent to MIDI Out as system exclusive data SysEx or as MIDI Controllers Contr When you set it to SysEx controller data is disabled on the receive side if you set it to Contr both controller and SysEx data are received 1 MIDI COHTR L LowPade Contra Midi Control High Page Here you can determine if you want the second 128 Page B parameters to be sent as system 180 CHAPTER 17 Global MIDI and System Parameters SYSTEM Master Tune Deter
51. the parameter TWIN MODE PAN SPREAD see appropriate sec tion in the EDIT menu Regardless of which FILTER ROUT ING option you chose the SATURA TION stage is always post Filter 1 FILT 1 SELECT amp FILT 2 SELECT This control feature is used to allocate the three knobs RESONANCE ENV AMOUNT and KEY FOLLOW to the first filter second filter or both fil ters The currently active assign ments are indicated by the integrated LEDs To control both fil ters simultaneously via the knobs you must first press both buttons simultaneously SELECT pertains to the corresponding knob located on the Virus only but not to the sound parameters it controls These parameters exist separately in both filters regardless of the SELECT setting This is why for instance you should control the resonances of the respective filters via different MIDI Controllers In actuality SELECT only determines if the knob in question sends its value to the first filter second filter or both filters ATTACK Determines the amount of time it takes for the filter envelope to rise to its maximum level The higher the ATTACK value the longer it takes for the envelope to rise to maximum volume after the start of a note ACCESS VIRUS OS4 117 Filters Panel DECAY Determines the amount of time it takes for the filter envelope to fade out The higher the DECAY value the longer it takes for the envelope to fall from its peak level to the SUSTAIN value
52. to declare conformity EM 50 082 1 1992 EN 50 081 1 1992 EN 60065 1993 ACCESS VIRUS OS4 291 Declaration of Conformity Diese Erklarung wird verantwortlich fur den Hersteller abgegeben This declaration has been given responsibly to the manufacturer Access Music Electronics Trimburgstra e 11 36039 Fulda Fulda 1 9 2000 Guido Kirsch Gesch ftsf hrer Christoph Kemper Gesch ftsf hrer Guido Kirsch Managing Director Christoph Kemper Managing Director 292 CHAPTER 24 Appendix GARANTIE BESTIM MUNG access Music Electronics leistet Garantie f r alle nachweisbaren Material und Fertigungsfehler fur eine Dauer von 6 Monaten ab Ver kauf oder Aushandigung an den Endverbraucher Von der Garantie ausgenommen sind alle Schaden die durch fal sche oder unsachgem e Bedie nung durch falsche Verbindungen mit anderen Geraten oder durch nicht bestimmungsgem e Ver wendung des Gerates entstehen AuRerdem erlischt jeder Garantie anspruch bei Fremdeingriffen oder eigenmachtigen Anderungen am Gerat Voraussetzung fur die Garantielei stung ist die Rucksendung der aus gefullten Garantiekarte mit Serien Nr Verkaufsdatum Firmen stempel Unterschrift des authori sierten Fachhandlers Name und Anschrift des Kaufers sowie eine Kopie des Kaufbelegs Wenn Defekte innerhalb der Garantiezeit auftreten sollten sen den Sie das Gerat nach vorheriger Absprache an TSI Neustra e 9 12 D 53498 Waldorf
53. value determined by the current position of the pot E Always keep in mind that for a programmable synthesizer the position of the control feature or pot does not necessarily indicate the actual value of the given func tion The reason for this is that when you first activate a sound program it will reflect the pro grammed value You have to adjust the control feature before the pro grammed value is superseded by the value you determine manually Now fiddle with the DECAY pot while you repeatedly press a key to activate a note Hold the key down for good while You will notice that the volume once it reaches maxi mum level at the end of the ATTACK phase drops until it reaches a minimum level The DECAY pot determines the speed or in synthesizer jargon the rate at which the volume decreases However the DECAY level does not always drop to the minimum level you can determine a random value ACCESS VIRUS OSq 21 The Amplifier Envelope between the maximum and mini mum levels at which the volume remains constant This level in turn is controlled via the SUSTAIN pot Whenever the SUSTAIN level is set to maximum the volume cannot drop during the DECAY phase in other words in this situation the DECAY pot is ineffective M The individual functions of a synthesizer are designed to inter act many functions are dependent on other functions Ina number of cases this means that some func tions are subordinate to ot
54. which direction you have to change a value if you would like to reset the parameter to the value that has been stored to date The previously stored parameter value as well as the current value are dis played for parameters that feature a dedicated knob KNOB MODES For all knobs with the exception of MASTER VOLUME you can select from four operating modes in the CTRL menu These are located under the menu item KNOB MODE gt OFF The knobs are inactive gt JUMP In Jump Mode the parameter jumps directly and absolutely to the value determined by the current position of the knob ACCESS VIRUS OS4 63 Knob Modes gt SNAP When you adjust a knob In Snap Mode the original setting determines the value until the point where the movement of the knob passes beyond this position In other words the parameter does not jump to the value as in JUMP Mode However keep in mind that your adjustments have no effect on the parameter until the knob snaps on at the position equiva lent to the original value In SNAP mode an amp symbol appears to the right of the number It indicates in which direction the VALUE knob must be turned to exceed the cur rent parameter value gt RELATIVE When you adjust a knob in RELATIVE Mode the parameter is affected immediately but not absolutely In other words the value change from the original value to the value reflects precisely the amount you adjusted via a given control Gen
55. you in some cases create typical DX7 FM sounds here OSCILLATOR 1 SHAPE should be set to WAVE gt NOISE The noise generator is the FM source see also NOISE Color Excellent for drum sounds gt INPUT Here the mono or stereo signal from external analog inputs or from an internal aux bus may be routed to the frequency modula tion The input FM is in real stereo even in connection with UNISON mode 1 OSCILLATOR 2 FltEnv Ftch 04 FILT ENV gt PITCH This parameter determines the intensity at which the filter envelope controls the pitch of the second oscillator PITCH OSC 2 FILT ENV gt FM It determines the intensity at which the filter enve lope controls the frequency modu lation FM AMOUNT This as well as the previous parameter are rel ics from the predecessor model of the Virus Modulations such as these may also be implemented via the Modulation Matrix see the section ASSIGN below 1 OSCILLATOR 2 FltEnv Fm H4 MENU PARAMETER FOR OSCILLATOR 3 MODE The Virus offers a third mas ter oscillator per voice that you can activate whenever you need it It lets you come up with even more complex sounds by adding more oscillations and spectra to the sig nal When Oscillator 3 is switched on i e OSCILLATOR 3 mode is not set to the OFF position the polyphony of the Virus decreases by up to six voices depending on how many voices use the third oscillator in MULTI mode 1 OSCILLATOR 5
56. you must select the same aux bus for another PART or several PARTs via INPUT Select and set the given SINGLE program to Input mode Static or Dynamic You can then process the signal patched in to this PART via the aux bus exactly the same way you would process conventional analog signals routed in via the external input There is however a simpler option than this relatively involved pro cessed of connecting PARTs directly to one another You can also use one of the aux buses as a second output for the PART We ll look at this function a little later in the section SECOND OUTPUT THE AUDIO OUTPUTS In MULTI mode you can choose a mono or stereo audio output in the OUTPUT Select menu indepen dently for every PART The signal can also be routed to the aux buses that were discussed earlier In addition you may also define a second mono or stereo output in the SECOND OUTPUT menu under the CTRL menu This second out put is global in other words it applies to all PARTs Using the SEC OND OUTPUT Balance parameter you can set the levels at which the output signals of the PARTs are routed to this second output indi vidually In conjunction with the conven tional output of the given sound you end up with a quadraphonic signal that is suitable for Surround applications Using Panorama left right and the SECOND OUTPUT Balance front back you can cre ate a genuine quadraphonic mix in the Virus and
57. 0 127 Ang ams Delay Feedback 0 127 np Reverb Decay Time Oo 0 127 Reverb Room Size 0 3 o Ambience 1 SmallRoom 2 Lar geRoom 3 Hall Reverb Damping 0 127 A122 g Keyb Local 0 1 o Off 1 0n 264 CHAPTER 24 Appendix PAGE B B2 b Arp Pattern Select 0 31 B4 b Arp Hold Enable 0 1 o Off 1 On B6 b Arp Swing 0 127 50 75 B8 b Lfo3 Shape 0 5 o Sine 1 Tri 2 Saw 3 Square 4 S amp H 5 S amp G Bio b Lfo3 Keyfollow 0 127 B 12 b Osc Lfo3 Amount 0 127 B16 b Clock Tempo 0 127 63 190 BPM B18 b Lfo1 Clock 0 19 Off 1 64 4 1 B20 b ms Delay Clock 0 16 Off 1 64 3 4 np ACCESS VIRUS OS4 265 Parameters Describtion B25 b Control Smooth 0 3 o Off 1 0n 2 Auto 3 Note Mode B27 b Bender Range 0 127 64 63 Down B30 b Filter Env Polarity oo 0 1 o Negative 1 Positive B32 b Filter2 Cutoff Link 0 1 o Off 1 0n B34 bVb Osc FM Mode 0 12 o Pos Tri 1 Tri 2 Wave 3 Noise 4 lnLs ln L R B36 b Punch Intensity 0 127 B39 b Vocoder Mode 0 12 o Off 1 Osc 2 OscHold 3 Noise 4 lnLs ln L R B42 b Vb Osc3 Volume 0 127 B44 b b Osc3Detune 0 127 B48 b Osc2 Shape Velocity 0 127 64 63 266 CHAPTER 24 Appendix B5o b Fm Amount 0 127 64 63 Velocity B55 b Filter EnvAmt 0 127 64 63 Velocity B57 b Resonance2 0 127 64 63 Velocity B6o b Amp Velocity 0 127 64 63 B62 b Definable Single see Definable List B64 b Assign1 Source see Assign Source
58. 3 PhaseInit OFF ACCESS VIRUS OS4 111 Menu Parameters of the Suboscillator MENU PARAMETERS OF THE SUBOSCILLA TOR WAVE Switches the waveshape of the SubOscillator between SQUARE and TRIANGLE SUB OSCILLATOR Share Sauared 112 CHAPTER 14 The Parameters MIXER PARAMETERS WITHIN THEN OSCILLA TOR EDIT MENU RINGMODULATOR VOLUME The ring modulator multiplies the out put of both oscillator 1 and 2 to cre ate interesting sounds with rich enharmonic overtones These over tones are highly dependent on the frequency coherence of both oscil lators and it s waveforms The fre quency coherence can be changed for instance use the OSC2 SEMI TONE parameter If the RINGMOD ULATOR VOLUME is zero the ring modulator is switched off OSC VOL does NOT affect the ring modula tor level Therefore the original oscillator signal can be levelled independently of the ring modula tor You ll find another ring modulator in the effects section of the Virus It however processes entirely dif ferent input signals 1 RINSMODULAT R Wolume Had MIDDLE Neutral White noise all the frequencies are evenly distributed NEGATIVE Lowpass Pink noise dull and more bass POSITIVE Hipass Bright and thin noise When the noise generator is used by Oscillator 2 for frequency modu lation see FM mode the NOISE COLOR setting also influences the sound of the frequency modula tion 1 NOISE Color Hd MIXER OSC
59. 36 m Part High Key 0 127 C 1 G9 C38 m Part Detune 0 127 64 63 270 CHAPTER 24 Appendix C4o m Part Midi Volume 0 127 Off 1 127 Init C45 g Second Output Sel 0 15 0 Off 1 OutiL 2 OutiL R 3 OutiR ect C64 g Keyb Local 0 1 o Off1 On C66 g Keyb Transpose 0 127 64 63 C68 g Keyb Pedal 1 Contr see Keyboard Destination List C70 g Keyb Pressure Sens 0 127 o Off 1 127 C73 m Part Midi Volume 0 1 o Off 1 0n Enable C75 m Keyb To Midi 0 1 o Off1 On C78 m Part Prog Change 0 1 o Off1 On Enable ACCESS VIRUS OS4 271 Parameters Describtion C86 g MultiProg Change 0 1 0 Off 1 On Enable C90 g Input Thru Level 0 127 C92 Master Tune 0 127 64 63 8 C94 g Midi Control Low 0 1 o SysEx 1 Contr Page C96 g Midi Arpeggiator 0 1 0 Off 1 On Send C98 g Midi Dump Tx 0 4 o Single 1 SingleBankA 2 Single BankB Co g Multi Program 0 127 Change Cio g Definable Mode 0 2 o Single 1 Global 2 Midi 272 CHAPTER 24 Appendix C12 g Definable Global see Definable List C14 g Definablei Midi 0 127 C16 g Expert Mode 0 1 o off 1 On C18 g Memory Protect 0 1 o off 1 On C121 g Panel Destination 0 2 o Internal 1 1nt Midi 2 Midi C123 g Part Number 0 15 4 0 15 Multi Part 1 16 40 Single o Buffer C125 g Led Mode 0 2 o Lfo 1 Input 2 Auto C127 g Master Volume 0 127 ACCESS VIRUS OS4 273 Multi Dump Table MULTI DUMP TABLE 4 13 Multi Name Charac 32 127 ASCII t
60. 61BASS RP Hishkes 034 MIDI VOLUME ENABLE Switches a given PART s MIDI receive mode for MIDI Controller 7 volume ON and OFF 1 B36 1 1BASS RP Hidilolume Offa ACCESS VIRUS OS4 147 MULTI MODE parameters HOLD PEDAL ENABLE Switches a given PART s MIDI receive mode for the hold pedal MIDI Controller 64 ON and OFF 1 B36 1H1EAS HoldPedal Ena PRG CHG ENABLE Switches a given PART s MIDI receive mode for MIDI Program Change messages ON and OFF m tl T m II gt m T Ww a T e ae m In cl du ai Ww iT m Wi an du a T M The following parameter groups of the MULTI CTRL Menu have already been described in the SIN GLE CTRL Menu they are indenti cal CLOCK TEMPO DEFINABLES 1 DEFINABLES 2 MIDI SYSTEM 148 CHAPTER 15 Within the CTRL Menu Parameter of lt A menu 150 CHAPTER 16 Parameter of the effects menu THE INTERNAL EFFECTS The Effects menu contains the parameters of the effects section and audio inputs INPUT The fol lowing effects are available indi vidually per PART i e you have 16 versions available all in stereo RINGMODULATOR DISTORTION ANALOG BOOST PHASER CHORUS The vocoder and the delay reverb section are each available just once but they can be addressed individually by the PARTS In the signal path all effects are con nected in series in accordance with sequence in the Effects menu INPUT INPUT DIRECT THRU GLOBAL The stereo sig
61. 64 6 s 6 oD 76 di di di A di Q WW oD ye ef je 5 N jo oF en aa a ATTACK DECAY SUSTAIN TIME RELEASE OSCILLATORS Pulse Width Modulation Pulse width modulation is a very effective method for producing beat oscillations without having to resort to several detuned oscilla tors Dial OSC BALANCE to the far left so that only OSCI is audible then select the waveform Pulse for this oscillator OSC1 Shape to the right Slowly turn the Pulse Width PW knob back and forth As you change its pulse width you ll hear movement in the sound itself When its pulse width remains fixed the sound will remain static This to and fro pulse width modu lation can be automated by means of an LFO Select PWM for LFO1 Amount and set a relatively high modulation amount You can vary the intensity of the modulation via LFO Rate Now when you play different sounds you ll will find that the intensity of the modulation is con siderably greater with low fre quency sounds than it is with higher frequency sounds This is due to the fact that the LFO fre quency does not follow the pitch You can compensate for this effect by activating and adjusting the function LFO1 KEYFOLLOW When you set LFO1 KEYFOLLOW to a value of 127 the LFO rate will follow whatever pitch you play precisely in octaves OSCILLATORS 71 O NED Pw To come up with a fatter sound you
62. AMOUNT Also try out different SEMITONE settings and the diverse waveshapes of Oscillator The Virus is equipped with a third master oscillator that lets you cre ate further oscillations and spec tra You can access the parameters of this oscillator which are described in a later chapter via the OSCILLATOR EDIT menu ACCESS VIRUS OS4 39 The MIXER Section THE MIXER SECTION You have already come across two parameters of the MIXER section OSC BAL determines the mix ratio between Oscillators 1 and 2 in the left half of its control range OSC VOL determines the master vol ume of the oscillator mix In the right half of the control range from the center position to the far right OSC VOL increases the SATURATION intensity when a SATURATION curve has been activated Now we ll take a closer look at the final control element the SUB OSC pot It controls the volume of the fourth oscillator the so called SubOscillator which always oper ates an octave below Oscillator 1 The SubOscillator is mixed to the Oscillator 1 and 2 master mix signal as determined by the OSC BAL pot The master volume of the compos ite mix is controlled by the OSC VOL pot The only other parameter available for the SubOscillator is accessible via the OSC LLATOR EDIT menu where you have the option 40 CHAPTER 4 Introduction of selecting a triangle or pulse waveshape SUB OSCILLATOR WAVE SQUARE TRIANGLE Another voice internal signal sourc
63. ASSIGN source e g the modula tion wheel or Controller 12 All you have to do is enter this control ler as the parameter for the DEFIN ABLE knob This configuration is identical to that of a conventional parameter that has a dedicated controller number and knob The knob movements are sent to the selected MIDI Out via the selected controller and on to the sequencer where they can be recorded and sent back to the Virus Reasonably enough you should set the con troller number for the DEFINABLE knob under DEFINABLE Single because this setting like the ASSIGN settings is stored with the SINGLE program and doesn t apply to all SINGLEs as is the case with the DEFINABLE Global setting ARPEGGIATOR In AsPlayed mode notes are played in the same sequence in which the Arpeggiator receives them As a rule the Arpeggiator is able to store up to 16 notes At first glance it wouldn t seem possible to play a pattern in which several notes have the same pitch To do this you would have to release a key before you can play it again and when you release a key the corre sponding note is deleted from the Arpeggiator pattern You can cir cumvent this problem by pressing a sustain or hold pedal that is con nected to your keyboard while you enter notes to the Arpeggiator These will be held for as long as you hold the sustain pedal down MIDI MIDI DUMP RX The Virus lets you audition sound banks that are available as MIDI
64. Access Virus Owner s Manual 2000 Access Music GmbH Ger many Virus is a trademark of Access Music GmbH All other trademarks contained herein are the property of their respective owners All features and specifica tions subject to change without notice Written by Christoph Kemper Uwe G Honig Wiland Samolak and Marc Schlaile Translation by Thomas Green Graphic Design and DTP by Babylonwaves Media http www access music de info access music de CONTENT INTRODUCTION 15 The V RUS 2s san asal 16 The AmyplifierEnvelope 20 TherirstrFilter 23 FiterModulation 25 TheSaturationStage 27 TheSecondrilter 28 FilterRouting emn 32 TherFirstOscillator 34 The Second Oscillator 37 TheMIXERSection 39 TEOS suse cscs er ren seda ver Bi B san 41 LFO 2 diene acak eine Ate AE 46 Velocity 48 UnisonMode 49 The Chorus Flanger Effect 50 TheDelayEffett 51 MoretoCome 52 CONCEPT AND OPERATION 53 OperatingModes 54 The Multi SingleMode 55 EditBuffers
65. Bank Number 00 Multi Edit buffer 01 multi bank mm Program Number 0 127 256 multi bytes cs Checksum optional F0 00 20 33 01 dd 11 Db mm 256 multi bytes cs F7 E When bank number oo the dump destination is the Multi Edit buffer In this case the program number is ignored 256 CHAPTER 24 Appendix 256 multi bytes contains the Multi parameters in a special suc cession See Multi Dump Table Checksum is the sum DevicelD 11 BankNumber ProgramNumber 256 multi bytes AND 7F A dump with a wrong checksum will be received but an error message will appear on the display Single Request message 30 Single Request bb Bank Number oo Single Edit buffer 01 04 Single Bank A D ss Program Number 0 127 F0 00 20 33 01 dd 30 bb ss F7 E When bank number is set to oo the program number is the part number that addresses one of the sixteen Single Edit buffer in Multi Mode 00 oF or the Single buffer in Single Mode 40 Multi Request message 31 Multi Request bb Bank Number oo Multi Edit buffer 01 Multi Bank mm Program Number 0 127 F0 00 20 33 01 dd 31 bb mm F7 E When bank number oo the dump destination is the Multi Edit buffer In this case the program number is ignored Single Bank Request message 32 Single Bank Request bb Bank Number 01 04 Single Bank A D F0 00 20 33 01 dd 32 bb F7 Multi Bank Request message 33 Multi Bank Request bb Bank Nu
66. CTRL and EDIT menus let you access the sound parameters of the current SINGLE program If the LED on the MULTI button lights up the CTRL and EDIT menus will contain the appropriate administrative parameters for the current MULTI program For example here you have the option of selecting the SINGLE program for each of the 16 MULTI PARTS O O MULTI SINGLE MULTISINGLE ACCESS VIRUS OS4 55 The Multi Single Mode THE MULTI SINGLE MODE In MULTI mode the EDIT and CTRL menus are responsible for admin istering the 16 PARTs Conse quently you can t access SINGLE program parameters directly here Beyond that you re unable to change the SINGLE programs directly here which would admit tedly be a handy option when you re working with a sequencer This is why the Virus features MULTI SINGLE mode which strictly speaking is more an alter native view of MULTI mode rather than a further mode in its own right Activate MULTI SINGLE mode by pressing the MULTI and SINGLE buttons simultaneously The name of the selected MULTI program will disappear and instead you ll see the name of the SINGLE program for the selected PART Now you can page or scroll through the 16 PARTs using the PART buttons and select a SINGLE program for every chan nel You can process the currently selected PART or more accurately edit its sound using the control 56 CHAPTER 5 Concept and Operation features The CTRL and EDIT
67. D instead of the bal ance parameter DIR EFF EFFECT SEND is especially significant in MULTI MODE where several PARTs with different levels are patched through the same delay effect ACCESS VIRUS OS4 51 The Delay Effect For the other LENGTH enables you to create substantially longer delay times for instance to achieve com plete echoes maximum of 693 ms that are fully audible The LFO allows you to modulate the delay as you would the chorus to achieve similar detuning effects A stereo effect is achieved via different modulations of the left and right sides of the signal 52 CHAPTER 4 Introduction MORE TO COME We have come to the end of these detailed instructions for novices We hope we were able to help you become a bit more familiar with your new synthesizer and gain some confidence in how to handle it As we mentioned earlier this is just an introduction and does not cover all the functions and fea tures of the Virus only the basic components and how they affect the sound of the Virus You should now be able to come to terms with the in depth look at the Virus in the following section MM Operation 54 CHAPTER 5 Concept and Operation OPERATING MODES In the Virus you can select from two basic operating modes SIN GLE MODE and MULTI MODE In SINGLE MODE the Virus is able to generate a single sound pro gram only All 24 voices all effects and most importantly all control features with the
68. ENV POLARITY Switches back and forth between positive POS and negative NEG ENV AMOUNTS for Filter 2 see appro priate section FILTER 2 CUTOFF LINK Switches the knob and the parameter CUTOFF 2 see appropriate section back and forth between two operating modes DON In this mode CUTOFF 2 operates relatively to the CUTOFF knob value rather than absolutely OFFSET The cutoff frequency of the second filter is like the first filter determined by the CUTOFF value However you can dial in an offset relative ascending or descending deviation of the fre quency via the CUTOFF 2 knob At the center position 12 o clock of CUTOFF 2 the frequencies of the two filters are identical gt OFF Now the CUTOFF and CUT OFF 2 knobs are no longer linked and CUTOFF 2 operates absolutely in a control range of o to 127 In this case the CUTOFF and CUTOFF 2 knobs are two independent control features that determine the respective cutoff frequencies for Filter 1 and 2 CUTOFF LINK pertains exclusively to the CUTOFF 2 knob and the cor responding parameter CUTOFF 2 has no influence on the other parameters of the second filter 1 FILTER 2 Lutofflink Ori ACCESS VIRUS OS4 121 Filter Edit Menu KEYFOLLOW BASE This feature determines the base note for the filter KEYFOLLOW When you press the key selected here the filter fre quency you determined manually has priority i e it is not influenced in any manner regardless of
69. Filter 1 i e after Filter in the signal chain 32 CHAPTER 4 Introduction FILTER ROUTING The final parameter we ll discuss for the time being is FILTER ROUT ING This feature offers several fil ter routing options which allow you to operate the filters in series i e patch one after the other in the signal chain or in parallel which means side by side in the signal chain SER 4 The filters are switched in series with two poles each 12dB Okt both filters have the same slope for a total of four filter poles 24dB Okt SER 6 The filters are switched in series Filter 1 has four poles 24dB Okt Filter 2 has two poles 12dB Okt so the overall slope is equiva lent to six poles 36dB Okt PAR 4 The filters are switched in parallel and feature two poles each 12dB Okt SPLIT The filters are switched in parallel and feature two poles each 12dB Okt Additionally they receive independent input signals more on this later Each of the two oscillators routes its signal into one of the two filters whose signals can be spread in the pan orama via a parameter called UNI SON Pan Spread ACCESS VIRUS OS4 33 Filter Routing OSCI 952 m FILT1 12 dB SATURATION FILT2 12 dB NOISE OSCI susosc FILTI 24 dB SATURATION FILT2 12 dB NOISE FILT1 12 dB SATURATION Moe SUBOSC NOISE FILT2 12 dB Sisosc FILTI 12 dB SATURATIO
70. I PROGRAMs contain sound combi nations that are controlled via a single MIDI channel In these MULTI PROGRAMs the sounds involved are allocated side by side split or on top of one another layered on the keyboard In other MULTI PROGRAMs the sounds are divided up over several MIDI chan nels to make it easier to work with a sequencer If you activate a MULTI PROGRAM and hear a single sound only then you can control this MULTI PROGRAM via several channels Your First Sound Program If you have never created or changed a sound on a synthesizer we now have the pleasure of intro ducing you to this fascinating pro cess Select the single program A127 START Press any key on the con nected keyboard You should hear a sound that for lack of better description is a bit harsh or biting but above all completely static It should start immediately after you press a key and sustain indefinitely for as long as you hold the key down As soon as you release the key the sound should end abruptly This sound is not designed to be especially pleas ant it is intended to be as neutral ACCESS VIRUS OS4 19 The Virus as possible to give you a basis from which you can begin creating or shaping your own sound 20 CHAPTER 4 Introduction THE AMPLIFIER ENVE LOPE Long term exposure to this sound will definitely grate on your nerves so let s get started with changing it into a signal you might enjoy hearin
71. I a ACCESS VIRUS OS4 161 Chorus RATE Determines the speed of the Chorus LFO 1 CHORUS Rat 694 iT DEPTH Controls the intensity of the delay modulation by the LFO The LFO modulates the left and right sides of the Chorus signal antiphase which generates a true stereo effect 1 CHORUS Derth 164 DELAY Controls the delay time of the Chorus 1 CHORUS Dela 162 CHAPTER 16 Parameter of the effects menu FEEDBACK Controls the amount of feedback in the Chorus On the chorus FEEDBACK lets you boost specific frequencies in the delayed signal to create a flanger effect The FEEDBACK parameter is bipolar positive or negative feed back values let you dial in different flanger characteristics 1 CHORUS Feedback H4 SHAPE Determines the waveshape of the chorus LFO You can select from among 6 waveshapes 1 CHORUS Share Triangled DELAY REVERB As its name would indicate the DELAY REVERB section generates two different effects The DELAY effect does just that to the input signal delay it to create echoes Much like a chorus you can modulate the delay time to create oscillations and phase shift ing in the stereo panorama Delay time can also be locked into sync with the global clock generator As a result the rhythm of the repeti tions can be matched up to the given song tempo Beyond that the device offers diverse delay pat tern algorithms where the left and right signals are delayed so th
72. LFO rates As result when you press and hold several notes you will hear all kinds of substantially different periodic fluctuations Finally the LFOs can also be used as additional envelopes The con trol feature for this effect is the ENV MODE button When you press this button two things occur For one the LFO no longer initiates its cycles periodically but only once at and in sync with the ACCESS VIRUS OS4 45 The LFOs start of a note and for the other the active range of the LFO is switched from bipolar in both directions from the zero position to unipolar from zero in one direc tion only Please note that this applies to the modulation target but not the modulation intensity Here you can still determine a value in the entire bipolar range This effect is especially prominent when used in conjunction with the sawtooth wave which enables a fade out type of effect when you dial in a positive AMOUNT value or a volume swell type of effect negative AMOUNT for the avail able modulation targets Using the LFO Curve parameter located in the LFO EDIT menu you can have the ramp rise or fall exponen tially If you choose a triangle for your waveshape the device will generate an ascending phase attack and a descending phase decay LFO Curve also lets you determine the temporal relation ship between attack and decay in other words their respective rates Dial in the desired speed via the RATE pot
73. LTI MODE or MULTI SINGLE MODE all settings you dial in for the Delay or Reverb including EFFECT SEND affect the MULTI PROGRAM and are stored along with it If the Virus is in MULTI MODE or MULTI SINGLE MODE and you activate a new SINGLE the Delay Reverb parameters of the SINGLE are ignored and the Delay Reverb parameters of the current MULTI PROGRAM are activate As a rule in MULTI MODE all SIN GLE settings pertaining to the Delay Reverb are ignored with the exception of EFFECT SEND EFFECT SEND The level at which the given sound is patched to the DELAY or REVERB effect is adjusted here EFFECT SEND is identical to a post fader effect bus on a mixing con sole When you move the control toward the end of its control range the dry signal is faded out and only the wet DELAY REVERB signal is audible 164 CHAPTER 16 Parameter of the effects menu MODE Here s where you select the algo rithm for the DELAY REVERB sec tion Let s take a tour of the different algorithms OFF Not surprisingly this setting deactivates the DELAY REVERB sec tion DELAY Mono echo Same delay time on the left and right sides REVERB Room simulation REV FEEDBi This the Virus trade mark room simulation Here you can use the FEEDBACK control to generate pre delay feedback The feedback effect generates rhyth mic repetitions of the REVERB sig nal which are repeated at the intervals determined by the assigned pre
74. MIDI Out This would be desir able as far as the keyboard data is concerned but not necessarily for the control panel data If you sud denly wanted to turn the Virus Cutoff pot to dampen the Virus sound the pot s data would not arrive at the sound generator only at the sequencer From there it might be passed on to an entirely different synthesizer where it could cause sound changes that CHAPTER 20 The keyboard versions of the Virus were not at all intended after all there is no standard allocation for control data to parameters To make it short It can be very practical and easier on the nerves to be able to activate the Local Off Mode for the keyboard while the pots still control only the Virus and nothing else Only if you want to record the control data in a sequencer or definitely want to influence another machine with the Virus controls does it make sense to send the control data simultaneously or exclusively to the MIDI Out After having acquainted you with both of the Virus kb Indigo s Local Off Modes it is time to take a look at a few more of the keyboard version s features KEYBOARD amp COM PANY The keyboard is not the only differ ence between a Virus kb Indigo and a Virus without a Keyboard After all the keyboard comes with two wheels and two pedal inter faces The keyboard of the Virus kb is equipped with an aftertouch function this feature is not avail able on th
75. MIDI clock of an external sequencer This synchroni zation occurs automatically when the device receives a MIDI clock signal via its MIDI In You can vary the speed of the clock generator within a range of 63 to 190 BPM beats per minute via CLOCK TEMPO When the device is syn chronized via MIDI clock the clock generator automatically accepts the speed dictated by the con nected sequencer the internal tempo is invalid The individual sections of the Virus are synced up to the clock generator at rhythmic intervals such as 1 16 1 4 and so forth These values may be assigned individually for every sec tion ARPEGGIATOR CLOCK CLOCK LFO 1 CLOCK LFO 2 CLOCK LFO 3 DELAY CLOCK see the respective sections 1 CLOCE Tempo Chems 1204 In SINGLE MODE CLOCK TEMPO pertains to the current SINGLE PROGRAM and is stored along with it In MULTI MODE the CLOCK TEMPO settings for the involved SINGLE PROGRAMS are ignored Instead all involved SINGLE PRO GRAMS are controlled via the same clock generator Its CLOCK TEMPO is saved in the MULTI PROGRAM as are the settings of the global delay effect This feature lets you control the LFOs and arpeggiators of sev eral MULTI PARTS in a common rhythmic context A small c will appear in the dis play when the Virus is receiving MIDI Clock data If you re sure you do NOT want the device to be synchronized auto matically to MIDI clock set MIDI CLOCK RX to Off in the CTRL
76. Mode Offa The second position of OSCILLA TOR 3 mode is called SLAVE Here Oscillator 3 is active but just like when it is set to the OFF position no further parameters are avail able and visible In this operating mode Oscillator 3 is the twin of Oscillator 2 It adds further oscilla tions thus making the sound fat ter and more animated Oscillator ACCESS VIRUS OS4 109 Menu Parameter for Oscillator 3 2 and 3 are handled collectively using Oscillator 2 s control features just as if the two were a single oscillator All settings that you dial in for Oscillator 2 apply to Oscilla tor 3 with one exception DETUNE This parameter runs counter to that of Oscillator 2 You can select the waveshapes individually for Oscillator 3 via the following OSCILLATOR 3 mode options sawtooth square pulse width modulation sine triangle and all further spectral wave shapes You have three further parameters available once you set Oscillator 3 to an individual wave shape These are explained further below All other parameters as well as the settings for the oscillator modulations LFO pulse width modulation and so forth are dic tated by Oscillator 2 This doesn t limit the functionality of the third oscillator by much if at all but it certainly facilitates intuitive han dling The FM Sync and Ring Mod ulator functions are not available for the third oscillator Like all other oscillators the level
77. N osc2 FILT2 12 dB NOISE Here is the filter routings capabilities of the Virus 34 CHAPTER 4 Introduction THE FIRST OSCILLATOR To this point we have turned our attention exclusively to sound shaping functions and have always started with the same basic mate rial a so called sawtooth wave This waveshape is especially well suited as a neutral starting point as it contains all of the so called natural scale of overtones which give the filter plenty of quality material to work with The filters with the exception of a notch filter or band stop BS trim the far reaches of the tonal spec trum so for instance a signal sounds muddier after it has been routed through a low pass filter You can well imagine that this type of sound modification is substan tial but insufficient for shaping more subtle differences in tone For instance the tone of a trumpet differs significantly from that of a saxophone even though no one would seriously claim that either of the instruments has a muddier tone than the other What you need is a sound shaping option for the portion of a signal that a filter allows to pass And of course you also need a tool for determining the pitch of a signal In synthesizers both of these tasks are executed by oscillators They oscillate at a variable pitch that can be modulated and they also generate different waveshapes which give the filters a wider vari ety of material to work with
78. ND MIDI CLOCK The Virus is equipped with a global clock generator that lets you sync the LFOs arpeggiators and delay up to a common song tempo and rhythm The clock generator works either internally with a freely vari able speed or it can in turn by synced up to the MIDI clock of an external sequencer This synchroni zation occurs automatically when the device receives a MIDI clock signal via its MIDI In You can vary the speed of the clock generator within a range of 63 to 190 BPM beats per minute via CLOCK TEMPO When the device is syn chronized via MIDI clock the clock generator automatically accepts the speed dictated by the con nected sequencer the internal tempo setting is in this case mean ingless and thus disabled The indi vidual sections of the Virus are synced up to the clock generator at rhythmic intervals such as 1 16 1 4 and so forth These values may be assigned individually for every sec tion ARPEGGIATOR CLOCK CLOCK LFO 1 CLOCK LFO 2 CLOCK LFO 3 DELAY CLOCK see the respective sections In SINGLE MODE CLOCK TEMPO pertains to the current SINGLE PROGRAM and is stored along with it In MULTI MODE the CLOCK TEMPO settings for the involved SINGLE PROGRAMs are ignored Instead all involved SINGLE PRO GRAMS are controlled via the same clock generator Its CLOCK TEMPO is saved in the MULTI PROGRAM as are the settings for the global delay effect ACCESS VIRUS OS4 73 Master Clock and Midi
79. NGLE program parameters directly here Beyond that you re unable to change the SINGLE programs directly which would admittedly be a handy option when you re working with a sequencer This is why the Virus features MULTI SIN GLE mode which strictly speaking is more an alternative view of MULTI mode rather than a further mode in its own right Activate MULTI SINGLE mode by pressing the MULTI and SINGLE buttons simultaneously Please bear in mind that MULTI SINGLE mode is really just another view of the normal MULTI mode and that it always works with the MULTI program that is currently selected in normal MULTI mode When you re working with a sequencer start with a MULTI pro gram that features neutral set tings for its administrative parameters for example the MULTI program Mo Sequencer Here the PART numbers are identi cal to the MIDI channels of the PARTs Now when you work in MULTI SINGLE mode the Virus responds as if it were in SINGLE mode except that you have 16 sounds available simultaneously on 16 MIDI channels Use the PART buttons to select these sounds OREO MULTI SINGLE MULTISINGLE VALUE BUTTONS When you press the two VALUE buttons simultaneously the parameter is reset to its original value You can increase the rate at which parameter values change by pressing and holding one VALUE button and simultaneously press ing the other VALUE button If you release the
80. NGLE or a MULTI program Located next to some of these parameters you ll see the abbrevi ations ENA and DIS The option ENA means enable and DIS means disable Call up a menu by simply pressing the corresponding button Once you have opened the menu and it appears in the display you can scroll through its parameters one after another using the PARAME TER buttons and edit them using the VALUE buttons and knobs If you press the PARAMETER but tons briefly you can scroll through the parameters contained in any given menu step by step in the desired direction If you press and hold one of the parameter buttons for a bit longer the display will automatically scroll through the list of parameters in the given menu When you press and hold one PARAMETER button and then press the other PARAMETER but ton the display will scroll through the menu in parameter groups in the direction of the button that ACCESS VIRUS OSq 61 Parameter Selection and Data Entry you are holding down This handy feature lets you swiftly go from one parameter type to another for instance from all chorus related to all delay related parameters If you also hold the second parameter button down the menus will auto matically scroll in the selected direction Once you ve scrolled to the desired parameter group sim ply select the desired parameter by pressing the button briefly You can also step through the parameters by repeatedl
81. NT Determines the modulation intensity of the cutoff frequency filter envelope Depend ing on the FILT SELECT setting ENV AMOUNT affects the first filter the second filter or both filters In con trast to virtually all other modula tion intensity parameters in the Virus ENV AMOUNT is a unipolar parameter The polarity of the modulation can be changed indi vidually for each filter via the ENV POLARITY function in the FILTER EDIT menu KEY FOLLOW Determines the extent to which the filter fre quency follows the pitch Note Number and the Pitch Bend Depending on the FILT SELECT set ting KEY FOLLOW affects the first filter the second filter or both fil ters The function uses C1 MIDI Note Number 36 as a neutral starting point or base note Regardless of the KEY FOLLOW value the filter frequency is not influenced at this pitch In the FIL TER EDIT menu you have the option of freely defining the base note under KEYTRACK BASE FILTER BALANCE Has different functions depending on the FILTER ROUTING setting see appropriate section as well In the parallel FIL TER ROUTING operating modes PAR 4 and SPLIT it controls the bal ance of volume levels between the two filters or in actuality SATURA TION and Filter 2 Technically in the serial FILTER ROUTING operating modes SER 4 and SER 6 the left half and the right half of the control range address different parameters When the knob is set to the far left position
82. VERB Feedback cn II a REVERB OUTPUT SELECT Here you can select the external or internal output for the REVERB sec tion 1 REVERE Qutsel Out1 24 Global MIDI and ANI 174 CHAPTER 17 Global MIDI and System Parameters GLOBAL PARAMETERS The following parameters are glo bal parameters and are accessible at any time in the CTRL menu regardless of the current operating mode If you own a keyboard ver sion of the Virus the parameters for the keyboard and other manual control devices will appear at this point These are explained in detail in the chapter The keyboard ver sions of the Virus on page 189 Midi Dump TX This feature transfers the sound data of one Virus to another Virus a computer or a hardware sequencer via MIDI The dump is executed via so called system exclusive data SysEx You can chose from the following dump options gt TOTAL All data in the RAM of the Virus in other words the SIN GLE Banks A and B the MULTI pro grams the EDIT buffers as well as the settings for the global parame ters gt GLOBAL Here you can transfer all global data i e all parameters that are not stored with a Single or a Multi e g Global Channel gt CONTROLLER DUMP This option lets you send a Single to the MIDI Out in the form of a control ler dump Here all parameters are sent in succession as individual parameter changes The parame ters are sent either as controllers polypres
83. able quality O fac tor of the filter bands and much more By using a multi patch and ACCESS VIRUS OS4 203 Vocoder the auxiliary sends sounds can be filtered or combined see above The vocoder substitutes the whole filter section of a single sound Therefore you can access the vocoder s parameters via the filter section on the front panel see Fil ter Envelope Release and addi tional notes The VIRUS s vocoder consists of dif ferent sections which perform dif ferent tasks The Modulator Bank This cascade of bandpass filters split the frequency spectrum of the modulator into slices quite similar to the way a studio fre quency analyser would The Envelope Follower The level at the output of each bandbass filter is measured by the modulator bank The resulting con trol signal can be modified by an ATTACK and DECAY parameter These signals are no audio signals as they contain the envelope of the signal being analysed 204 CHAPTER 21 The Vocoder of the VIRUS The Carrier Bank The signal is treated in a similar way to the signal which passes the modulator bank In this case the carrier signal is split by the band pass filters Each bandpass of the carrier bank corresponds to one of the modulator bank Usually both bandpasses use the same fre quency slice Similar to a synthe sizer s envelope the signal level being measured by the envelope followers of the modulator is used to control t
84. also patch just the pure effect signal of a MULTI Part through as you would it you were using a conventional dry wet effect knob 1 DELAY EffectSend 34 DELAY REVERB Output Select The DELAY REVERB Output Select function lets you send the DELAY REVERB section s output signal to any mono or stereo outputs If you ACCESS VIRUS OS4 231 About the Delay Reverb patch the DELAY REVERB signal to a virtual aux bus it can be pro cessed further by means of a MULTI Part that taps into this aux bus INPUT Select and even routed back into the into the DELAY or REVERB via the same PART s effect send loop which gen erates feedback With this feed back circuit you can filter and trigger the DELAY REVERB signal modulate its volume and even lay chorus over it When you re work ing with feedback be sure to keep a watchful eye on the signal level The DELAY REVERB section s level can easily rise to an intolerable vol ume e g when the level is cranked up by a filter resonance when the amount of feedback that you have dialed in is too great 232 CHAPTER 23 Tips tricks and other Words of Wisdom e em e e a mM aux bus for SECOND OUTPUT THE VIRUS AS AN Select and for the INPUT Select of EFFECT DEV CE the given PART You re free to install the Virus into your studio environment and use it as an effect device or signal proces sor For example simply connect its external inputs to any available aux send bus or eff
85. ameters feature a dedi cated knob or button so that you can access these directly espe cially while you are playing In just a few cases where appropriate or where it facilitates better han dling the control features have dual functions o FFECTS CTRL EDIT DEMO Peripheral parameters on the other hand are compiled in menus Among these menus are above all the EDIT the CTRL short for Control and the EFFECTS menu as well as the four local EDIT menus in the individual function blocks The EDIT menus contain parameters that you will require less frequently but some of these are nonetheless indispensable for programming sounds The local EDIT menus are there for a purpose to help you distinguish clearly between the various parameters Here you ll find parameters that affect directly the given functional section but are not equipped with dedicated control features Irrespective of which operating mode you may have activated the EDIT menu contains the sound parameters of the selected SINGLE program in SINGLE mode and MULTI SINGLE mode or organiza tional parameters for MULTI mode In SINGLE mode and MULTI SINGLE mode the CTRL menu contains fur ther SINGLE parameters such as the arpeggiator etc In the CTRL menu you ll also find irrespective of the given operating mode a number of global param eters These are called MIDI SYS TEM and so forth and are not stored with a SI
86. and the factory preset for the Modulation Wheel is as men tioned above MIDI Controller 1 You could control any of the Virus parameters by assigning the wheel to the corresponding controller ACCESS VIRUS OS4 193 Keyboard amp Company Although this would work we strongly advise against doing so If you assign a different controller than 1 to the Modulation Wheel the Virus software no longer rec ognizes the Modulation Wheel as such and connections in the mod ulation matrix ASSIGN Menue that use the modulation wheel as the source of modulation no longer have any effect The right way to do it which we strongly recommend is to leave the Modu lation Wheel on Controller 1 and to select the corresponding modula tion destination for the wheel in the matrix Then the adjustments are also valid for each sound and everything works the way it is sup posed to Let us turn to the two pedal inter faces They enable you to connect switch pedals on off or control pedals constant control signal You can choose a MIDI Controller for the pedals Parameter KEYB PEDAL 1 or 2 Off 1 127 Standard are Controller 64 hold or sustain pedal the note played is held and 7 Channel or MIDI volume the volume of the sound played Just as with the Modulation Wheel the CHAPTER 20 The keyboard versions of the Virus pedals can be used to control dif ferent parameters via the modula tion matrix ASSIGN
87. are few differences in how you handle the second filter gt Only two control features of the Virus are allocated exclusively to Filter 2 CUTOFF 2 and FILT 2 MODE gt The RESONANCE ENV AMOUNT and KEY FOLLOW pots can be allo cated to either of the two filters or both simultaneously Use the two SELECT buttons located at the far right of the FILTERS section to select the desired operating mode For instance if you press the FILT 2 SELECT button then the values you set via the RESONANCE ENV AMOUNT and KEY FOLLOW pots apply exclusively to Filter 2 The corresponding parameters of Fil ter 1 remain unaffected On the other hand if you press both SELECT buttons at the same time the values that you dial in apply by the same measure to Filters 1 and 2 In the sound program we are using for our experiments the LEDs of both buttons are illuminated so ACCESS VIRUS OS4 29 The Second Filter that all adjustments to the given parameters affect both filters However you have yet to actually hear the effect of Filter 2 on the signal because it is mixed out of the audible signal path of the Virus Before we get started with our next experiment deactivate SATU RATION set the ENV AMOUNT of the filter envelope to zero and set CUTOFF 2 to the center position 12 o clock so that Filter 2 always has the same cutoff frequency as Fil ter 1 we ll explain CUTOFF 2 a bit later Set CUTOFF to a medium or middle value and turn t
88. at echoes are repeated in different beats By varying FEEDBACK values you can come up with interesting rhythmic patterns The REVERB effect on the other hand simulates the reflections that occur in natural rooms This particular effect features several parameters that let you come up with effects that go beyond simple room simulation For example you can use the DELAY unit described above to dial in the desired pre delay for room simulations The DELAY effect is located prior to the room simulation in the signal path Delay time and feedback are infi nitely variable and may be synced up to the global clock generator This means that you can create REVERB effects that are a perfect match for the rhythmic context In PARAMETER mode you can select various DELAY and REVERB algorithms Some of the REVERB algorithms work with parameters that the DELAY algorithms do not use and vice versa so we ll look at these special parameters in a sepa rate section In SINGLE MODE all Delay or Reverb settings apply to the SIN GLE PROGRAM in the conventional manner and are stored along with the program However in MULTI MODE all 16 PARTs access the same Delay or Reverb effect In this case the only dedicated parameter you have available for each part is EFFECT SEND all other parameters apply to the same Delay Reverb unit and affect all PARTS ACCESS VIRUS OS4 163 Delay Reverb Consequently if you set the Virus to MU
89. ations 281 Definable Knobs Destinations 282 MIDI Implementation Chart 284 FCC Information U S A 286 FCC Information CANADA 288 Other Standards Rest of World 289 Declaration of Conformity 290 Garantie Bestimmung 292 Warranty ainnean 293 ACCESS VIRUS OSq 7 Important Safety Remarks Please read and heed the follow ing safety guidelines A few fundamental rules on han dling electrical devices follow Please read all notes carefully before you power the device up Set up gt Operate and store the device in enclosed rooms only gt Never expose the device to a damp environment gt Never operate or store the device in extremely dusty or dirty envi ronments gt Assure that air can circulate freely on all sides of the device especially when you mount it to a rack b Don t set the device in the imme diate vicinity of heat sources such as radiators gt Don t expose the device to direct sunlight gt Don t expose the device to strong vibrations and mechanical shocks Connections gt Be sure to use exclusively the included mains power supply adapter gt Plug the device only into mains sockets that are properly grounded in compliance with statutory regu lations gt Never modify the included power cord If its plug does not fit the sockets you have available take
90. automate it via a sequencer ACCESS VIRUS OS4 89 The Audio Outputs When you opt to use one of the aux buses as a second output the aux bus can also serve as an FX loop You can route the aux signal to a PART and have the PART pro cess this signal via filters effects etc further In contrast to the majority of other effects the delay reverb section is not available individually for each PART Instead it processes the sig nals of the PARTs collectively You can however control the intensity of the effect individually for each PART using the respective Effect Send parameter Consequently the delay reverb section has just one signal output which cannot be dis tributed to the outputs of the indi vidual PARTs This is why for example the delay effect of a PART that is routed to the pair of outputs labeled OUT 2 will still be audible on OUT 1 This can be desirable yet may also lead to confusion To encourage the former and prevent the latter set the Effect Send parameter of the PART to zero when you re using individual outputs 90 CHAPTER 12 Internal Audio Routing In MULTI mode the delay reverb section feature its own OUTPUT Select that is independent of the PARTS My functions 92 CHAPTER 13 Additional functions PANIC FUNCTION The Virus features a Panic function to remedy stuck notes caused by MIDI transmission parity errors and the like When you press the two TRANSPOSE buttons simulta n
91. ay along with the modulation intensity values as determined by the VALUE pot and VALUE buttons You can also scroll through the modulation targets via the PARAMETER button after you have pressed the AMOUNT button once Once you have dialed ina value other than o for a modula tion target the corresponding LED illuminates continually This fea ture tells you at a glance that a modulation is underway even when the display indicates some other type of operation Here are the definitions for the modulation targets OSC refers to the frequency of oscillator 1 OSC 2 refers to the frequency of oscillator 2 PW 142 means that the pulse widths of both oscillators are con trolled in unison ACCESS VIRUS OS4 43 The LFOs RESO 1 2 refers to the resonances of both filters Please keep in mind that although each set of these parameters is assigned a common modulation intensity you can still dial in different sound shaping set tings manually In other words the audible result of a joint modula tion varies according to the values you have determined for the other parameters ASSIGN Here you can freely select any modulation destination Modulate the five parameters sep arately and in combinations with different intensities Try to antici pate the sound you will come up with when you modulate the first oscillator the second oscillator or both oscillators at once and see if the results match your expecta tions If y
92. can be varied considerably via the sec ond half of the OSC VOL control range For the distortion curves this intensity range is equivalent to a gain boost of 12 decibels in the case of the Digital curve as much as 24 decibels A special feature of the Virus SATURATION stage is that despite the fact that its gain is boosted the signal level is kept constant via OSC VOL so that only the tonal color or timbre of the sound is varied The SATURATION stage is always downstream of post Filter 1 irre spective of the given filter routing Consequently in serial filter modes the SATURATION stage is always located between the two filters You can thus filter the oscil lator signal conventionally with the first filter distort the signal and process the distorted signal via the second filter as you see fit The Effects section of the Virus fea tures a further distortion module called DISTORTION Its design is largely identical to that of the SAT URATION except for one major dif ference whereas SATURATION affects each voice separately DIS TORTION processes all voices col lectively in the effects section This makes a huge difference in tone Let s take look at the SATURATION modes gt OFF The signal is not processed gt LIGHT SOFT MIDDLE HARD Different analog distortion curves with different characteristics and intensities gt DIGITAL Digital distortion with hard clipping gt SHAPER Sine
93. ced by the RANDOM PATCH GENERATOR If you enter a low value for PAR DEPTH just a few parameters will be modified Beyond that the manner in which the few parame ters are edited assures that the sound is manipulated organi cally This simply means that it isn t bent radically so that for example the given sound can still be played tonally As you increase the values for PAR DEPTH other parameters that have a greater impact on the tim bre of the sound are changed At higher values the RANDOM PATCH GENERATOR tends to generate noise like sounds or special effects 1 FAHOOM CSTOREI Paralerth E AMOUNT This parameter deter mines the intensity of the RAN DOM PATCH GENERATOR s effect on the sound parameters At lower values sound changes are fairly subtle but you can intensify the effect by repeatedly pressing the ACCESS VIRUS OS4 185 Random Patches STORE button Higher values intro duce fundamental changes to the sound 1 RFANOOM CSTORE Amount Hd E Be aware that RANDOM PAR DEPTH and RANDOM AMOUNT are not actual sound parameters They merely set the parameters for the RANDOM PATCH GENERATOR and only take effect when the RANDOM PATCH GENERATOR is activated Not until then will the sound be changed 186 CHAPTER 18 Random Patch Generator AR 188 CHAPTER 19 Categories SOUND CATEGORIES The Virus gives you the option of classing the stored SINGLE sounds in categories With t
94. cessed with filter gate and lo fi effects routed to the Virus effects section and serve as a modulation source for frequency and ring mod ulation Beyond that you can use internal or external signals as sources for the Virus on board vocoder serve The vocoder works with up to 32 filter bands and offers diverse manipulation and modulation options The three main oscillators produce 66 waveshapes three of which are dynamically mixable so that spec tral effects are possible within the confines of a single oscillator In conventional synthesizers this type of effect requires several oscil lators Synchronization frequency modulation and ring modulation between the audio oscillators delivers additional complex spec tral effects that you can use for all kinds of sound shaping purposes The filters can be switched in series or in parallel within the voices via several options When you switch the filters in series the saturation stage is embedded between the filters Consequently an overdriven filter resonance can be re filtered within the same voice A maximum of six filter poles 36 dB slope enables radical tonal manipulations The LFOs feature 68 continuous variable waveshapes each includ ing a triangle with variable sym metry and infinitely variable aperiodic oscillations for random variation of the controlled parame ters The LFOs are capable of poly phonic as well as monophonic oscillation In other wor
95. characteristic curve with several wave cycles With the Shaper you can drasti cally warp signals In some cases ACCESS VIRUS OS4 119 Filter Edit Menu the results are similar to the spec tra of linear frequency modula tions gt RECTIFIER Continuous rectifica tion of the signal this type of dis tortion is independent of the given level gt BITREDUCER Continuous reduc tion of the digital signal s bit depth generates digital quantiza tion noise gt RATEREDUCER Continuous reduction of the digital sampling rate generates digital aliasing gt RATE FLW The RateReducer with keyfollow the sampling rate follows the played pitch gt LOWPASS 1 pole low pass filter for moderate processing of high frequencies gt LOW FLW The low pass filter with keyfollow the cutoff fre quency follows the played pitch gt HIGHPASS 1 pole high pass fil ter for moderate processing of low frequencies 120 CHAPTER 14 The Parameters gt HIGH FLW The high pass filter with keyfollow the cutoff fre quency follows the played pitch To reiterate the point the amount of distortion intensity of the DSP effects and the cutoff frequencies of the 1 pole filter are controlled via the OSC VOL knob 1 SATURATION offa Curve Filter 1 ENV POLARITY Switches back and forth between positive POS and negative NEG ENV AMOUNTS for Filter 1 see appropri ate section 1 Filter i EnvPolarity Posd FILTER 2
96. ck contain ing the notes Although the sequencer merges these two data streams internally separating the two tracks makes it easier for you distinguish between the informa tion that they contain Besides you re thus able to edit and copy the recording of t knob and button movements without affecting the actual notes on the other track If you wanted to take this an extreme you could record the movements of every knob and but ton to a separate track Although this sounds like a classic case of overkill it can facilitate the process of editing the recorded sequences Bear in mind that the sequencer doesn t indicate the parameters addressed via the control features of the Virus by their names instead it indicates merely the controller and or polypressure numbers If you split up these con trol features by recording them to different tracks and giving these tracks names that give you an idea of what they contain you ll find it much easier to work with these tracks ACCESS VIRUS OS4 217 Notes on Adaptive Parameter Smoothing NOTES ON ADAPTIVE PARAMETER SMOOTH ING We developed a feature called Adaptive Parameter Smoothing for the Virus that assures automated knob movements are carried out so that parameter changes are not audible in steps commonly called zipper noise This means that the Virus responds just as smoothly to your sound shaping actions as did the analog synthesizers of yore that were used before
97. comparison to Oscillator 1 via the SEMITONE pot What happens is that the wave cycle of Oscillator 2 is inter rupted as soon as Oscillator 1 starts its cycle The pitch of the second oscillator no longer has the expected effect instead it gener ates special tones in some cases for lack of a better description screaming type effects The other effect that benefits from manipulating the interval between the oscillators is frequency modu lation FM It generates new tonal spectra in which the signal of the first oscillator controls the fre quency of the second oscillator similar to the manner in which fil ters can be controlled via enve lopes And here too you have a pot which allows you to control the intensity of FM AMOUNT Basi cally this effect is similar to a vibrato although here you re deal ing with an extremely fast vibrato featuring a frequency within the range of human hearing This sig nal is not actually audible as a vibrato effect Instead you ll hear a sound modulation in some cases a very drastic one at that Choose the pure sine waveshape for Oscil lator 2 In conjunction with the sine wave the frequency modula tion generates very clear in some cases bell like spectra In the Virus you have the option of combining the two functions called oscillator synchronization SYNC and frequency modulation FM AMOUNT to generate new harmonic spectra Switch SYNC on and experiment with the FM
98. creasing rate towards the minimum level If you turn the knob clockwise to the right towards RISE the level rises at an increasing rate to maximum RELEASE Determines the speed or rate at which the volume of the amplifier envelope decreases after the end of a note The higher the RELEASE value the longer it takes for the envelope to fall from its current level to the minimum level when the key is released MAIN EDIT MENU COMMON PATCH VOLUME Storable master volume for the SINGLE program Its nominal value is set to 100 so that you have a reserve of 27 volume increments when you are dealing with exceptionally low level sound settings In addition to using PATCH VOLUME you can also con trol the level via MIDI using the controllers 7 Channel Volume and 11 Expression However these are not stored with the SIN GLE program In MULTI MODE you can also access PART VOLUME see appropriate section which pro vides further volume reserves headroom 1 COMMOH PatchUolume 1004 ACCESS VIRUS OS4 123 Main Edit Menu Common PANORAMA Determines the Pan orama position of the SINGLE pro gram Dieser Parameter kann auch uber Midi mit dem Controller 10 Panorama gesteuert werden 1 COMMON Second Output Surround The SECOND OUTPUT function lets you select another mono or stereo out irrespective of what the other output assignments may be The balance of levels between the nor mal output and this second outp
99. ction using the VALUE buttons S amp H Sample and Hold is a struc tured random modulation Here random modulation values are generated The value is held until the next beat impulse then it abruptly jumps to a new random value S amp G Sample and Glide is a con tinual random modulation Here the random values glide seam lessly into one another the rate of which is determined by random modulation of the RATE value The following 62 waveshapes are identical to the oscillator section s digital waves These can be used to create interesting rhythmic effects Continued your experiments with different LFO waveshapes Note that after a while you no longer consciously hear minimal modula tion intensities depending on the waveshape and modulation target e g S amp G 1 on OSC 1 or 2 How ever they do pep up the sound of lend it a certain vitality The key to many great sounds are these types of minimal modulations You may have gathered that the LFOs of the Virus are polyphonic If several notes are played simulta neously these are controlled by dedicated LFOs each with a slightly varied rate This effect liv ens up the sound of chords espe cially when they are sustained To enhance this effect activate the LFO 1 KEY FOLLOW in the LFO EDIT Menu This function enables you to con trol the rate of the LFOs via the pitch or more accurately via the MIDI note number so that higher notes generate faster
100. ctuate to indicate the volume envelope s current level for the note that the Virus is cutting off 1 SYSTEM eadh ode Autod Random AR 184 CHAPTER 18 Random Patch Generator RANDOM PATCHES The RANDOM PATCH GENERATOR can be used to generate a new sound automatically or a modify an existing sound at random The PAR DEPTH and AMOUNT parame ters let you determine how radi cally the sound is changed Depending on the values that you set here the RANDOM PATCH GENERATOR will do anything from modifying sound parameters subtly to morphing one sound into an entirely different sound The RANDOM PATCH GENERATOR is activated when you presses the button STORE while the display is showing one of the two RANDOM parameters The results of the computation are stored in the Edit buffer and can be heard immedia tely You can also press STORE several times in order to create successive sound changes If you want store a sound permanently that the RANDOM PATCH GENERA TOR has created simply save it toa SINGLE memory slot in the usual manner For this purpose press the SINGLE button to activate PLAY mode SINGLE mode or MULTI SIN GLE mode so that the STORE but ton s original function is restored If you want to restart the process with the original sound settings simply return to PLAY mode back and select the desired sound again PAR DEPTH This parameter deter mines the number of sound parameters that are influen
101. d Expression Controller The Virus is able to handle Expres sion Controller Controller 11 commands Expression is a volume 246 CHAPTER 23 Tips tricks and other Words of Wisdom controller similar to Channel Vol ume that can be used indepen dently as a volume control or to create gate effects Controller 7 It is also reset by Controller Reset double click on PANIC The default setting is 127 Part Bank Select the change is exe cuted only when a program change command is received Part Bank Change the change is exe cuted immediately Part Program Change Multi Program Change Bank Program Change via SysEx A bank or program change can be initiated via a SysEx command These commands are independent of MIDI channels as well as all other SysEx parameter changes SysEx program changes are always carried out irrespective of whether or not the normal program change is disabled F0 00 20 33 01 10 72 Pp 1F vv F7 F0 00 20 33 01 10 72 Pp 20 VV F7 FO 00 20 33 01 10 72 Pp 21 VV F7 F0 00 20 33 01 10 72 00 69 VV F7 pp Part Number from oo to oF 0 15 vv Program Number from oo to 7F 0 127 PRIORITY This parameter lets you control how the Virus steals notes when its polyphonic performance is maxed out In the first position LOW the voices of all PARTs have the same priority when one voice is switched off to accommodate a new voice When you set the Prior ity of a PART to High the Virus w
102. d here the corresponding LED will flash If this parameter is assigned a value other than o the LED will illumi nate continuously when you exit the menu Between the two positions FILTER 1 and FILTER 2 you will find the posi tion FILTER 1 2 which lets you jointly control the modulation intensities of both oscillators In this position the FILTER 1 and F L TER 2 LEDs flash ACCESS VIRUS OS4 101 LFO 2 Edit Menu LFO 2 EDIT MENU The parameters CONTOUR CLOCK MODE TRIG PHASE and KEYFOL LOW correspond with LFO 1 see above AMOUNT FM Amount An addi tional modulation destination of LFO 2 The intensity of the fre quency modulation of Oscillator 2 is modulated 102 CHAPTER 14 The Parameters LFO 3 RATE Determines the speed of the LFO Dn du aa vu 0 TI mm tl L RI a DESTINATION Determines the modulation desti nation of the LFO You can select from b OSC1 The pitch of Oscillator 1 gt OSC 142 The pitch of both oscillators gt OSC 2 The pitch of Oscillator 2 gt PW The pulse width of Oscillator gt PW 2 The pulse width of both oscillators gt PW2 The pulse width of Oscillator2 gt SYNCPHASE Determines the phase position of Oscillator 2 when it is synced up to Oscillator 1 via the SYNC function 1 LFOS Dest Qsecil 4 OSC AMOUNT Controls the modu lation intensity of the LFO 05 c Amount H4 gt r 7 la FADE IN This parameter
103. dedica ted knob Se o l2 MASTER VOLUME o DEFINABLE Ge e o l2 DEFINABLE 2 l2 These DEFINABLE knobs operate in three different modes gt GLOBAL The knob controls the parameter that you have set to Global in the DEFINABLE menu regardless of what the other set tings and the selected SINGLE pro gram may be gt SINGLE The knob controls the parameter that you have set to Single in the DEFINABLE menu The setting for this parameter is stored in the SINGLE program and called up whenever you select this pro gram If however you have not selected a parameter for this pro gram DEFINABLE Single OFF the setting for DEFINABLE Global is automatically enabled gt MIDICONTRL Here the control ler number entered in the DEFIN ABLE MIDI menu is sent regardless of what the other settings and the selected SINGLE program may be Comparable to a small MIDI fader box this mode is used to control connected MIDI devices Note that this information is not processed internally in the Virus The setting for the actual DEFIN ABLE mode is global Under normal circumstances you should set DEFINABLE mode to Single because this is the most versatile mode When you select a SINGLE sound whose DEFINABLE mode is set to Single this setting is of course enabled If not Global DEFINABLE mode is enabled 1 DEFIWABLE i Mode Singdled ACCESS VIRUS OS4 79 Th
104. delay time REV FEEDB2 Room simulation with feedback and REV FEEDB1 Here the REVERB signal is audible immediately after you hear the dry signal rather than after a defined amount of pre delay time has elapsed The rhythmic repetitions are independently variable depending on the pre delay time and feedback intensity FEED BACK DELAY X Y Ping pong delay Although the delay times on the left and right sides are different they have a fixed relationship to one another For example 2 1 means that the delay time of the left side of the delay signal is twice as long as that of the right side The absolute delay time refers to the longer delay time of the two sides It is determined via DELAY TIME or DELAY CLOCK Feedback is also generated using the signal with the longer delay time of the two PATTERN X Y The PATTERN delay algorithms are also ping pong delays but here the delay times are locked into sync with the mas ter clock For this reason you won t find DELAY Time or DELAY Clock parameters here Consequently the absolute delay times are deter mined by the tempo of the global clock generator CLOCK SPEED or by the song tempo dictated by a connected sequencer that is send ing a clock signal The two num bers represent sixteenth note increments and indicate the delay for the left and right side on the basis of sixteenth notes Used in conjunction with the FEEDBACK parameter these groove algo rithms create i
105. determines how many voices the Virus will use to render a played note In a nutshell it determines how FAT or BIG the sound will be When you activate UNISON mode for a sound it can still be played polyphonically However depend ing on the number of voices you ve dialed in its polyphony will of course be considerably reduced in UNISON mode The most efficient and the standard setting is UNI SON mode Twin where two 128 CHAPTER 14 The Parameters voices are played for every note In the OFF position one voice per note is played 1 UHISON Mode Tuind DETUNE Slightly detunes the voices involved in UNISON mode 1 UHISOH Detune 454 PAN SPREAD Creates a stereo pan orama spread of the voices involved in UNISON mode Use it connection with UNISON DETUNE to create intense stereo effects Moreover PAN SPREAD lets you spread the stereo panorama of the two oscillators or filter provided that you select SPLIT as the FILTER ROUTING option more on this in the section FILTER ROUTING Then this option is enabled regard less of whether or not UNISON mode is active This feature allows you to create a stereo sound with just a single voice 1 UHISON PanSperead 1274 UNISON LFO PHASE Shifts the phases of the two TWIN MODE voices LFOs relatively This effect livens up modulations The value range of 64 to 63 is equivalent to 180 to 180 degrees LFO PHASE pertains to all LFOs and does not impair th
106. ds if sev eral voices are active the LFOs can run independently or in sync A number of keyboard trigger options enable you start LFO wave shapes with variable phase lengths at the beginning of a note and or to cycle once only like an envelope Next to the numerous hard wired or fixed modulation config urations you can assign three modulation sources to up to six different modulation destinations via the Modulation Matrix For your modulation sources you have LFOs velocity the pitch bender aftertouch the modulation wheel numerous MIDI controllers and other sources to chose from For your modulation destinations you can select any sound parameter of the Virus that is conducive to being remote controlled Up to 16 arpeggiators are available in MULTI mode These give you countless options for creating arpeggios which can also be synced up to MIDI clock Sounds and effects are patched out via six audio outputs which of course can also be used to route three stereo signals out In additional to its killer sounds and tone the Virus was designed to deliver ultimate handling and control comfort It is equipped with dedicated knobs and buttons for the crucial synthesizer func tions further parameters are accessible via data entry proce dures We distinguished between these two levels of expertise to enable you to create complex ACCESS VIRUS OSq 13 sounds while keeping the user interface as clear and
107. ds are transmitted If you want to save all data of the Virus to a sequencer you can select the Total dump option ACCESS VIRUS OS4 175 Global Parameters Once you have selected the desired data type the dump is initiated via STORE 1 MIDI DUMF TH SindleBank Ad Midi Dump RX If you want to send MIDI data to the Virus you don t have to log in first The Virus automatically accepts incoming data via its MIDI In port However you can deter mine where the data of a complete incoming bank is stored In con trast single sound are always first dumped in the Edit buffer you have to manually store them somewhere else otherwise they are deleted by the next program change gt DISABLE Incoming data via MIDI IN is ignored gt ENABLE Bank data is re loaded to the bank from which they were originally dumped regardless of which bank is currently selected 176 CHAPTER 17 Global MIDI and System Parameters gt FORCETO BANKA Bank data is loaded to Bank A exclusively gt FORCE TO BANK B Bank data is loaded to Bank B exclusively gt FORCE TO EDIT Loads the sin gle programs of the bank to the Edit buffer one by one whereby the each preceding single sound is deleted by the one following it This function treats a bank dump as a succession of single sounds and comes in handy when you want to search an unfamiliar bank or load single sounds without hav ing to load the entire bank gt VERIFY Compar
108. e and ExpressionThese two perfor mance controllers Ctr 7 and 11 can be used in order to make tem porary changes in signal level via a sequencer or volume pedal Like all performance controllers these are not stored with the sound pro gram The unit value is 127 A dou ble click on the two Transpose buttons Panic function resets Channel Volume and Expression to this unit value ACCESS VIRUS OS4 243 ASSIGN and the DEFINABLE Knobs ASSIGN AND THE DEFINABLE KNOBS The ASSIGN section in the EDIT menu lets you control up to six freely selectable parameters via up to three modulation sources The modulation sources can be MIDI controllers such as the modulation wheel as well as internal voice related modulation sources such as envelopes and LFOs In addition LFO 1 and LFO 2 each offer a fur ther freely selectable modulation destination when they re set to the ASSIGN position use the AMOUNT buttons for this purpose The obvious thing to do would be to use one of the DEFINABLE knob as a modulation source for one or several ASSIGN units However we deliberately chose not to create a direct fixed link between the DEFINABLE knobs and the ASSIGN units since by definition neither the output of the DEFINABLE knobs nor the inputs of the ASSIGN units have a fixed control ler number 244 CHAPTER 23 Tips tricks and other Words of Wisdom Instead you are free to select one of the possible controllers as an
109. e confused with CUTOFF 2 in the section labeled FILTERS directly above the section labeled AMPLI FIER Rotate the pot to the left and right and note how the sound ACCESS VIRUS OS4 23 The First Filter becomes muddier and clearer in response to the direction in which you turn the pot To ensure this effect and the following aural experiments are most pronounced adjust the amplifier envelope so that the Virus generates a constant level while you hold a key down This is how a low pass filter works it suppresses or in technical jar gon attenuates the higher fre quencies in a signal and allows the lower frequencies through Think of the CUTOFF pot as a bouncer and the Virus as your pub You can tell it which frequencies to let in and which frequencies to keep out The frequencies above the so called cutoff or filter frequency are suppressed those below it remain unaffected Now locate the FILT 1 MODE switch which is also located in the FILTERS section It enables you to select a filter operating mode from the four available options gt LP the low pass filter we have just discussed 24 CHAPTER 4 Introduction gt HP the high pass filter which works in the opposite manner of the low pass filter It suppresses the lower frequencies in a signal and lets the higher frequencies pass DBP the band pass filter which suppresses both ends of the tonal spectrum and allows only a nar rowly defined bandwidth of the
110. e Definable Knobs 80 CHAPTER 9 The Modulation Matrix and Definable Knob Ah Section 82 CHAPTER 10 The Effects Section THE EFFECT SECTION For every SINGLE program and every PART you can access up to five different stereo effects individ ually You ll find these effects ring modulator distortion analog boost phaser and chorus in the aptly named EFFECTS menu In MULTI mode you thus have a total of 80 simultaneously available effects The vocoder and the delay reverb section are each available just once but you can address them individually via the PARTS Effect Send parameter In the signal path all effects are connected in series in accordance with their sequence in the Effects menu Each SINGLE program contains its own settings for the delay reverb section In MULTI mode the sound programs involved share the same delay reverb section For this rea son the parameter values are determined by the settings of the currently active MULTI program See Parameter of the effects menu on page 149 AR Inputs 84 CHAPTER 11 Audio Inputs AUDIO INPUTS You can also opt to use external audio signals in place of the on board oscillators for the sound pro grams or MULTI PARTs The Virus is equipped with two inputs for external signals You can route these to its sound generating com ponents the filters the saturation stage as well as the volume and panorama stage or patch them dir
111. e OSC VOL knob is used to tweak the characteristics that shape its timbre In particular in the case of the Shaper this knob influences the complexity of the generated sound to a considerable degree OSC VOL 240 CHAPTER 23 Tips tricks and other Words of Wisdom LFOS LFO Env Mode In addition to their standard func tion as low frequency oscillators LFO 1 and 2 can also serve as addi tional albeit simple envelopes When you activate ENV mode the selected LFO waveform will cycle through just once when you play a note This lets you use a sawtooth wave to create a ramp the shape of which you can vary from linear to exponential by means of LFO Curve in the LFO EDIT menu The polarity of the respective AMOUNTSs determines if you end up with an ascending ora descending ramp If on the other hand you choose a triangle for your waveform you will end up with an ascending phase attack and a descending phase decay The LFO Curve parameter also lets you determine the relative rates of the attack and decay phases The absolute rate of the envelope is determined with the LFO RATE knob LEO O e 6 e F e e O N r ON gt gt ON o le O TL RATE SHAPE WAVE O O osc osce RESO 2 EDIT NV_ AMOUNT O ASSIGN MODE LFO Mode LFO Mode You can set the LFO Mode parame ter so that the LFOs are polyphonic or monophonic In Poly mode the LFOs of several voices have differ ent phase positions
112. e Virus Indigo The Pitch Bend Wheel is used mainly to bend the pitch but can also be used to control other parameters via the modulation matrix Pitch Bend is a bipolar con trol source which means that the destination parameter can be shifted starting from a middle value either up or down A spring automatically returns the wheel to the middle value when you let it go This is not the case with the Modu lation Wheel This wheel sends o when turned all the way down and its maximum value when turned to the top The destination parameter can only be shifted in one direction The classic applica tion for the Modulation Wheel is to blend in vibrato for a sound As a standard it is usually assigned to MIDI Controller Nr 1 Modula tion Of course the Modulation Wheel can control other things instead of vibrato e g the opening of a filter As a matter of fact the modulation wheel can be used to control several parameters at the same time because it can be assigned to different modulation destinations via the modulation matrix by the way the same applies to the other control fea tures These multiple assignment capabilities enable you to create very complex sound changes one might call them Sound Mor phing M The Virus kb Indigo allows you to freely choose the controller that the Modulation Wheel sends just in case you need it Parameter KEYB MODWHEEL Off 1 127 The stan dard
113. e conven tional system exclusive control option available see MIDI Imple mentation in the appendix The Virus and Sequencers on page 213 This system exclusive control option may be activated independently for the first two Parameter PAGEs under MIDI in the CTRL menu in which case this control mode is the only type of remote control option that is active you get exclusively system exclusive control as it were The third parameter PAGE in turn lets you control the parameters of the current MULTI PROGRAM as well as global and or system parameters This third PAGE is addressed solely via system exclusive MIDI mes sages The advantage of system exclusive control is that you can address PARTS individually irre spective of what their current MIDI channel assignments may be You ll find a list of all controller and polypressure assignments in the appendix HANDLING MIDI PARAMETER CONTROL If you have configured your MIDI system in accordance with the instructions in the previous sec tion you may activate the sequencer s recording mode and record the knob and button move ments as you see fit Check the Event or List editor of your sequencer to see if the recording operation was successful Good to know info Do not record knob and button movements to the same track that contains the notes of any given passage Instead use a new track that sends its data to the same MIDI output and channel as the tra
114. e cur rent PART SELECT NUMBER Activates a SIN GLE PROGRAM for the current PART ACCESS VIRUS OS4 143 MULTI MODE parameters PART TRANSPOSE Transposes the PART VOLUME Controls the volume PART in semitone steps level of the PART In addition to PATCH VOLUME in the EDIT menu en ENTE see appropriate section MIDI Vol 1 B36 1B1ERSS RP ume Controller 7 and Expression PartTranse 84 Controller 11 PART VOLUME is the fourth option for determining the volume level of a PART within a MULTI program Please keep in mind that PART VOLUME is a bipo lar parameter In the negative half of the control range 64 to o the 1 EZ6 Tei bass FFP signal level is controlled in the nor mal fashion i e the sound fades out as negative numbers increase from the center value upwards 0 to 63 extremely low level sig nals are amplified When you set values greater than o for sounds that are already fairly loud you may hear undesirable digital dis tortion PART DETUNE Fine tunes the PART PartOQetune 184 1 B26 iMiBASS5 EP FartJolume H4 144 CHAPTER 15 Within the CTRL Menu OUT1L OUT 1 L R OUT 1R OUT 2L OUT 2 L R OUT 2R OUT 3L OUT 3 L R OUT 3R AUX1L AUX 1 L R AUX R AUX 2 L AUX 2 L R AUX 2 R 1 B36 Qutsel The left jack of dual Output 1 mono Both jacks of dual Output 1 stereo The right jack of dual Output 1 mono The left jack of dual Output 2 mono Both jacks of dual Output 2 stereo The rig
115. e in the filter bands which therefore make the overall sounds more artificial The effect is less effective on the modulator bank Here the filter quality controls the gab in between the individual fil ters Depending on the modulator signal if you soften or tighten the 208 CHAPTER 21 The Vocoder of the VIRUS gab it could lead to interesting changes although in most cases this will result in a rather sublimi nal change Vocoder Attack Knob FILTER ATTACK Default o left The attack time of the envelope follower This parameter controls how fast the carrier bands react on a change of the modulator signal s frequency energy Higher values result ina flabby lazy even delayed response from the vocoder Vocoder Release Knob FILTER DECAY Default o left The release time of the envelope follower This parameter controls how fast the carrier bands reflect if a certain fre quency disappears from the spec trum of the modulator signal Here higher values result in a kind of sustain in the carrier bands High attack and release times lead to less speech recognition although it is possible to create a really nice sounding synthesizer pads with 6 o VOCODER o i2 100 100 CARRIER MODU LATOR FREQ er SELECT oS e Be o e o 64 SPECTRAL BALANCE BAND QUANTITY Vocoder Source Balance Knob FIL
116. e of the Virus has no visible control features on the control panel the Noise Generator The dedicated sound parameters are its volume and coloration NOISE Volume and Color in the OSCILLA TOR EDIT menu On the middle position of NOISE Color the Noise Generator produces white noise Please keep in mind that the level of the Noise Generator is not sub ject to the master volume con trolled by the OSC VOL pot In other words it is audible even when OSC VOL is set to zero The VIRUS ring modulator is a new sound source The output of the two oscillators is multiplied to cre ate interesting sounds with rich enharmonic overtones These over tones are highly dependent on the frequency coherence of both oscil lators and it s waveforms The fre quency coherence can be changed for instance use the OSC2 SEMI TONE parameter To blend in the ring modulator use EDIT RING MODULATOR VOLUME in OSCILLA TOR EDIT Menu If the RINGMODULATOR VOLUME is zero the ring modulator is switched off OSC VOL does not affect the ring modulator level or indeed the noise volume Therefore the origi nal oscillator signal can be leveled independently of the ring modula tor Be sure to check out what the ring modulator does when you select a sine wave for Oscillator 1 and 2 Now we can go on and solve the mysteries of the signal flow as determined by the FILTER ROUTING operating mode SPLIT Here Oscil lator 1 and the SubOscillator are
117. e phase response of the LFOs within either of the two voices PUNCH INTENSITY Here you can influence the attack of the ampli fier envelope to enhance the sound with a more percussive snappy kind of feel You may have guessed that PUNCH INTENSITY determines the intensity of this effect PUNCH is only effective when you have dialed in fairly short ATTACK rates for the ampli fier envelope 1 PUNCH Intensity B44 ACCESS VIRUS OS4 129 Assign ASSIGN The three ASSIGN options let you control up to six modulation desti nations via up to three modulation sources Simply go to ASSIGN select one of the modulation sources SOURCE and one or sev eral modulation destinations DES TINATION Each of these configurations features a parame ter that determines modulation intensity AMOUNT ASSIGN 1 can control one modulation destina tion ASSIGN 2 can control two and ASSIGN 3 can control three modu lation destinations each with independent AMOUNTs For your SOURCEs you have two different types of modulation sources to chose from The first type comprises external MIDI con trollers such as the modulation wheel or breath controller We call these performance controllers to distinguish them from sound parameters such as CUTOFF and REVERB that may also be accessed directly via MIDI controllers Although strictly speaking they re on board devices the modulation wheels of the Virus kb and Virus 130 CHAPTER 14 T
118. e program to the requested program number with out changing the bank number similar to the regular Program Change Part number 40 will address the Single buffer in Single Mode g Global Parameter The Global Parameters are independend of Single Sounds or Multi Patches and non part sensitive Vb Virus b Parameter These parame ters are only available on Virus b and Virus kb Indigo in Version 3 0 and followers Virus b parameter changes are ignored by Virus a ACCESS VIRUS OS4 277 Classes 278 CHAPTER 24 Appendix E On non part sensitive parame ters the part number is ignored but must still be sent as any value M The Virus can be switched between Multi Mode and Single Mode by parameter C123 Part Num ber M Remarks for editor librarian pro grams Not all 256 bytes of a Single or Multi Dump are defined as a parameter Some of them are defined for internal use or reserved for future applications In a bulk dump these byte should not be changed they should be sent to the Virus on the same value as they were received in the dump E One of the internal parameter Page A o is the Sound Version Number On future Virus system updates new parameters will be defined When the Virus receives an older sound the new parameters will be set to default values in the edit buffer and the version number will be updated automatically The Virus update algorithm can be used from outside just by sending a dump and request
119. e width WAVE SEL PW has two functions depending on the SHAPE see appropriate section value e When SHAPE has a value lower than that of the center position then WAVE SEL PW lets you select from the 64 spectral waveshapes available in the ROM of the Virus Waveshape 1 is a sine wave No 2 a triangle the remainder of the waves feature different combina tions of frequencies e When the SHAPE value is higher than that of the center position then WAVE SEL PW determines the pulse width At the farleft position the pulse width is 5096 at the far right it is 0 which means the wave no longer oscillates OSCILLATOR 2 FRONT PANEL SHAPE Same as OSCILLATOR 1 see paragraph above WAVE SEL PW Same as OSCILLA TOR 1 see paragraph above SEMITONE Determines the inter val between the second oscillator and the first oscillator Control range 48 semitones assigned in semitone steps DETUNE Detunes the second oscil lator relatively to the first With this parameter you can dial in everything from slight deviations in pitch to major fluctuations between the two oscillators ACCESS VIRUS OS4 105 Oscillator 2 front Panel SYNC Synchronizes the second oscillator with the first The SYNC function forces Oscillator 2 to interrupt its wave cycle and restart it at the same time as Oscillator 1 starts its cycle The effect of this measure is that pitch deviations and intervals are no longer audible as such w
120. earn more about these subjects you should consider becoming a regu lar reader of one or several of the leading trade publications in your country Your local musical instru ments dealer or more experienced musicians will be able to recom mend the best magazines to you And of course there is a wide range of books available on these sub jects If you decide to read this section we recommend you read it in its entirety from the start rather than begin with a subsection that is of particular interest to you A fitting metaphor for the basics dis cussed in this section might be a house where each bit of informa tion in a subsection is a brick that builds on a preceding brick and interlocks with those next to it You want your knowledge base to be a sound structure so you won t run into problems when you find one of the bricks is missing Cable Connections Before you connect the Virus to an AC outlet and the rest of your equipment ensure that all of the devices are switched OFF If your Virus does not have a build in key board then connect the MIDI OUT of the desired MIDI send device keyboard computer hardware sequencer etc with the MIDI IN of the Virus Connect the audio outputs of the Virus with the signal inputs of your audio system In order to receive a signal as a minimum you must connect the output OUT R MONO However we recommend you also connect the output OUT 1 L so you are able to enjoy t
121. ecause the room simulation and pre delay share the same memory Pre delay time is infinitely variable Changing the delay time bends the pitch of the reverb signal REVERB PREDELAY will not appear in the ACCESS VIRUS 054 171 Delay Reverb display when the pre delay amount is determined via REVERB CLOCK see below 1 REVERE PreDela 2H Bd REVERB CLOCK When you set it to OFF the abso lute predelay time is determined in milliseconds If you select a note value then the predelay time is set to the value of this note The abso lute length of this note value depends on the value entered to CLOCK TEMPO in the global clock generator refer to this section In this case the absolute predelay time in milliseconds is ignored i REVERE Clock OFFA 172 CHAPTER 16 Parameter of the effects menu REVERB FEEDBACK Available exclusively for the Rev Feedbi and Rev Feedb2 algo rithms this parameter controls the amount of pre delay feedback Here the room signal is repeated at intervals that are determined by the pre delay time Note that the signal level fades gradually REVERB COLOR also has an influ ence on feedback The intensity of the filtering effect generated by the low pass or high pass filter increases with every repetition Feedback is subtle when the decay time of the room REVERB DECAY TIME is long The effect will become more prominent when you set a short decay time and a long pre delay time 1 RE
122. ect send on your mixer or to the individual out puts of a sampler or other sound generator This setup lets you mix sundry signals outside the Virus and patch the mixed signals into the Virus for further processing and Vice Versa SECOND OUTPUT Balance lets you create a separate mix in the Virus itself This signal may then be patched out via the selected out put SECOND OUTPUT Select to a mixer or directly to a connected effect device where it can be pro cessed further Alternatively this mix can also be routed to another PART of the Virus where for example it can be filtered or distorted For this pur pose be sure to select the same ENVELOPE FOLLOWER This function of the Virus is a spe cial delicacy It really upgrades the process of filtering or any other processing of an external audio signal What we have here is a so called Envelope Follower that can evaluate the volume envelope of an external audio signal with a selectable speed or inertia and then creates an appropriate modu lation signal This signal can be used to control any Virus parame ter via the Modulation Matrix In UNISON Mode the Envelope Fol lower works in true stereo you can find the parameters in the effects menu under INPUT One example for its application A drumloop serves as the external signal the Envelope Follower controls the fil ters cutoff frequency and creates a typical Autowah effect whereby the filter is opened acco
123. ectly to the effects section of the Virus External audio signals may also be used as carrier or mod ulator signals for the vocoder Any PART that you use to process an external audio signal in MULTI mode can like every other PART be routed freely to one or two of the six audio outputs As a rule when you re processing external audio signals you need to distinguish between the following two operating modes gt DYNAMIC To make external signals audible in this operating mode the volume envelope must be triggered via a note This option for example lets you create typical gater effects INPUT Dynamic mode is also polyphonic If you set the KEYFOLLOW value for the filters to 100 the resonant frequencies of the filters and oscil lators can be played in a tempered manner via the INPUT signal This lets you play entire chords as well as arpeggiator lines using the fil ters The noise generator is also active in INPUT mode b STATIC In Input Static mode the external audio signals are audible via the output without having to trigger a note Bear in mind that the oscillators as well as all functions that have to do with trigger and pitch are disabled envelopes LFO Env mode keyfol low In INPUT Static mode When you set the device to this mode one voice of the Virus is activated automatically If you select a stereo source L R for INPUT Select two voices are activated much like in UNISON mode Twin In this case
124. ed LFO low frequency oscillator that oscillates at frequencies below the audible range An LFO is similar to the oscillators you have encountered thus far but it oscillates signifi cantly slower so that its output signal is too low for human hear ing So what good are they if you can t hear them LFOs are used in much the same manner as enve lopes with the major difference that the are repeated indefinitely LFO 1 Start with the usual basic sound configuration or chose a modified sound to suit your taste Locate the RATE pot in the LFO 1 section of the control panel The RATE pot is equipped with an LED that indi cates the speed of the LFO as well as its waveshape Turn the RATE pot and check out how the flash of the LED indicates the change of pace as you rotate the pot LFO I O e 6 e e e 3 O N 7 7 ON e e O N o l2 O TL RATE SHAPE O WAVE O O osc osce RESO 2 EDIT NV_ AMOUNT ASSIGN MODE Currently you are unable to hear the effect of the LFO as its modula tion intensity is set to o in the sound program In order to change this setting you must access the AMOUNT button which works in conjunction with five vertically arrayed LEDs labeled OSC 1 OSC 2 PW 142 RESO 14 2 and ASSIGN Press the AMOUNT button repeat edly and observe how the LEDs flash in succession the LEDs OSC 1 and OSC 2 flash separately as well as in unison The corresponding modulation targets appear in the displ
125. eggsend This parameter determines whether or not ON or OFF respec tively the arpeggiator sends the notes it generates to the MIDI Out ACCESS VIRUS OS4 177 Global Parameters This function is a feasible option only when you want to address further sound generators via MIDI 1 MIDI ArresaSend ff4 If you want to record notes gener ated by the Arpeggiator to a seguencer please ensure that these are not sent directly back to the Virus If you fail to do this the Arpeggiator may no longer be able to play correctly under these condi tions To avoid this situation route data via another MIDI channel or switch off the MIDI Thru function on your sequencer Clock RX This parameter activates or deacti vates the receiving of MIDI Clock globally The Virus automatically detects the presence of MIDI Clock Auto Therefore this parameter is not intended to switch MIDI Clock 178 CHAPTER 17 Global MIDI and System Parameters on but to switch it off if you should feel that this is necessary Off 1 MIDI ElockRx Autod Midi Volume Enable Globally switches the reception of Volume data Controller 7 on ENA or off DIS 1 MIDI Midilaolume Enad Program Change Enable Globally swithes the reception of Program Change Data for SINGLE programs on and off 1 MIDI Froschandge Enad Multi Program Change Enable This function controls if the VIRUS receives program changes of multi setups If enabled
126. emory content or just parts thereof to the sequencer The most reliable solution is to transfer the entire memory MIDI DUMP RX Total There is however a catch Since a great deal of data is being transmitted Total after all means all SINGLE programs all MULTIs and so forth the dump is CHAPTER 22 The Virus and Sequencers very extensive and takes quite some time Alternatively you can also send just individual sounds MULTIs or so called arrange ments The other truly reliable option for archiving sounds is dumping an arrangement MIDI DUMP RX Arrangement In this case the cur rent MULTI is transmitted Since a MULTI contains the addresses of SINGLE sounds used in the arrangement rather than the actual SINGLEs the sounds of all active PARTs are sent separately for more info on this see the sec tion on MULTIMODE This option is convenient and fast but has an inherent drawback this type of arrangement dump does not take into account that your song uses program change messages to change sounds in the MULTI Only the eight sounds to which the MULTI refers in the arrangement are sent which is to be expected when you consider that the Virus can t anticipate that you intend to change these at some point during playback Dumping an arrangement is a great option when you re able to make do with the sixteen sounds to which the MULTI refers If you want to or are compelled to change sounds you s
127. enu where they appear under the name of you guessed it ASSIGN The three ASSIGN options let you control up to six modulation desti nations via up to three modulation sources Simply go to ASSIGN select one of the modulation sources SOURCE and one or sev eral modulation destinations DES TINATION Each of these configurations features a parame ter that determines modulation intensity AMOUNT ASSIGN 1 can control one modulation destina tion ASSIGN 2 can control two and ASSIGN 3 can control three modu lation destinations each with independent AMOUNTs These ASSIGN options serve sev eral purposes for one they let you assign an external MIDI controller for example the keyboard s modu lation wheel to the desired param eter You can also chose to use the sound generator s internal modu lators such as LFOs and envelopes as modulation sources The control range of the source may be limited via the AMOUNT values or inverted so that the modulation occurs strictly within the desired value range for the target parameter For your target parameters you can chose from among virtually all sound parameters that feature an infinitely variable control range ergo you have more than 100 modulation destinations at your disposal Since the sources and destinations may be selected inde pendently you may even modulate a single parameter by using up to three modulation sources simulta neously For this
128. eously then all voices of the Virus that are still sounding will be released A double click on both buttons ini tiates a controller reset The vari ous voices that are still sounding will be cut off instantly and con trollers such as the modulation wheel channel volume and pitch bender are reset to the default set tings 2 4 O H te O00007 TRANSPOSE PANIC AUDITION FUNCTION On the Virus panel you can trigger notes without using a keyboard When you press the OSCILLATOR EDIT and SYNC buttons simulta neously the Virus will play the note C3 If you hold the buttons down for longer than a second the note will continue to sound after you release the buttons RESET FUNCTION If you get the impression that the VIRUS is behaving unstable or indeed strange we suggest you perform a system reset Holding the keys LFO 1 SHAPE while switch ing the VIRUS on performs a sys tem reset No data will be lost during this procedure although some global system settings as Global Channel will be reset e Parameters 94 CHAPTER 14 The Parameters The following section lists all parameters in the Virus each with a brief definition or explanation For the purpose of clarity we ordered the parameters with a dedicated control element accord ing to the module you will find it in SOUND PARAMETERS WITH A DEDICATED CONTROL ELEMENT MASTER VOLUME Controls the overall volume of the Virus This co
129. erally this oper ating mode allows you to adjust a parameter immediately without radical jumps However the down side is that in an unfavorable con figuration the worst case sce nario being a maximum parameter value and a knob position at the minimum value you do not have 64 CHAPTER 6 Handling the full control range of the knob at your disposal To counteract this situation you have to turn the knob in the opposite direction to adjust the physical knob position so that it is equivalent to the actual parameter value In RELA TIVE Mode the triangle to the right of the number indicates if the VALUE knob coincides with the parameter value 4 or not 4 1 SYSTEM EnobMode June 4 DISPLAY OF VALUES When a menu is active different display options are available for parameters with a dedicated knob These can be selected under the menu item KNOB DISPLAY in the CTRL menu gt OFF Knob movements are not displayed the current contents of the display remain intact when you turn a knob gt ON The lower row of the dis play is being overwritten by the parameter s value gt SHORT When you turn a knob the current contents of the lower display line are briefly overwritten by data representing the change in parameter value once the action is completed the original contents reappear in the lower display line gt LONG Same as SHORT except that you guessed it the display shows the knob data for a lon
130. ers 1 10 16 Multi Delay Mode 0 1 0 OFF 1 0N 18 Multi Delay Feed 0 127 back 20 Multi Delay Depth 0 127 22 Multi Delay Output 0 127 o Out l 1 OutiL R 2 Outir Select 24 Multi Delay Color 0 127 64 63 274 CHAPTER 24 Appendix 48 63 Part Program Number 0 127 1 16 80 95 Part Low Key 0 127 C 1 G9 1 16 112 12 Part Transpose 0 127 64 63 7 1 16 144 15 Part Part Volume 0 127 64 63 o Unity Gain 9 1 16 176 19 Part Output Select 0 14 o Out l 1 OutiL R 2 OutiR 1 1 16 208 2 Internal 39 ACCESS VIRUS OS4 275 Multi Dump Table Part State Bitfield BiT 1 Part Midi Volume o Off 1 On Enable Bit 3 Keyb To Midi o Off 1 On BIT5 Note Steal Priority o Low 1 High E All bytes are shown in decimal representation 276 CHAPTER 24 Appendix CLASSES Classes p Performance Controller Accessi ble by Control message Perfor mance Controllers are not stored with a Single Sound If more than one Multi Part is set to the same MIDI channel all Parts on this MIDI channel receive the same Perfor mance Controllers a Sound Parameter of Bank A Accessible by Control message SysEx Parameterchange and Sin gle Dump The Sound Parameters are stored with a Single Sound When received as Control Mes sage the Sound Parameter is received only by the Multi Part with the lowest part number if more than one Multi Part is set to the same MIDI channel When received as Sy
131. es an incoming MIDI dump to the memory content of the Virus It checks if a dump was recorded properly on the sequencer and if it can be played back correctly Load data from the sequencer into the Virus while Verify is enabled The Virus dis play will indicate if the device is actually receiving data and it will call your attention to any transmis sion errors that may occur Data stored in the Virus remains unaf fected by this operation 1 MIDI DUMP ERE ForceToBanknAd Global Channel Selects the MIDI channels for SIN GLE MODE and the program switching option for entire MULTI PROGRAMs in MULTI MODE In MULTI SINGLE MODE the MULTI MODE switching option is locked permanently deactivated The number in the upper left of the dis play shows the MIDI Global Chan nel in Single Mode and the current Partnumber if the Virus is in MULTI MODE or MULTI SINGLE MODE 1 MIDI GlobalChan 14 Midi Panel Destination gt INTERNAL All types of control operations are sent directly to the Virus sound generation compo nents and not to the MIDI Out gt INT MIDI All types of control operations are sent directly to the Virus sound generation compo nents and simultaneously to MIDI Out gt MIDI All types of control opera tions are sent exclusively to MIDI Out the internal signal path is sev ered This position is equivalent to the classic Local Off function for the user interface 1 MIDI Panel Int Midid Arp
132. eter assign ment for the DEFINABLE 1 knob The entry remains valid regardless of the currently selected SINGLE PROGRAM The entry is only active when DEFINABLE 1 MODE is set to GLOBAL or SINGLE although in the latter case DEFINABLE 1 SINGLE in ACCESS VIRUS OSq 141 DEFINABLE 1 DEFINABLE 2 the current SINGLE PROGRAM must be set to OFF before the entry is activated 1 DEF 1 GLOBAL ClockTemeod DEFINABLE 1 MIDI This is where you enter the MIDI Controller assignment for the DEFINABLE 1 knob The Controller is routed via MIDI Out for the purpose of con trolling a connected MIDI device The entry is only active when DEFINABLE 1 MODE is set to MIDI DEFINABLE 2 MODE Same as DEFINABLE 1 see paragraph above DEFINABLE 2 SINGLE Same as DEFINABLE 1 see paragraph above DEFINABLE 2 GLOBAL Same as DEFINABLE 1 see paragraph above 142 CHAPTER 15 Within the CTRL Menu DEFINABLE 2 MIDI Same as DEFIN ABLE 1 see paragraph above MThe following parameters fea tured in the CTRL menu are described in greater detail below in the section Global Parameters Midi Parameters System Parame ters These operate globally and are accessible in the CTRL menu at any time irrespective of the given oper ating mode MULTI MODE PARAME TERS E Please bear in mind the PART and or MULTI related parameters described in the following are avail able in MULTI mode only SELECT BANK Activates the bank for a SINGLE PROGRAM for th
133. exception of the MULTI button function in conjunc tion with this one sound program You might say a SINGLE program is a combination of all functions and effects that determine the sound of the Virus In other words A SIN GLE program is a sound of the Virus that can be stored and recalled The Virus provides access to 512 SINGLE sounds Next to the 256 RAM sounds Bank A and Bank B you have two banks available with a total of 256 factory sounds These banks C and D are stored in the FLASH ROM and can not be over written via STORE The MIDI receive channel in SIN GLE MODE is the Global Channel You can change the Global Chan nel in the CTRL menu In MULTI MODE the Virus can com bine up to sixteen SINGLE sound programs among which the maxi mum available number of 24 voices are allocated dynamically All simultaneously available sounds can be manipulated in real time for this purpose the control panel enables you to switch among the sixteen so called PARTS In MULTI MODE the actual sound parameters are augmented with other functions that deal with how the involved SINGLE programs are structured or organized These include the volume levels of the single programs their MIDI chan nels output assignments etc On the Virus we differentiated fundamentally between SINGLE mode and MULTI mode This dis tinction is reflected in the contents of the menus If the LED on the SINGLE button lights up the
134. f the SATURATION stage and the Filter 1 yet again Rotate the CUT OFF 2 pot slowly towards the cen ter position 12 o clock You can hear how Filter 2 gradually modi fies the distorted signal You can set a RESONANCE value for Filter 2 if you press the FILT 2 SELECT but ton and rotate the RESONANCE pot to the desired position Set the CUTOFF 2 pot to a position to the right of the center position This configuration can be described as a complex non linear filter set up where the cutoff frequency is con trolled via the CUTOFF pot You can dial in a wide range of sound shap ing option via CUTOFF 2 Also try ACCESS VIRUS OS4 31 The Second Filter modifying the resonances of both filters as well as the SATURATION curve to come up with different fil tering characteristics Now experiment with the diverse filter modes and listen closely to the effect of the parameters RESO NANCE ENVAMOUNT and KEY FOLLOW in conjunction with the SELECT button Please also keep in mind that the chances of choking a sound off are substantially greater when you are using both filters For instance if the first filter is used as a low pass with a low cut off frequency and the second as a high pass with a high cutoff fre quency the Virus will not generate an audible signal when you set the FILTER BALANCE pot to the center position 12 o clock M Regardless of which FILTER ROUTING option you chose the SATURATION stage is always post
135. f the first PAGE are assigned to the MIDI controllers while the parameters of the sec ond PAGE are sent and received by so called polypressure data This structure of this data type is iden ACCESS VIRUS OS4 215 Organizational Information tical to that of controllers poly pressure is also supported by sequencer programs This data type was initially created to allow the pressure exerted on keys to be transmitted polyphonically but this required a special approach to playing that never really caught on The Virus is the first instrument to exploit this data type in the interest of putting further control lers at your disposal E Please note that the Virus allows you to control several PARTs via the same MIDI channel This means that an incoming controller would collectively address this parameter in all PARTs This of course defeats the purpose of routing several of these PARTs via the same channel which is to double up different sounds For this reason the conven tion in the Virus is that when sev eral of these PARTs are patched through a single MIDI channel only the PART with the lowest PART number is addressed by incoming controllers all other PARTs ignore this data This applies solely to sound parameters and not to so called performance controllers such as the modulation wheel CHAPTER 22 The Virus and Sequencers As an alternative to parameter control via controller and polypres sure data you have th
136. f your sound programs Locate the parameter PATCH VOL UME in the COMMON section of the EDIT menu 1 COMMOHW PatchUolume 100d Its value is set to 100 so that you have a reserve or headroom of 27 volume increments when you are dealing with highly filtered sounds ACCESS VIRUS OS4 47 LFO 2 You have already dealt with the Panorama position as a modula tion target of LFO 2 Here you can not only modulate it but also determine settings manually For this purpose use the parameter PANORAMA which is also located in the OUTPUT section of the EDIT menu Like many other parame ters Panorama is a starting point for modulations For instance you can modulate the Panorama posi tion via LFO 2 even if you have already set the Panorama to the far left position In this case of course you will only hear the Pan orama position shift to the right 48 CHAPTER 4 Introduction VELOCITY Velocity is one of the preferred modulation sources of keyboard players A light key attack gener ates a low velocity value for the given note a heavy touch gener ates a high velocity value In the Virus you have ten modulation tar gets available for Velocity Locate the VELOCITY section in the EDIT menu 1 WELOCITY Usc1S5hare H4 There you will find the modulation intensities for OSC 1 SHAPE OSC 2 SHAPE PULSE WIDTH FM AMOUNT FILT 1 ENV AMT FILT 2 ENV AMT RESONANCE 1 RESONANCE 2 VOLUME PANORAMA which you can manipu
137. first VALUE button while holding the other down the parameter is set to its maximum or minimum value m 2 VALUE PROGRAM ACCESS VIRUS OS4 229 Value Buttons ALL ABOUTS INPUTS Audio Inputs and Audio Rout ing The Virus is equipped with two inputs for external signals You can route these to its sound generat ing components and use them as carrier or modulator signals for the Vocoder OSC VOL Input When one of the two INPUT modes is activated the OSC VOL knob rather than the oscillators controls the level of the input sig nal patched into the Filter section and of course also the gain of the SATURATION stage In INPUT Dynamic mode the level can increase surprisingly swiftly when you play several voices polyphoni cally The reason for this is that in contrast to when you re dealing with several oscillator signals the voices are correlated because they are receiving an identical input sig nal In the event that the Virus generates distortion when you re 230 CHAPTER 23 Tips tricks and other Words of Wisdom dealing with this type of signal routing set up be sure to back off the input level a tad via the OSC VOL knob Input Level Indicator Alternatively the RATE LEDs of LFO 1 and 2 can also serve as level indi cators for the left and right exter nal audio inputs To this end go to the CTRL menu select the menu item SYSTEM and set the Parame ter LED mode to Input When the parameter i
138. g beginning with the vol ume characteristics Locate the section labeled AMPLIFIER at the bottom right of the control feature panel of the Virus Here you can see five pots labeled ATTACK DECAY SUSTAIN TIME and RELEASE respectively These controls will help you to dial in volume characteristics called an amplifier envelope and put an end to the nerve racking drone that may remind you of one of those cheesy organs that you hear in 6os B movie sound tracks AMPLIFIER Rotate the ATTACK pot while you repeatedly engage a key to hear the note The further you turn the pot up the longer it takes for the sound to achieve maximum vol ume after the start of the note So you can say ATTACK controls the initial volume swell of the sound Presumably the ATTACK pot was set to a random position before you made any adjustments Never theless the volume automatically increased to the maximum level before you started rotating the pot The reason for this is that an ATTACK value of o is saved in the sound program START and this value remains valid until you determine a new value by adjust ing the position of the pot even if you turn it ever so slightly Take a look at the display of the Virus to gain an impression of the difference between these two val ues It shows two numeric values when you dial a pot at the left you can see the value stored in the sound program and at the right the numeric equivalent to the
139. ger period of time gt ON The contents of the display are overwritten when you turna knob the original menu does not reappear in the display 1 SYSTEM EnobOisel Shortd ACCESS VIRUS OS4 65 Display of values 66 CHAPTER 6 Handling All P A memory 68 CHAPTER 7 All about the memory STORE The mode structure of SINGLE MULTI and MULTI SINGLE MODE is mirrored in the STORE functions In SINGLE MODE STORE saves the current SINGLE PROGRAM in MULTI MODE STORE saves the cur rent MULTI PROGRAM and in MULTI SINGLE MODE the SINGLE PROGRAM of the current PART is stored The STORE process is always the same regardless of the operating mode Press STORE You then gain access to the STORE menu There you can use the PARAMETER but tons to move among the individual letters in the lower name entry line and the number of the des tined memory location as well as the bank number in the upper line Use the VALUE button to make entries The term in the upper dis play line indicates the name of the memory location which you will overwrite when you store the pro gram Once all of the entries correspond to the data you have in mind press STORE again to conclude the pro cess and return to the previously active operating mode of the Virus If for whatever reason you change your mind and want to cancel the operation simply press SINGLE or MULTI to return to the previous operating mode without storing the program
140. hat you hear are tonal modifications Repeated interrup tion of the Oscillator 2 wave cycle generates new tonal spectra with a great deal of overtone content The tone of a given spectrum can be influenced via the SEMITONE knob among other control fea tures 106 CHAPTER 14 The Parameters FM AMOUNT Controls the fre quency modulation intensity of the second oscillator by the first Depending on the selected FM AMOUNT and the interval between the oscillators the fre quency modulation generates everything from slightly to radi cally enriched spectra In the Virus you have the option of combining the two functions called oscillator synchronization SYNC and fre quency modulation FM AMOUNT to generate new harmonic spectra The characteristics of the fre quency modulation can be modi fied with the FM Mode parameter in the OSCILLATOR EDIT menu You may also select an external audio signal and have Oscillator 2 modulate its frequency OSCILLATOR EDIT MENU WAVE Selects among of 64 spec tral waveshapes This parameter is identical to WAVE SEL PW see appropriate section when SHAPE see appropriate section is set to the left half of its control range However in contrast to WAVE SEL PW WAVE is always available regardless of the current SHAPE setting 1 OSCILLATOR 1 aus Sind SEMITONE Transposes Oscillator 1 in semitone steps Control range 4 octaves 1 OSCILLATOR 1 Semitones H4 KEY
141. have to do is program a cutoff controller in the sequencer for every note in the arrangement However be aware that conventional sequencers can throw a spanner in the works If the timing of this type of controller coincides precisely with the timing of a note the sequencer will first send the note command so that the overall tim ing is not skewed by controller com mands For the purposes of our example this means that the new cutoff value doesn t arrive until just after the note has been played This can generate incidental artifacts We recommend that you record the controllers separately to a track other than the one containing the notes of a given sequence make sure that the track addresses the same MIDI channel and that to assign a touch of predelay to this track e g set Track Delay to 1 Then the cutoff value is updated just before the new note arrives Incidentally this phenomenon is not unique to the Virus it is a design related flaw inherent in all synthesizers PROBLEMS RELATED TO PARAMETER CONTROL If you enjoy experimenting with recording parameter changes sooner or later you will run into the following problem When con troller sequences are recorded to a sequencer the last recorded value remains valid until another value is sent for this controller For exam ple if you gradually open a filter for a sound in the middle of the song and record this parameter change the filter will stay open
142. he Keyboard Mode function enables you to select OneChannel or Multichannels and this is how it works If Onechannel is selected the key board transmits on the MIDI chan nel of the selected part or on the Global Channel in Single Mode to the sound generator and to the MIDI Out This is the normal set ting for all sequencer and stand alone applications If MultiChan nels is selected the keyboard sig nals are generally sent to all the Multiparts All the active parts PartEnable On are controlled by the keyboard regardless of which MIDI channel has been set Whether data is sent out via MIDI depends on the KeybToMidi parameter Off On which can be found in the Part Parameters in Multimode If KeybToMidi is acti vated On for one or more parts the keyboard transmits to MIDI Out on each of the part s MIDI channels It is hereby taken into consideration which keyboard area the part has LowKey HighKey and each individual part transposi tion PartTranspose The current bank and program numbers and the parts volume settings are also transmitted via MIDI Out The parameter formerly activated on the receiving side can now be used on the transmitter side the 16 Multi Parts now at your disposal allow for very exten sive control of external sound gen erators The PartEnable parameter is also activated on the transmitter side it determines if the keyboard plays the internal part On or not Off In ot
143. he Parameters indigo are also considered to be external MIDI controllers since they are not actually component parts of the sound generation sys tem The second type comprises the sound generation system s internal modulators for example LFOs and envelopes These also have fixed modulation assignments LFO AMOUNT ENV AMOUNT but are freely available along with the Modulation Matrix Let s take a look at the internal modulation sources gt AMPENV amp FILTENV The corre sponding envelope is the modula tion source b LFO1 LFO2 LFO3 The corre sponding LFO is the modulation source gt VELOON The note on velocity is the modulation source gt VELOOFF The note off velocity is the modulation source Accord ing to the fact that the note off velocity is only known when the key is released again here the VIRUS uses the note on velocity when the key is held Therefore both note on and off velocities are active here gt KEYFLW The note number respectively the pitch is used as the modulation source Keyfollow gt RANDOM Arandom number which remains for the whole dura tion of the note on is used as the modulation source here The control range of the source may be limited via the AMOUNT values or inverted so that the mod ulation occurs strictly within the desired value range for the target parameter For your target param eters you can chose from among virtually all sound parameters
144. he RESO NANCE pot counter clockwise to the far left to achieve a relatively muddy sound Now locate the FIL TER BALANCE pot at the upper right hand of the control panel and rotate it from the left to the right You will note the sound becomes muddier as you turn the pot towards the center position 12 o clock and that the sound is somewhat brighter at the far right of the control range then at the far left 30 CHAPTER 4 Introduction The reason for this effect is that when you turn the FILTER BALANCE pot to the far left only Filter 1 is audible When you rotate the pot to the right Filter 2 is blended in so that it follows Filter 1 in the signal chain When you turn the FILTER BALANCE pot clockwise Filter 1 is blended out of the signal chain until at the far right position only Filter 2 is active and audible Each filter in the Virus normally features 2 poles However in the FILTER ROUTING operating mode SER 6 Filter 1 operates with 4 poles so the signal patched through Filter 1 FILTER BALANCE to the far left is trimmed more dras tically than when it is routed through Filter 2 FILTER BALANCE to the far right When you set the FIL TER BALANCE pot to the center position 12 o clock as we men tioned before the two filters are routed in series which means they respond as if they were a single fil ter with 6 poles and consequently a great deal of slope This is why the input signal is trimmed sub stantially
145. he benefit of these categories you ll be able to find a desired sound much faster You have the following categories at your disposal Off Lead Bass Pad Decay Plug Acid Classic Arpeggiator Effects Drums Percussion Input Vocoder Favourite 1 Favourite 2 Favourite 3 Every SINGLE sound can be assigned to up to two categories by means of the parameters CATE GORY 1 and CATEGORY 2 For exam ple you could assign the attributes Bass and Acid or Lead and Favorite 1 to a given sound These categories may be changed at any time and can be stored along with the sound The factory sounds are assigned default categories Once you ve assigned categories you can search for the sounds within a specific category in SIN GLE mode and MULTI SINGLE mode Press and hold the SINGLE button then use the PARAMETER buttons to select the category in which you want to search for sounds Hold the SINGLE button down and use the VALUE buttons to select sounds that are assigned to the currently selected category It doesn t matter ifthis sound has been assigned to the category via CATEGORY 1 or CATEGORY 2 in either case it will show up in the list While you re selecting sounds SINGLEs that don t belong to the currently selected category are simply skipped over when you hold the SINGLE button down The keyboard i Virus CHAPTER 20 The keyboard versions of the Virus THE VIRUS KB AND THE VIRUS INDIGO Alth
146. he level of the carrier s filter Last but not least the indi vidually controlled signals of the carrier bank are reunified to create the vocoder s output sound THE PARAMETERS OF THE VIRUS VOCODER M The Vocoder related parameters are located in the EFFECT Menu Vocoder Mode here you can enable the vocoder and choose the signal source for the carrier bank at the same time gt OSC This mode uses the whole oscillator section of the Virus including the noise generator as the carrier signal The oscillators can be played polyphonic which enables the amplifier envelope to work as usual The difference is in the filter section The oscillator sig nal does not pass the filter section as this section is being used to con trol the vocoder It is possible to feed the vocoder with a single sound which uses the whole filter section Just use the aux sends in the multimode to feed the vocoder s input with a single sound created within another mul tipart Use this certain auxiliary send signal as the carrier signal within the vocoder gt OSC HOLD This setting is iden tical to OSC although the hold mode which also is available at COMMON KeyMode is activated gt NOISE White noise is used as the carrier The oscillator section is disabled DIN L InL R InR Aux L The analog inputs or the aux sends are the carrier signal If a stereo source like L R is chosen the left and right signal is mixed to create
147. he parameter group CHO RUS in the EFFECTS menu 1 CHORUS Dir Eff OFF 4 CHORUS DIR EFF determines the balance between the original sig nal and the processed signal The parameters RATE and SHAPE con trol another LFO that was installed specifically for the chorus LFO DELAY is used to set the delay time DEPTH determines the modulation intensity and FEEDBACK controls the feedback level When you want to generate a flanger effect the FEEDBACK parameter s negative control range lets you dial in softer characteristics for the flanger Please keep in mind that the Cho rus section in the Virus is fully ste reophonic Stereo positions as well as panorama modulations and ste reo spread values that you have dialed in elsewhere remain intact in the effects signal THE DELAY EFFECT A delay effect is traditionally used to generated an echo of the input signal Locate the parameter group DELAY in the EDIT menu i DELAY EffectSend Ha Here you fill find parameters that are virtually identical to the parameters of the CHORUS group Do not allow yourself to be con fused by the slightly different ter minology The delay time is set via the parameter entitled TIME equivalent to DELAY in the CHO RUS section the other features are FEEDBACK with a dedicated LFO and the familiar parameters RATE DEPTH and SHAPE Only two functions in the Delay section are different to the Chorus section For one it features an EFFECT SEN
148. he ste reo sounds of the Virus Once you have established the desired cable connections make sure the main volume controls of all the connected devices Virus MASTER VOLUME located at the upper left hand of the control panel are dialed to the lowest pos sible setting Switch the devices on in the following sequence the MIDI send device computer mas ter keyboard etc first then the sound generators Virus and the ACCESS VIRUS OS4 17 The Virus other signal sources followed by the mixing console and finally the amplifier Now while you are sending notes on MIDI Channel 1 of the Virus turn the master volumes of the connected devices up in the same order that you switched the devices on Be sure to keep on eye on the signal level indicators of your mixing console Listening to the Factory Sounds The program memory of the Virus was loaded with sound programs SINGLE PROGRAMs and sound combinations MULTI PROGRAMs before it left the factory To hear the SINGLE PROGRAMS and gain an initial impression of the possi bilities your new instrument has to offer in terms of sounds first make sure your MIDI source is sending on MIDI Channel 1 Press the SINGLE button A num ber a letter number and name appear in the display These indi 18 CHAPTER 4 Introduction cate the the MIDI Channel the cur rent Program Bank A to D as well as the number and name of the current sound program Now if you play
149. her words PartEnable is the counterpart to the KeybToMidi parameter and can be regarded as an individual Local Off for each part Here once again the various appli cations ACCESS VIRUS 054 197 The Keyboard Modes The passive Part PartEnable Off KeybToMidi Off The Keyboard does not transmit data to either the MIDI Out nor to the sound generator and is conse quently not activated on the trans mitting side The part does however receive data from the MIDI In and can be controlled on its MIDI channel by an external keyboard or sequencer The internal keyboard zone PartEnable On KeybToMidi Off The keyboard sends out its signals to the sound generator of the cor responding part but not to MIDI Out The external keyboard zone PartEnable Off KeybToMidi On The keyboard sends its signals to MIDI Out but not to the sound generator of the corresponding part This enables you to control an external machine with the appro priate keyboard zone 198 CHAPTER 20 The keyboard versions of the Virus The internal external key board zone PartEnable Off KeybToMidi On The keyboard sends its signals to the sound generator and to MIDI Out In a single keyboard zone you can combine a Virus part and an external sound generator on the same MIDI channel Since PartEnable does not work on the receiving side when in Multi Channels mode the parts play the notes coming through MIDI In on the c
150. hers i e the effectiveness of a control fea ture is altered modified or even negated completely by other related functions The final pot RELEASE determines the speed or rate at which the vol ume decreases when you release the key At low values the sound ends relatively abruptly at high values the sound fades out more gradually and softly The length of the RELEASE phase also depends on which level the amplifier curve is at when you release the key The 22 CHAPTER 4 Introduction lower the level the shorter the RELEASE phase If you dialed in a brief DECAY or SUSTAIN TIME phase and it ended while you held the key down then of course there will not be an audible RELEASE phase The next phase of the amplifier envelope is determined by the SUS TAIN TIME pot If the pot is set to the center position 12 o clock indi cated by the mathematical infinity symbol then the SUSTAIN level remains constant through to the end of the note If you turn it counter clockwise to the left towards FALL then the level drops off at an increasing rate towards the minimum level much in the manner you just experi enced with the DECAY pot If you turn the pot clockwise to the right towards RISE the level rises at an increasing rate to maximum and remains there until you release the key The amplifier envelope can be described as a variable curve which depending on the type and duration of attack hold and release data au
151. hould record the entire memory content to the sequencer Sending individual MULTIs for the purpose of archiving sounds is pointless because they don t contain the actual sounds Sending individual sounds in turn is only a viable proposition if you are operating ACCESS VIRUS OS4 225 DUMP The Sound in the Song the Virus in SINGLE mode and have opted not to use program change messages in the song E Proceed with extreme caution when you re working with SysEx data If you send anything other than individual SINGLE sounds or individual MULTIs from the sequencer to the Virus the CORRE SPONDING DATA IN THE VIRUS WILL BE IRREVOCABLY OVERWRITTEN So before you dump for example a bank to the Virus you should make a backup of the user banks stored in the Virus the RAM banks by dump ing them to the sequencer provided of course that you care to preserve the sounds that they contain Inci dentally it can t hurt to regularly dump all data stored in the Virus for backup purposes You ll find a summary of all dump options and an explanation of these in the comprehensive over view of parameters specifically under the global parameters 226 CHAPTER 22 The Virus and Sequencers Tips tricks and other A Wisdom 228 CHAPTER 23 Tips tricks and other Words of Wisdom MULTI SINGLE MODE In MULTI mode the EDIT and CTRL menus are responsible for admin istering the 16 PARTs Conse quently you can t access SI
152. ht jack of dual Output 2 mono The left jack of dual Output 3 mono Both jacks of dual Output 3 stereo The right jack of dual Output 3 mono The left channel of internal Aux 1 mono Both channels of internal Aux 1 stereo The right channel of internal Aux 1 mono The left channel of internal Aux 2 mono Both channels of internal Aux 2 stereo The right channel of internal Aux 2 mono If the selected output is monopho nic then the Panorama settings and modulations in the sound pro gram are inactive 1H1BASS FF Outil L R4 OUTPUT SELECT When you select an internal aux path as a signal output you of course must route the signal of another PART to this aux path via INPUT SELECT before you can establish a signal connec tion between the two PARTS Sev eral PARTs can simultaneously access the external input or the internal aux paths via OUTPUT SELECT In SINGLE MODE OUTPUT SELECT does not appear in the menu in this case Output 1 stereo is pre set PART ENABLE Switches the MIDI receive mode of a given PART ON and OFF i e enables reception of MIDI data 1 B36 1 1BASS FP Part Enable Ona ACCESS VIRUS OS4 145 MULTI MODE parameters MIDI CHANNEL elects the MIDI channel of the PART If two or more PARTs are selected for the same MIDI channel these PARTs will be played simultaneously This creates what are generally called layer sounds 1 B26 iMiBASS5 EP Hidichanne 14 PRIORITY This parameter let
153. ht sides are shifted every so slightly to create a real stereo effect 1 PHASER Fresauencuy 454 160 CHAPTER 16 Parameter of the effects menu FEEDBACK Controls the amount of feedback in the Phaser On the phaser FEEDBACK lets you boost specific frequencies in the phase shifted signal The FEEDBACK parameter is bipolar positive or negative feedback values let you dial in different phaser characteris tics STAGES Use STAGES 1 6 to select the number of phaser stages or fil ter poles This determines directly the number of filter notches and peaks in the phaser signal SER x T Ur 44 IN cf J iT l Li SPREAD Use SPREAD to increase or decrease the distance between the notches and peaks in the fre quency spectrum In other words here you can adjust bandwidth of the phaser effect SER LI 7 7 I uD aw CHORUS DIR EFF Controls the balance of volume levels between the direct signal and the Chorus signal At a value of o only the direct signal is audible at a value of 127 only the Chorus output signal is audible The values between these two extremes determine the mix of the two signals The pure chorus signal is created by a delay CHORUS delay anda pitch modulation of the chorus on board LFOs CHORUS Rate and Depth Not until the direct or dry signal CHORUS Dir Eff is mixed to the wet signal is the typical cho rus effect generated 1 CHORUS Dir Efx FI I
154. ill not steal any notes from the voices of this PART Use this param eter sparingly In other words if you set all Parts to High you re defeating the purpose of this parameter In this case it wouldn t have any effect since the priority of all voices is the same 1 AB Overturelek Priority Lou ACCESS VIRUS OS4 247 PRIORITY INSTALLING AN OPER ATING SYSTEM UPDATE The Virus b kb and Indigo use an identical operating system The differences in hardware is detected automatically 1 Load the MIDI file into your sequencer and make sure you have chosen the right MIDI channel and port settings The MIDI file con tains the new software for the Virus packed in MIDI Sysex data 2 Ensure that the MIDI clock option is disabled mixing SysEx data and the MIDI clock can lead to malfunctions of your MIDI inter face 3 Start your sequencer to play back the MIDI file At this stage you should be able to watch the VIRUS counting up the received blocks If the display shows RECEPTION FAILED then a transmission error has occurred This can be caused by a buffer overrun of the MIDI interface In this case you will need to upload the entire file again Lower the tempo of your sequencer before uploading e g 60 bpm To pro 248 CHAPTER 23 Tips tricks and other Words of Wisdom ceed press any key followed by tion will the old operating system STORE which will again enable the be deleted and overwritte
155. ing it back To prevent incompatibilites and confu sion the Sound Version Number should not be changed by any other device that the Virus itself When sounds are imported into a soft ware library they should be auto matically pathed through the Virus first before allowing a change of parameters Otherwise the Virus might reset new parameters when the sound is loaded into the Virus after editing parameters ACCESS VIRUS OS4 279 Classes 280 CHAPTER 24 Appendix MOD MATRIX SOURCES Contr3 Foot Data Balance Contr 9 Contr 16 HoldPed PortaSw SostPed AmpEnv VeloOff KeyFlw Random ACCESS VIRUS OS4 281 Mod Matrix Destinations MOD MATRIX DESTI NATIONS Off PatchVol ChannelVol Panorama Transpose Portamento OsciShape Osc PlsWdh Osc WavSel Osc Pitch Osc Keyflw Osc2Shape Osc2PlsWdh Osc2WavsSel Osc2Pitch Osc2Detune Osc2FmAmt Osc2EnvAmt FmEnvAmt Osc2Keyflw OscBalance SubOscVol OscMainVol NoiseVol Cutoff Cutoff2 FiltiReso Filt2Reso Flt iEnvAmt Flt2EnvAmt FitiKeyflw Flt2Keyflw FItBalance FitAttack FitDecay FitSustain FltSusTime FitRelease AmpAttack AmpDecay AmpSustain Oo AmpSusTime AmpRelease LfoiRate Lfo1Cont Lfo1 gt Osc Lfo1 gt Osc2 Lfo1 gt PlsWd Lfo1 gt Reso Lfo1 gt FltGn Lfo2Rate Lfo2Cont Lfo2 gt Shape Lfo2 gt Fm Lfo2 gt Cut1 Lfo2 gt Cut2 Lfo2 gt Pan Lfo3Rate Lfo3OscAmt UniDetune UniSpread UniLfoPhs ChorusMix ChorusRate ChorusDpth ChorusDly ChorusFeed EffectSend DelayTime DelayFeed DelayRate DelayDepth OsciShpVel Osc2Sh
156. io inputs The Virus automatically switches to this level indicator mode when the selected SINGLE program accesses the external audio inputs The LEDs will flash rapidly to indicate that the inputs are being overloaded You should dial in the proper level on the device that is sending the analog signals The reason for that you want to feed the highest pos sible clean signal level to the ana log to digital converters of the Virus so that they will deliver the best possible performance E 4 Routing 88 CHAPTER 12 Internal Audio Routing AUX BUSES The Virus is equipped with several analog outputs and inputs We fig ured that you might want to con nect an input with an output via a patch cord so that you can process a part routed to this output via another part that is addressed by this input for example to have on part filter the other part You can do this if you like but the good news is that you don t have to mess with patch cords because the Virus gives you internal signal routing options in the form of ste reo aux buses bus is another term for circuit that let you configure this type of set up for two or sev eral of these PARTs The two aux buses appear as virtual outputs in the OUTPUT Select menu and as virtual inputs in the INPUT Select menu In MULTI mode the output signal of a PART or several PARTs may be routed via OUTPUT Select to one of the two aux buses In order to make this signal audible
157. ion con trollers that you can use for this purpose Parameter B 9 see the parameter documentation in the Appendix on page 251 242 CHAPTER 23 Tips tricks and other Words of Wisdom FILT GAIN LFO1 lets you modulate the volume of a voice You ll find this function under LFO1 Amount FILT GAIN in the LFO 1 menu We deliberately positioned the point of modula tion prior to the filter section so that the degree of distortion can be modulated at the same time when you have activated the SAT URATION unit Beyond that you can use fast LFO cycles to elicit brief impulses from the oscillator signal transients in order to excite resonance in the filters In this case the filters will fade out freely since their output signals are not affected by the FILT GAIN vol ume modulation i LFO 1 FiltGain 24 VOLUME CONTROL Next to the Oscillator Volume knob the Virus features four other volume stages for every SINGLE or PART Patch VolumeVolume level ofthe sound program Use Patch Volume to balance out the fundamental differences in levels between the different sound programs The Patch Volume is stored along with the sound program The unit value is 100 Part VolumeVolume level of the MULTI PART Use Part Volume to balance out the different levels within a MULTI program Part Vol ume is stored along with the MULTI program The unit value is zero since Part Volume is a bipolar relative parameter Channel Volum
158. ion threshold otherwise you will hear undesirable distor tion in the signal You can also use the level indicators to see if an input signal is actually patched in gt AUTO When you activate AUTO the LFO Rate LEDs will automati cally indicate the input level when you switch to a SINGLE or PART that accesses an external audio outputs gt OUTPUT gt OUTPUT2 gt OUTPUT3 gt AUX gt AUX2 Much like when the set ting ExtIn is enabled you can have the two LFO Rate LED s indi cate the signal levels of five further signal buses This lets you check visually if a signal is being routed via a given bus and spot over loaded circuits When you activate this option the LFO1 LED indicates the left channel and the LFO2 LED indicates the right channel of the selected signal bus The LEDs will flash rapidly to indicated an over loaded bus P STEAL The Steal setting indi cates if a voice is cut off in the interest of providing the voices required to render a new note whenever the polyphony that Virus has been exhausted If the device is forced to cut a note off it will select the voice whose signal level has dropped furthest Consid ering that a voice fades out over a range of o to 144 decibels but depending on the sonic context the signal fades into the back ground at 32 to 48 decibels this process of cutting off fading notes is largely inaudible The brightness of the LFO Rate LED will flu
159. it could be very undesir able for the keyboard to send data directly to the internal sound gen erator After all you do not want to send the data twice directly as well as through the sequencer nor do you want the internal sound generator to play along when you are trying to play the sounds on a different synthesizer So obviously the Virus kb Indigo also has a Local Off Mode Param eter KEYBOARD Local Off On When activated all the keyboard data i e aftertouch the data from the wheels and from the two ped als is sent only to the MIDI Out and not to the sound generator Just like on the Virus without a keyboard the Virus kb Indigo has a special Local Off Mode for the Panel Parameter MIDI Panel ACCESS VIRUS OS4 191 Local off and Three in One Internal Int MIDI MIDI You can choose whether the data from the control panel should be sent only to the sound generator to the sound generator and MIDI Out or just to MIDI Out Separating the Local Off mode for the panel from that ofthe keyboard may seem a little confusing and unnecessarily complicated at first but it does make sense as shown in the fol lowing example Let us suppose you want to use the Virus kb Indigo as a Masterkey board with your sequencer and have switched to Local Off If this mode were valid for the keyboard and the panel the data from both transmitters would not be sent to the Virus sound generator only to the
160. l analog inputs instead of the internal oscillators ACCESS VIRUS OSq 151 as signal sources that can be pro cessed by the filters envelopes and the internal effects In addition to the external analog inputs you also have two internal stereo aux paths or subgroups available as signal sources in MULTI MODE The output signals of other PARTs can be routed via their respective OUT PUT SELECTs see appropriate sec tion to these aux paths You can chose from gt OFF The PART is not assigned an external input but works with its own sound sources the oscilla tors and the Noise Generator in the manner of a conventional ana log synthesizer gt DYNAMIC Instead of the inter nal sound sources an external sig nal source is routed to the filter section The envelopes remain functional so you have to play notes in order to hear the external signal source For instance in this mode you can manipulate the vol ume to chop up the input signal much the way a gate does If you turn FILTER KEY FOLLOW up the input signal is filtered by a differ ent filter frequency depending on Input 152 CHAPTER 16 Parameter of the effects menu the key you press The sound pro gram can still be played polyphoni cally and you can allocate several different filter frequencies and independent envelopes simulta neously to the input signal via the keyboard b STATIC Instead of the internal sound sources an external signal
161. l bytes are shown in hexadecimal representa tion M The Control Change messages are defined as Performance Con troller e g Modulation Wheel or Hold Pedal or Sound Parameters e g Cutoff or Patch Volume The Performance Controllers are not stored with a Single Sound If more than one Multi Part is set to the same MIDI channel all Parts on this MIDI channel receive the same Per formance Controllers The Sound Parameters are stored with a Single Sound If more than one Multi Part is set to the same MIDI channel the Sound Parameter is receiced only by the Multi Part with the lowest part number Example Bo 21 40 Set oscillator balance 21 hex 33 dec on MIDI channel 1 to the middle position 40 hex 64 dec 254 CHAPTER 24 Appendix Polyphonic Pressure message only Page B Ac Status byte c MIDI channel nn Parameter Number 0 127 see parameter list Page B vv Parameter Value 0 127 see parameter list Page B Example A2 07 25 Control LFO3 Rate on MIDI channel 3 System Exclusive Message Fo Start of System Exclusive 00 Manufacturer ID Access Music Electronics 20 Manufacturer ID 2 Access Music Electronics 33 Manufacturer ID 3 Access Music Electronics 01 Product ID Virus dd Device ID 00 0F individual 10 omni message F7 End of System Exclusive SysEx Parameterchange message 7x Parameterchange 70 page A 71 page B 72 page Cpp Part number 00 0F Multi part 1 16 4o
162. l wave shape These are explained further below All other parameters as well as the settings for the oscillator modulations LFO pulse width modulation and so forth are dic tated by Oscillator 2 This doesn t limit the functionality of the third oscillator by much if at all but it certainly facilitates intuitive han dling The FM Sync and Ring Mod ulator functions are not available for the third oscillator Like all other oscillators the level of Oscillator 3 is controlled via OSC VOL ACCESS VIRUS OS4 237 Filters FILTERS 24 dB Filter Variations You have two options for using the 24 dB filters of the Virus 1 You can cascade the two 12 dB filters in SER 4 mode 2 You can use Filter 1 as a 24 dB fil ter in SER 6 mode whereby Filter 2 is faded out via FILT BALANCE to the left If you want to create a sound with resonance you should try out both options When you do you ll find that the sound of the resonance is different despite the fact that filters have the same slope The cascading option SER 4 gives you a higher Q factor with a lower resonance peak For direct A B comparison you can store both versions in consecutive SINGLE memory slots and switch back and forth between them at will 238 CHAPTER 23 Tips tricks and other Words of Wisdom Filter Balance The filter section of the Virus puts slopes of 12 24 and 36 dB oct at your disposal In addition the FILT BALANCE knob lets you
163. la tions gt RECTIFIER Continuous rectifica tion of the signal this type of dis tortion is independent of the given level gt BITREDUCER Continuous reduc tion of the digital signal s bit depth generates digital quantiza ACCESS VIRUS OS4 157 Distortion tion noise gt RATEREDUCER Continuous reduction of the digital sampling rate generates digital aliasing gt LOWPASS pole low pass filter for moderate processing of high frequencies gt HIGHPASS 1 pole high pass fil ter for moderate processing of low frequencies 1 DISTREOTION Cure Liaht4 Intensity For the distortion curves this intensity range is eguivalent to a gain boost of 12 decibels in the case of the Digital curve as much as 24 decibels A special feature of the Virus SATURATION stage is that despite the fact that its gain is boosted the signal level is kept constant so that only the tonal color or timbre of the sound is var ied CHAPTER 16 Parameter of the effects menu The Effects section of the Virus fea tures a further distortion module called SATURATION Its design is identical to that of the DISTOR TION module discussed here except for one major difference whereas SATURATION affects each voice separately DISTORTION pro cesses all voices collectively in the effects section This makes a huge difference in tone 1 DISTORTION Intensity Hd ANALOG BOOST This effect produces the typical bass punch on ana
164. late inde pendently of one another in the familiar bipolar control range A light key attack generates a low velocity value for the given note a heavy touch generates a high velocity value UNISON MODE When we talked about the oscilla tors we mentioned that by subtly detuning signals you can beef up sounds and achieve string like sounds The Virus is equipped with features that allow you to take this type of tonal manipulation a step further On of these is the so called UNISON MODE It enables you to initiate two or more voices for each note played which in turn lets you detune many oscillators UNISON MODE also offers the option of spreading the voices generated by one note in the stereo panorama and shifting the phases of their LFOs so that all types of periodic effects can be used to produce an even more exciting signal Locate the parameter group UNI SON in the EDIT menu 1 UHISOH Mode Tuind UNISON mode determines how many voices the Virus will use to render a played note In a nutshell ACCESS VIRUS OS4 49 Unison Mode it determines how fat the sound will be You can use the UNISON Detune parameter to determine to which extent the active voices are detuned UNISON PanSpread dis tributes them uniformly across the stereo panorama a process by which you can also determine the width of a sound s stereo base When you activate UNISON mode for a sound it can still be played polyphonically Howeve
165. le legato the envelopes are restarted at the first note only and continue to run through their phases when you play other notes Single Trigger mode Portamento is only active when you play legato gt HOLD The sound can be played polyphonically However the played notes are held by a virtual hold pedal even after you release the keys Not until you release all keys and press a new key are the notes that were held up to this point released 1 COMMOH EsuMode Pol 126 CHAPTER 14 The Parameters PORTAMENTO Determines the amount of time it takes for the pitch to glide from the current note to the next note played POR TAMENTO is a significant feature of KEY MODE see paragraph above the two are closely related 1 COMMOH Fortamento Had BEND UP Determines the interval of the bend when the Pitch Bender is moved upwards to the full extent of its range Control range 64 semitones to 63 semitones 1 COMMOH Bendir 24 BEND DOWN Determines the interval of the bend when the Pitch Bender is moved downwards to the full extent of its range Con trol range 64 semitones to 63 semitones 1 COMMOH BendOoun 74 BEND SCALE Determines the shape ofthe curve which in turn deter mines the effect of the Pitch Bend data You can chose from gt LIN Starting from the o value center position the pitch bend is linear In other words when you bend the pitch up to exactly half the distance of the pitch bend
166. lets you automatically initiate a delayed fade in the LFO3 modulation that you set up via OSC AMOUNT see the section above FADE IN con trols the overall delay and fade in time 1 LFOS Fadeln Had SHAPE Determines the waveshape of the LFO You can select from sine triangle sawtooth pulse S amp H abb for Sample amp Hold and S amp G abb for Sample amp Glide waves Here you can also select the 62 cyclical shapes that are based on the oscillator waveshapes Share Triangvled CLOCK Same as LFO 1 see para graph above ACCESS VIRUS OS4 103 LFO 3 MODE Switches back and forth between two LFO operating modes gt POLY In polyphonic mode each of the voices involved is assigned a dedicated LFO gt SINGLE In polyphonic mode all voices are assigned the same LFO KEYFOLLOW Same as LFO 1 see paragraph above 104 CHAPTER 14 The Parameters OSCILLATOR 1 FRONT PANEL SHAPE This control feature lets you determine the waveshape for the WAVE section one of 64 variable spectral waveshapes The wave shape is infinitely variable from sawtooth through to pulse waves Wave or pulse width selection is executed via the SHAPE and WAVE SEL PW control features see appropriate section If SHAPE has a value less than the value of the center position then WAVE SEL PW determines the waveshape if the SHAPE value is higher than that of the center position then WAVE SEL PW determines the puls
167. log synthesizers and with the corresponding TUNE setting you can emphasis the punch in the mid frequencies or even lower the treble frequencies In its mild form ANALOG BOOST is suitable for almost all sounds col laborates well with the distortion section and if necessary can be set to extreme values INTENSITY Controls the amount of ANALOG BOOST 1 ANALOG BOOST Intensity 174 TUNE Controls the frequency range of ANALOG BOOST 1 ANALOG BOO T Tune z 4 PHASER DIR EFF Controls the balance of volume levels between the direct signal and the Phaser signal At a value of o only the direct signal is audible at a value of 127 only the Phaser output signal is audible The values between these two extremes determine the mix of the two signals The pure phaser signal is gener ated by frequency dependent phase shifting PHASER Fre quency and pitch modulation of the phaser s own LFOs PHASER Rate and Depth Not until the direct or dry signal PHASER Dir Eff is mixed to the wet effects sig nal is the typical phaser effect gen erated 1 PHASER Dir Efx tl II h ACCESS VIRUS OS4 159 Phaser RATE Determines the speed of the Phaser LFO T e TV tT I T Eg m 7 CH T h DEPTH Controls the intensity of the Phaser freguency modulation by the LFO FREQUENCY The characteristic cor ner frequency of the phaser s all pass filter The frequencies of the left and rig
168. ls the parameter that you have set to Single in the DEFINABLE menu The setting for this parameter is stored in the SINGLE program and called up whenever you select this pro gram If however you have not selected a parameter for this pro gram DEFINABLE Single OFF the setting for DEFINABLE Global is automatically enabled gt MIDICONTRL Here the control ler number entered in the DEFIN ABLE MIDI menu is sent regardless of what the other settings and the selected SINGLE program may be Comparable to a small MIDI fader box this mode is used to control connected MIDI devices Note that this information is not processed internally in the Virus The setting for the actual DEFIN ABLE mode is global Under normal circumstances you should set DEFINABLE mode to Single because this is the most versatile mode When you select a SINGLE sound whose DEFINABLE mode is set to Single this setting is of course enabled If not Global DEFINABLE mode is enabled 1 DEFINAELES Made Single DEFINABLE 1 SINGLE This is where you enter the parameter assign ment for the DEFINABLE 1 knob The entry is an element of the cur rent SINGLE PROGRAM and is stored along with it The entry is only active when DEFINABLE 1 MODE is set to SINGLE When DEFINABLE 1 SINGLE is set to OFF the Display page setting DEFIN ABLE 1 GLOBAL is activated 1 DEF 1 SINGLE DelayTimne Xms14 DEFINABLE 1 GLOBAL This is where you enter the param
169. mber 01 Multi Bank F0 00 20 33 01 dd 33 bb F7 Arrangement Request message 34 Arrangement Request F0 00 20 33 01 dd 34 F7 Global Request message 35 Global Request F0 00 20 33 01 dd 35 F7 Total Request message 36 Total Request F0 00 20 33 01 dd 36 F7 ACCESS VIRUS OS4 257 System Exclusive Data Controller Dump Request message 37 Controller Dump Request 00 Bank Number always zero ss Part Number F0 00 20 33 01 dd 37 00 55 F7 M The Part number addresses one of the sixteen Single Edit buffer in Multi Mode 00 0F or the Single buffer in Single Mode 40 258 CHAPTER 24 Appendix PARAMETERS DESCRIBTION Ao p Bank Select 0 3 Bank A D A2 p Breath Controller A4 p Foot Controller A6 p Data Slider A8 p Balance A10 a Panorama 0 127 64 0 63 Left Center Right A2 p Contr 12 A14 p Contr 14 A16 p Contr 16 A18 a Osc Pulsewidth 0 127 ACCESS VIRUS OS4 259 Parameters Describtion A20 a Osc1 Semitone 0 127 64 63 A22 a Osc2 Shape 0 127 64 0 63 o Wave Saw Pulse A24 a Osc2 Wave Select 0 64 Sine Triangle Wave 3 64 A26 a Osc2 Detune 0 127 A28 a Osc2 Sync 0 1 o Off 1 On A30 a FM Filt Env Amt 0 127 64 63 A32 p Bank Select 0 3 Bank A D A34 a Suboscillator 0 127 Volume A36 a Osc Mainvolume 0 127 A38 a Ringmodulator 0 127 Volume Ayo a Cutoff 0 127 260 CHAPTER 24 Appendix A42 a Filter1 Resonance 0
170. menu To avoid confusion please keep in mind that MIDI Clock is not the same thing as MIDI Time Code The latter doesn t deal with tempo at all but with time related informa tion structured in hours minutes seconds etc which is of no benefit to you in this context ACCESS VIRUS OSq 137 ARPEGGIATOR ARPEGGIATOR ARPEGGIATOR MODE Selects the Arpeggiator mode You can chose from gt OFF Self explanatory The Arpeggiator is inactive gt UP Sustained notes are arpeg giated in an ascending manner gt DOWN Sustained notes are arpeggiated in descending man ner gt UP amp DOWN Sustained notes are arpeggiated alternately in an ascending and descending man ner gt AS PLAYED Sustained notes are arpeggiated in the sequence that they are played It is possible to latch the Arpeggiator with the sus tain pedal gt RANDOM Arpeggiates notes in random sequence gt CHORD PLAYS notes as chords 138 CHAPTER 15 Within the CTRL Menu rather than arpeggios 1 ARPEGGIATOR Mode AePlayedda ARPEGGIATOR CLOCK This parame ter determines the basic tempo of the Arpeggiator in reference to the clock generator The standard set ting is 1 8 and normally doesn t need to be changed The actual tempo is determined by the global clock generator the speed of which may be varied via CLOCK TEMPO see the section on CLOCK TEMPO Moreover the clock gen erator can be synced up to the external MIDI Clock
171. mines the overall pitch of the Virus o A 440 Hz You can detune the device a half note up or down at the most WW I 1 o TE M 5 tertune H4 Wi 3 Memory Protect Locks ON or unlocks OFF the memory in which the sounds of the Virus are stored When you switch MEMORY PROTECT on you can avoid inadvertent overwriting of programs when you accidentally press the STORE button 1 SYSTEM i HemProtect Offa LCD Contrast Lets you adjust the contrast of the LC display to different light condi tions and viewing angles 1 SYSTEM LEOContrast D Knob Mode Provides a selection of several knob operating modes which you can activate depending on per sonal preference or suitability to the tasks you currently dealing with gt OFF The knobs are inactive gt JUMP 4 In Jump Mode the parameter jumps directly and absolutely to the value determined by the current position of the knob gt SNAP When you adjust a knob In Snap Mode the original setting determines the value until the point where the movement of the knob passes beyond this posi tion The parameter does not jump to the value as in JUMP Mode b RELATIVE 4 When you adjust a knob in RELATIVE Mode the parameter is affected immediately but not absolutely The value change from the original value to the new value reflects precisely the amount you adjusted via a given control 1 SYSTEM EnobMode June 4 KNOB DISPLAY In a
172. n MIDI DUMP TX When you opt to record a bulk dump to a sequencer you can pro ceed in the same manner as you would when you record tracks con sisting of notes For example you can move a bulk dump to any posi tion in the arrangement To assure that the Virus plays the song back using the right sounds we recom mend that you position stored data prior to the song Move all components of the actual song back so that you re left with enough room to accommodate the dump prior to the song s start posi tion Then when you start the sequencer on the first bar sound related data is sent to the Virus before the actual song begins An individual sound dump is very ACCESS VIRUS OS4 223 DUMP The Sound in the Song short a dump comprising a com plete memory bank will extend over several bars M During a bulk dump the Virus sends MIDI SysEx data to the com puter If you encounter problems while recording a bulk dump please check if your seguencer refuses to accept SysEx data due to one sided filtering You can check whether or not anything was recorded by tak ing a look at the Event or List editor of your sequencer In this editor MIDI data is displayed numerically instead of graphically in a normal Note editor Key Edit Matrix Edit or the like SysEx data is NOT visible Once you ve successfully recorded a dump look for entries in the list that are labeled SysEx The Virus lets you to send the entire m
173. n this oscillator s section of the con trol panel you have probably already gathered that it has more sound shaping options than Oscil lator 1 Dial in the basic sound program that you had at the very beginning change the amplifier envelope to suit your taste In the sound pro gram the OSC BAL Oscillator Bal ance pot in the MIXER section is preset to the far left In order to hear Oscillator 2 in action rotate the OSC BAL Oscillator Balance pot in the MIXER section to the right Towards the center position 12 o clock you will hear how the tone is modified and as you rotate the pot further to the right how the intensity of this modification is reduced This effect is known as the comb filtering effect It occurs when two signals with the same frequency but different phase ACCESS VIRUS OS4 37 The Second Oscillator lengths are mixed Press the same key on your keyboard several times with the OSC BAL set to the center position 12 o clock You should notice that each note has a slightly different tone The oscillators are the source of this effect The oscil lators of the Virus oscillate freely consequently everytime you play a note the phase constellation between the two oscillators is dif ferent For now leave the OSC BAL POT at the center position 12 o clock You are already familiar with Oscil lator 1 s SHAPE and WAVE SEL PW pots These functions are identical for Oscillator 2 so we won t go in
174. n active menu SYSTEM KNOB DISPLAY offers different display option for parameters that have knobs assigned to them gt OFF Knob movements are not displayed the current contents of the display remain intact when you turn a knob b SHORT When you turn a knob the current contents of the lower display line are briefly overwritten by data representing the change in parameter value once the action is ACCESS VIRUS OS4 181 System completed the original contents reappear in the lower display line gt LONG Same as SHORT except that you guessed it the display shows the knob data for a longer period of time gt ON The contents of the display are overwritten when you turna knob the original menu does not reappear in the display 1 SYSTEM EnobOQisel Shorta LED MODE Here you can chose between two operating modes for the RATE LEDs of LFO 1 and 2 gt LFO The LEDs indicate the oscil lations of the LFOs gt INPUT The LEDs serve as level indicators for the two external audio inputs RATE 1 Input L RATE 2 Input R The brightness of the LEDs indicates the current input level signal saturation is indicated 182 CHAPTER 17 Global MIDI and System Parameters by rapidly flashing LEDs To achieve maximum sound qual ity for the system you should set the input signal to a level that is as close as possible to the saturation threshold However you should avoid setting the level beyond the saturat
175. n with receive mode In case that the load new data procedure simply stops at a certain position the sequencer you use is not able to playback the file cor rectly In this case you need to use another sequencer After a successful upload press STORE to burn the new operating system into the flash ROM Never switch off the VIRUS while burning the data Please ensure stable power conditions during this pro cedure which should take approxi mately 30 seconds Now when the Virus has reseted itself you can use the new operating system There s no danger of a flawed MIDI transmission burning faulty soft ware into the Virus memory When the device receives MIDI data this information is first buff ered in the delay memory of the Virus where it is checked for errors If the device finds an error the loading routine is aborted and it will generate an error message Then you can try repeating the process The old operating system will remain unharmed Only when you actually initiate a burn opera ACCESS VIRUS OS4 249 Loading the Operating System from One Virus to Another 6 Once the loading process is LOADING THE OPERAT completed please press Store on ING SYSTEM FROM ue an will now be ONE VIRUS TO urned to the Flash Rom ANOTHER 1 Connect the sending Virus Virus 1 MIDI Out port to the receiving Virus Virus 2 MIDI In port 2 Switch on Virus 1 while you re holding the Store button pressed The
176. nal patched to the exter nal inputs can be routed to the dual jack Output 1 without being processed in any manner For instance you can blend the output signal of another sound generator with the output signal of the Virus and send the mixed signal to Out put 1 without having to use an external mixing console INPUT DIRECT THRU controls the level of this direct signal path This is a global parameter i e it is not stored along with the SINGLE PROGRAM 1 IHFUT GLOBAL Directihru Hd INPUT BOOST GLOBAL With INPUT BOOST you can increase the signal level of the two external inputs by up to 36 GB The signal is boosted in the digital section of the Virus so the noise level of the analog digital converter increases automatically Consequently you should dial in the cleanest loudest possible signal at the external sound generator The Virus fea tures a signal level indicator that allows you to monitor the signal level visually see LED MODE in the CTRL menu see LED MODE on page 181 You should only turn up the INPUT BOOST when you are unable to dial in a sufficient signal level prior to the external inputs At a value of o the signal level is not boosted at all This is a global parameter i e it affects all involved PARTs and INPUT DIRECT THRU see para graph below It is not stored along with the SINGLE PROGRAM 1 IHPUT GLOBAL Boost Ha Input Mode In the Virus you have the option of using the externa
177. nd modu lation destination ASSIGN 3 SOURCE Selects the modulation source for the third modulation assignment ASSIGN 3 DESTINATION 1 Selects the first modulation destination for the third modulation assign ment ASSIGN 3 AMOUNT 1 Controls the intensity of the third modulation assignment for the first modula tion destination ASSIGN 3 DESTINATION 2 Selects the second modulation destina tion for the third modulation assignment ASSIGN 3 AMOUNT 2 Controls the intensity of the third modulation assignment for the second modu lation destination ASSIGN 3 DESTINATION 3 Selects the third modulation destination for the third modulation assign ment ASSIGN 3 AMOUNT 3 Controls the intensity of the third modulation assignment for the third modula tion destination VELOCITY H in addition to the following fixed destinations any parameter can be controlled via velocity by way of the Modulation Matrix ASSIGN VELOCITY OSC 1 SHAPE Deter mines the intensity of the VELOC ITY control for the first oscillator s SHAPE parameter see appropriate section 1 WELOCITY UzcliSshare 44 VELOCITY OSC 2 SHAPE Deter mines the intensity of the VELOC ITY control for the second oscillator s SHAPE parameter see appropriate section 1 VELOCITY QecFrsoShare 144 ACCESS VIRUS OS4 133 Velocity VELOCITY PULSE WIDTH Deter mines the intensity of the VELOC ITY control for the pulse width see appropriate
178. nds on the value entered to CLOCK TEMPO in the global clock genera tor refer to this section In this case the absolute delay time in milliseconds is ignored 1 DELAY Clock TEE If the delay time determined by the clock generator exceeds the maximum value of 693 ms then the delay time is automatically set to a value equivalent to half of the entered value DELAY FEEDBACK Controls the amount of feedback of the Delay 1 DELAY Feedback 224 DELAY COLOR Afilter is placed in the delay effect s output that also effects the feedback path It can be faded between a Lowpass negative range and a Hipass positive range The filter causes the delay repeats to become duller and duller just like on a tape echo or for a nice unnatural effect to become thinner with increased harmonics Hipass 1 DELAY Color DELAY RATE Determines the speed of the Delay LFO 1 DELAY Rate a4 DELAY DEPTH Controls the intensity of the delay modulation by the LFO Like the Chorus LFO the Delay LFO modulates the left and right sides of the signal antiphase which gen erates a true stereo effect Wenn das Delay fur rhythmische Effekte verwendet wird dann sollte die Modulationstiefe m glichst ger ACCESS VIRUS OS4 167 Delay Reverb ing eingestellt werden oder auf Null gestellt werden da die LFO Modulation das Timing des Delays beeinflusst 1 DELAY Derht 154 DELAY SHAPE Determines the waveshape of the Dela
179. ng via a program change message which resets the parameters to their original stored values What if however you change or replace the sound in the Virus at some point The program change mes sage in the song would call up the wrong sound The more reliable and certainly more elegant solu tion would be to store the sound s in the song The Virus then receives all settings for sounds at the CHAPTER 22 The Virus and Sequencers beginning the song and you d pre vent hiccups such as the wrong sounds stuck values and jumps from the get go In the next sec tion you ll find out just how you can do this DUMP THE SOUND IN THE SONG Archiving all of the sounds used in a song is not only a good idea to prevent potential problems that may occur when parameters are controlled in real time It also makes it easy for you to recall your work at some later point Assum ing that you ve connected the MIDI Out of the Virus with a MIDI In of the computer you can for example at any time send an indi vidual sound or the content of the entire memory via MIDI in the form of something called a bulk dump to the sequencer and record this data there This has an distinct advantage all sound data can be stored together with the song and the status of the Virus required for this song can be restored at any time by simply sending the recorded data to the device You ll find the menu for SysEx dumps by going to the CTRL menu and the
180. nig Jorg H ttner Oliver Kaser Andrea Mason Thorsten Matuschowski Paul Nagle Kai Niggemann Rob Papen Wieland Samolak Howard Scarr Hans Jorg Scheffler Jenny Simon Matt Skags Joeri Vankeirs bilck Jay Vaughan Jens Wegerhoff and Daniel Wewer M uction 16 CHAPTER 4 Introduction THE VIRUS This section provides deliberate step by step guidelines on operat ing and handling the Virus for those of you who are new to the world of synthesizers and MIDI The following covers basics such as how to connect the Virus to an AC power supply your MIDI system and your audio system Then we will guide you through a series of experiments designed to demon strate the different functional groups their control features and the tasks they execute After you have finished reading this section you will be able to handle virtually all of the sound generating and sound shaping functions of the Virus All of these are described in context along with their control features Even the majority of less significant functions accessible via menus are discussed here You will find a detailed comprehensive descrip tion of all functions of your new synthesizer in the section follow ing this introduction Please keep in mind that within confines of this introduction we are unable to impart all of the knowledge and skills in acoustics sound synthesis and MIDI control you might desire or need to acquire If you are keen to l
181. ns out perform those of it historical predecessors by a considerable margin The Virus comes with 512 slots for storing SINGLE sounds These are organized in four banks The first two banks A and B are located in the RAM so you can overwrite them with new sounds The other ACCESS VIRUS OS4 11 two banks are hard wired i e they re programmed into the FLASH ROM The Virus offers a maximum of 24 voices In Multi Mode these are allocated dynamically to sixteen simultaneously available sounds You have no less than three audio oscillators plus one suboscillator a noise generator a ring modulator two Multi Mode filters two enve lopes a stereo VCA three LFOs and a saturation stage SATURATOR for cascade filtering tube and distor tion effects The Virus offers a veritable arsenal of effects You have seven powerful sound sculpting functions includ ing chorus phaser and distortion at your disposal with each effect available separately for every sound Thus in 16 way MULTI mode the Virus offers 80 effects no less You also get a global reverb delay unit that lets you cre ate high quality reverb effects and rhythmic delay taps Delay time can be synced up to MIDI clock 12 CHAPTER 3 Prologue With the benefit of two external audio inputs the Virus may also serve as an FX device and signal processor that you can use cre atively to come up with all kinds of effects External signals can be pro
182. ntensity col lectively for both oscillators When you select it position both OSC 1 and OSC 2 LEDs will flash LFO 1 EDIT MENU LFO contour By LFO Contour you can now bend or morph almost all the LFO waveforms A brief survey of the LFO Contour options for the differ ent LFO modes follows 1 LFO i Contour H4 Sine Contour morphs from sine to a triangle wave Contour to the left or to a square wave Contour to the right Triangle Contour morphs from a triangle to a declining Contour to the left or ascending sawtooth Contour to the right ACCESS VIRUS OS4 97 LFO EDIT Menu Sawtooth Contour morphs from a linear declining sawtooth or decay to any exponentially declining decay Contour to the left orto a square Contour to the right Square Contour modulates the pulse width of the square wave Waves Contour zooms into the wave thereby shortening the wave s loop length Contour to the right Clock When you set it to OFF the LFO oscillates in the normal manner independently of the global Mas ter Clock CLOCK TEMPO When you enter a note value here the LFO rate is synced up to the global master clock The length of the waveshape s cycle will then corre spond to the note value that you have entered You can also set the rate via CLOCK TEMPO refer to the appropriate section or synchro nize it to external MIDI clock When the LFO is synced up to the 98 CHAPTER 14 The
183. nteresting rhythmic patterns and accents when you patch in appropriately rhythmic signals for example arpeggios The unique sonic character of the PATTERN delay algorithms is due to among other things odd time signatures based on sixteenth note values Each delay algorithm puts at least one of these options ACCESS VIRUS OS4 165 Delay Reverb at your disposal Feedback is always generated via the left delay tap 1 DELAY REVERB MODE REWEREB 4 The following parameters will only appear in the display when you re working with DELAY algorithms DELAY TIME This is the absolute delay time of the delay effect in milliseconds ms Use it to determine the inter val between each repetition up to a maximum delay time of 693 ms Delay time is infinitely variable Changing the delay time bends the pitch of the delay signal The DELAY TIME parameter will not appear in the display when delay time is determined by the DELAY CLOCK see below If the PATTERN delay is activated neither the DELAY TIME nor the DELAY CLOCK 166 CHAPTER 16 Parameter of the effects menu parameters are visible in this case the delay times are always synced up to the global clock generator 1 DELAY Time ms 349 54 DELAY CLOCK When you set it to OFF the abso lute delay time is determined in milliseconds If you select a note value then the delay time is set to the value of this note The absolute length of this note value depe
184. ntrol determines the volume of the signal pair piped through Out put 1 before it is converted into an analog signal This means that under normal circumstances you should turn Master Volume all they way up because you of course want the Virus to deliver the most dynamic signal possible DEFINABLE 1 2 These two knobs are freely definable You can define the knobs via the CTRL menu DEFINABLE 1 2 MODE Settings can be saved globally as well as individually to SINGLE program slots see The Definable Knobs on page 78 TRANSPOSE Transposes the entire SINGLE program by octaves If your Virus is equipped with a built in keyboard the selected SINGLE pro gram is not transposed Instead the keyboard is transposed glo bally see The Virus kb and the Virus Indigo on page 190 ACCESS VIRUS OS4 95 LFO 1 Panel LFO 1 PANEL RATE Determines the speed or rate of the LFO In polyphonic sounds the manu ally selected RATE value deviates slightly from voice to voice to liven up the sound of the LFOs which also oscillate polyphonically When the LFO is synced up to the master clock the desired note value is selected via the RATE knob SHAPE Determines the waveshape of the LFO You can select from a sine triangle sawtooth or pulse wave WAVE opens a local menu Here you can select 64 further LFO waveshapes in the display using the VALUE knob or the VALUE but tons You can chose from a stepped random
185. o 0 and con sequently the wave no longer oscillates Starting at the center position 12 o clock indicated by the sawtooth turn the SHAPE pot counter clock wise towards the left You can hear how the overtones are increasingly mixed out of the signal until you can only hear the root note This sound is produced by a so called sine wave one of 64 other wave shapes that you have at your dis posal for sound generation purposes These waveshapes can also be activated via WAVE SEL PW WAVE SEL Wave Select PRO VIDED THE SHAPE POT IS SET TOA POSITION IN THE LEFT HALF OF ITS CONTROL RANGE EARLIER THAN 12 O CLOCK Regardless of the cur rent SHAPE setting you can also select a wave in the EDIT menu under OSCILLATOR 1 WAVE Go ahead and check out the differ ent waveshapes The second of the 64 waves is a triangle wave the remainder of the waveshapes are each a unique tonal blend After you have familiarized yourself with this raw material experiment with the parameters of the FILTERS and AMPLIFIER sections you have dealt with thus far don t forget about SATURATION and the correspond ing function of the OSC VOL pot to get a feel for how the diverse waveshapes respond to filtering SATURATION and amplifier modifi cations THE SECOND OSCILLA TOR As we mentioned previously in addition to the other sound sources the Virus is equipped with a second oscillator Judging from the amount of control features o
186. ocoder is only active when an external signal is detected and switches itself off 10 seconds after the last input signal has ended This assures that the Virus has all of its polyphony available while the vocoder is switched on but no input signal is applied ACCESS VIRUS OS4 211 Notes about the vocoder 212 CHAPTER 21 The Vocoder of the VIRUS The Virus AA CHAPTER 22 The Virus and Sequencers PARAMETER CONTROL VIA MIDI Virtually all parameters of the Virus are accessible via MIDI so that for example you can manipu late knobs and buttons and record these movements to a sequencer You may then route these com mands back to the Virus which will respond to these automated instructions automatically MIDI controllers have proven effective for this external control option since these commands in con trast to system exclusive data are transported very swiftly Beyond that they re easy to edit graphi cally in all standard sequencer pro grams ORGANIZATIONAL INFORMATION In order to be able to record the movements of knobs and status changes of buttons on the Virus to a sequencer you must connect the MIDI Out of the Virus to the MIDI In of the computer or sequencer You also have to enable reception of MIDI controllers and MIDI poly pressure commands in the sequencer so that this data is not subject to one sided filtering Whenever appropriate you also have to enable reception of this automati
187. on trollable by MIDI Control Change The sending and reception of MIDI Control Change can be enabled or disabled by MIDI CONTROL Low Page CTRL menu When disabled LOwPAGE SYSEx the VIRUS only sends and receives SysEx Parame ter Change on Page A When enabled LowPaGcE Conrtr the VIRUS sends MIDI Control Change on parameter movement and receives both MIDI Control Change and SysEx Parameter change on Page A The default setting is Low Page Contr The remaining Single parameters in Page B HiPage are additionally controllable by MIDI Polyphonic Pressure The send and recep tion of MIDI Poly Pressure can be enabled or disabled by MIDI CON TROL HiPage CTRL menu When disabled HiPage SysEx the VIRUS only sends and receives SysEx Parameter Change on Page B When enabled HiPage PolyPrs the VIRUS sends MIDI Poly Pressure on parameter movements and receives both MIDI Poly Pressure and SysEx Parameter Change on Page B This feature should not be used in connection with a key board that sends Polyphonic Pres sure The default setting is HiPage SysEx ACCESS VIRUS OS4 253 System Exclusive Data Page C contains Multi parameters Control Change message and Global parameters These only Page A parameters are sent and received only by SysEx Parameter Change BC ae nn Parameter Number 0 127 see parameter list Page A vv Parameter Value 0 127 see parameter list Page A In the following al
188. on data on the Virus To this end go to the Cntrl menu and take a look at the MIDI parameters You ll find a parameter called Panel that offers the options Internal Internal Midi and MIDI This is where you determine the destina tion to which the knobs and but tons send their data Internal means that the knobs and buttons send data exclusively to the sound generator and not to MIDI There fore select Internal Midi or MIDI so that data is sent to the sequencer via MIDI Note that the MIDI option disconnects the knobs and buttons from the Virus inter nal sound generation system When this setting is enabled data generated by knobs and buttons is only acknowledged by the Virus when it is routed back in a round about way via the computer sequencer the Virus must be selected as a track instrument in the sequencer and the Thru function of the sequencer must be activated Now scroll to the two parameters called LoPage and HiPage LoPage should be set to Contr MIDI con troller HiPage to PolyPrs MIDI polypressure There are only 128 controller numbers per MIDI chan nel so that not all parameters of a Virus PART can be covered by con trollers On the Virus this problem was solved by splitting up its parameters into three Parameter PAGEs for data transport purposes Each of these three PAGEs can con tain up to 128 parameters A SIN GLE program consists of the parameters of the two first PAGEs Parameters o
189. on the cutoff fre quency If on the other hand you turn the KEY FOLLOW pot clock wise towards the positive control range you will find that the filter opens up increasingly as the pitch increases with higher notes At lower notes the filter closes down again If you turn the pot counter clockwise towards the negative control range the KEY FOLLOW effect is reversed With the Virus you will encounter this feature intensity control via a bipolar parameter again in conjunction with other modulation sources and targets Now experiment as much as you like with different KEY FOLLOW settings and tune the settings via the CUTOFF pot And remember to bring all of the other parameters you have encountered thus far into play ACCESS VIRUS OS4 27 The Saturation Stage THE SATURATION STAGE In the signal chain of the Virus Fil ter 1 is followed by a SATURATION stage It enables you to add over tones to the filtered signal via dis tortion Locate and press the button labeled EDIT in the FILTERS section 1 SATURATION Cure ft The display will read SATURATION CURVE OFF which means exactly what it says With the VALUE but tons or the VALUE pot you can now select from a number of sATU RATION distortion curves Next to the distortion curves the SATURA TION stage offers further DSP effects such as the shaper rectifier and filter These are explained in detail in the section on the SATU RATION stage At thi
190. ord MIDI data with a sequencer it might make sense to turn the aftertouch function off Sensitivity Off to avoid record ing undesired MIDI data As men tioned above only the Virus kb offers the aftertouch functionality The Virus keyboard can be trans posed in semitones Mind you the transposing takes place in the transmitter the keyboard and not in the receiver the sound gener ator The transpose parameter is called KEYBOARD Transpose 64 63 The KEYBOARD Trans pose can be switched in octaves by the TRANSPOSE buttons on the user panel as well By parameter KEYB TRANSPOSE Button you can choose if the TRANSPOSE buttons will switch the transpose of the SINGLE program receiver posi tion or the Keyboard transmitter position ACCESS VIRUS OS4 195 The Keyboard Modes THE KEYBOARD MODES You will be especially interested in the Virus Keyboard Mode Func tion if you intend to use the Virus kb Indigo as a Masterkeyboard in order to manage further con nected MIDI sound generators To explain it we have to take a closer look If you use the Virus in MULTI MODE you can play several parts on different MIDI channels You can also assign several parts to the same MIDI channel but set so that one part is only played on the lower end of the keyboard anda different one played on the higher end This allows for a variety of split and layer variations The lower half of the keyboard plays a bass
191. ormation for the SINGLEs involved in other words the bank and program numbers These addresses are also copied from the SINGLE banks into the 16 SINGLE edit buffers for the PARTs 58 CHAPTER 5 Concept and Operation When you store a MULTI program only the addresses of the SINGLE programs original slots are saved but not however the sound data in the 16 SINGLE edit buffers These must be stored separately in the SINGLE program banks This type of edit buffer is used in most synthesizers its advantages are many gt It lets you edit copies of sounds without sacrificing the original sounds gt Edit buffers can be stored ina sequencer and sent from it to the Virus independently of the sounds stored in the device see DUMP The Sound in the Song on page 222 gt In MULTI Mode or MULTI SIN GLE Mode the same SINGLE pro gram can be recalled and edited on different parts In this case all involved EDIT buffers contain vari ations of the same original sound 4 Handling 60 CHAPTER 6 Handling PARAMETER SELEC TION AND DATA ENTRY In the Virus we distinguished between two types of parameters On the one hand it features parameters that are essential in generating or synthesizing sounds on the other hand it has sound parameters and organizational parameters that are more of a peripheral nature This distinction is apparent in handling and opera tion of the Virus All essential sound par
192. orresponding MIDI channels If this should create problems in your MIDI Setup it might be nec essary to set different MIDI chan nels for transmitting and receiving on each machine Alternatively a part can be deactivated if the LowKey and HighKey parameters are set to C 2 It would only respond to the lowest MIDI note C 2 which is rarely used in everyday situations Please remember that the KeybTo Midi parameter is only visible if the KEYBOARD Mode is set to Multi Channels Please notice the following When set to OneChannel playing the keys has the effect that the key board and the panel operate the selected part The Part Select when MultiChannels is set is valid only for the panel not for the key board ACCESS VIRUS OS4 199 The Keyboard Modes Here an overview of the keyboard version s special parameters KeybToMidi per PART Off On KEYBOARD Local Off On KEYBOARD MODE OneChannel MultiChannels KEYBOARD Transpose 64 63 KEYB TRANPOSE Buttons Single Keyb KEYB MODWHEEL Destination Controller KEYB PEDAL Destination Controller KEYB PEDAL 2 Destination Controller KEYB PRESSURE Sensitivity Off 1 127 Default 64 All these parameters exept Keyb ToMidi are global parameters These parameters are only visible in the keyboard version of the Virus 200 CHAPTER 20 The keyboard versions of the Virus The A VIRUS 202 CHAPTER 21 The Vocoder of the VIRUS VOCODER
193. ou activate the envelope follower and at the same time choose a signal source Select signal sources the same way you would for INPUT SELECT see above Note that this selection option is completely independent of the given input When you select a stereo signal and at the same time activate UNI SON mode Twin the envelope follower operates in real stereo Three filter envelope knobs are used to control the envelope fol lower when it is active Envelope Follower Attack Knob FILTER ATTACK It controls the attack rate of the envelope fol lower With this parameter you can determine how fast the enve lope follower will respond to the rise in signal level Higher values slow the envelope follower down and delay its response Envelope Follower Release Knob FILTER DECAY It controls the decay time of the envelope follower With this parameter you can determine how swiftly the enve lope follower will respond to a decrease in signal level Higher val ues let the Follower linger Envelope Follower Gain Knob FIL TER SUSTAIN It controls the input level of the envelope follower directly The nominal value is the center position 64 1 IHPUT FOLLOWER Mode OFFA ACCESS VIRUS OS4 155 Ringmodulator RINGMODULATOR This allows you to ring modulate the residual signal of the SINGLE or PART with an external audio signal The effect multiplies the ampli tudes of both signals which pro vides the frequencies
194. ou can fairly reliably pre dict the outcome of your sound shaping efforts you should have a handle on the information dis cussed thus far and can use your knowledge to create specific sounds you have in mind During the course of your experi ments it is entirely possible that you have generated modulations that have no effect whatsoever on 44 CHAPTER 4 Introduction the sound for instance if you mod ulate the frequency of Oscillator 2 although it is dialed out of the oscillator mix When you run into this type of problem check out the signal routing if any configura tions conflict with each other and memorize the situation problem and solution If you make a habit out of this you won t panic when you run into similar situations instead you ll keep your cool ana lyze the unexpected sound and fix the mix You are currently using a triangle as the LFO waveshape You shouldn t have any problem asso ciating the periodic up and down fluctuation of the target parame ter with this waveshape Now acti vate the other available waveshapes for LFO 1 and try to picture the respective waveshape and associate it with the results of the modulation The third waveshape is a descend ing sawtooth wave You can con vert it into to an ascending sawtooth by simply dialing in the requisite negative modulation intensities AMOUNT In the WAVE setting you have access to 64 LFO waveshapes Select these in the display se
195. ough the Virus kb or the Virus Indigo is merely a Virus with a key board there are a few characteris tics to be considered which is what the following section deals with LOCAL OFF AND THREE IN ONE To be able to get the most out of your Virus kb Indigo and to use it sensibly it is worthwhile to theo retically dissect the machine into its components Keyboard panel and sound generator The keyboard and the panel transmit data namely the keys being played and the wheels and pots being turned The Virus invisible heart the sound generator receives this data The transmitter and receiver com municate via the MIDI standard so whether the sound generator receives note messages via the keyboard or via MIDI In makes no real difference The same applies for data sent from the pots on the panel to the sound generator Nor mal MIDI data is sent just as if it were being sent to the sound gen erator via the MIDI In Why do we feel inclined to direct your attention to this circum stance so explicitly Simple You might have come into contact with the so called Local Off Mode on other synthesizers when activated the keyboard sends data to the MIDI Out but not directly to the sound generator This makes sense when you use a synthesizer along with a sequencer and want to use the synthesizer as a Masterkey board in your setup In this case the sequencer decides which machine receives the keyboard data and
196. pVel PlsWhdVel FmAmtVel FitiEnvVel FIt2EnvVel ResoiVel Reso2Vel AmpVel PanVel Ass Amt Ass2Amt Ass2Amt2 Ass3Amt Ass3Amt2 Ass3Amt3 OsclnitPhs Punchint RingMod NoiseColor DelayColor ABoostint ABoostTune Distint RingmodMix Osc3Volume O Osc3Semi Osc3Detune Lfo1AssAmt Lfo2AssAmt PhaserMix PhaserRate PhaserDept PhaserFreq PhaserFdbk PhaserSprd RevbDecay RevDamping RevbColor RevPredely RevFeedbck SecBalance ArpNoteLen ArpSwing ArpPattern 282 CHAPTER 24 Appendix DEFINABLE KNOBS DESTINATIONS Off Data Contr13 ChannelVolume UnisonPanSprd ChorusDelay DelayRate Osc Keyfollow Osc2Keyfollow Filt2EnvAmount Lfo1 gt Osc2 Lfo2 gt Shape Lfo3Rate FmAmountVel AmplifierVel Assign3Amt OsclnitPhase AnalogBoostint Osc3Semitone ModWheel Balance Contr14 Panorama UnisonLfoPhase ChorusFeedback DelayDepth Osc2WavSelect NoiseVolume FiltiKeyfollow Lfoi gt PulsWidth Lfo2 gt FmAmount Lfo30OscAmount FiltiEnvVel PanoramaVel Assign3Amt2 Punchintensity AnalogBstTune Osc3Detune Breath Contrg Contr Transpose ChorusMix EffectSend Osc WavSelect Osc2PulseWidth FiltiResonance Filt2Keyfollow Lfoi gt Resonance Lfo2 gt Cutoffi Osc ShapeVel Filt2EnvVel Assign Amt Assign3Amt3 Ringmodulator DistortionInt Lfo1AssignAmt Contr3 Expression Contr16 Portamento ChorusRate DelayTime ms Osc PulseWidth Osc2EnvAmount Filt2Resonance LfoiSymmetry Lfo1 gt FiltGain Lfo2 gt Cutoff2 Osc2ShapeVel ResonanceiVel Assign2Am
197. peri odic change in volume If the sig nal is not saturated in any manner then the only audible result is a tremolo effect We purposely placed the modulation point in front of the filter section in the sig nal chain This means that the dis tortion amount i e the intensity of the effect is also modulated when you activate SATURATION Furthermore you can use fast LFO oscillations to generate brief impulses transients in the oscilla tor signal that excite the resonant ACCESS VIRUS OS4 99 LFO EDIT Menu frequencies of the filters The fil ters will fade out freely since their output signal is not affected by the FILT GAIN volume modulation 1 LFO1 AMOUHT FilterGain H4 100 CHAPTER 14 The Parameters LFO 2 PANEL RATE Same as LFO 1 SHAPE Same as LFO1 ENV MODE Same as LFO1 Amount This button does not actu ally control a parameter it opens a local menu This menu contains independent modulation intensi ties for controlling the following parameters via LFO 2 SHAPE 1 2 The SHAPE parameters of both oscillators jointly FILTER 1 The frequency of the first filter FILTER 2 The frequency of the sec ond filter PAN Panorama position ASSIGN Dest A freely selectable sound parameter for LFO modula tion ASSIGN Amount Modulation intensity for the freely selected sound parameter O e ji w m m mm RI Off While you are dealing with one of the parameters discusse
198. purpose the con trol signals of the modulation sources are added up or over lapped Conversely you can also modulate up to six parameters with just one controller which gives you all kinds of sophisticated sound morphing options For this purpose select the same source for all three ASSIGN options so that it modulates all six possible destinations This lets you radi cally reshape sounds and even transform or morph them into entirely different sounds In addition to the three ASSIGN options the user interface features as discussed earlier a modula tion destination for LFO 1 and 2 called ASSIGN Here the same prin ciple applies you can select a mod ulation destination and vary modulation intensity as you see fit The only difference here is that the ACCESS VIRUS 054 77 Creating Modulation Configurations via Assign modulation source i e the respec tive LFO is a fixed default that you can t change OFF 4 m pa am 1 7 Wi T 1 Ly Ur HA Gi E You ll find a list of available sources and DESTINATIONS in the appendix see Appendix on page 251 78 CHAPTER 9 The Modulation Matrix and Definable Knob THE DEFINABLE KNOBS The Virus is equipped with two knobs that rather than being dedi cated to predefined tasks may be assigned to different parameters by you the user This option is quite handy for it lets you control directly the many menu parame ters that do not feature a
199. r depend ing on the number of voices you ve dialed in its polyphony will of course be considerably reduced in UNISON mode The most efficient and the standard setting is UNI SON mode Twin where two voices are played for every note In the OFF position one voice per note is played 50 CHAPTER 4 Introduction THE CHORUS FLANGER EFFECT Another function that delivers great effects based on pitch fluctu ation is the so called chorus effect Chorus actually consists of a brief delay generally up to approx 50 ms which is varied periodically By modulating the delay the delayed signal is slightly detuned to the input signal the so called Doppler effect This inconsistency in pitch between the original and effects signal is the source of the chorus effect Feedback in the delay line enhances this effect The left sig nal side is automatically modu lated in a different manner than the right so a chorus effect is great for converting mono signals into stereo signals If the delay is less than approx 10 milliseconds than the effect is called flanging or a flanger effect rather than chorus In this case feedback is even more significant because it generates resonances that can be modulated and is thus yet another source of radical sound effects If you determine high feed back values you can clearly hear how the two sides of the signal are modulated differently in reverse phase by the LFO Locate t
200. rding to the drumloop s volume respec tively its beats In addition to this or as an alternative you can con trol other parameters Of course you can also use the external sig nal as the modulation source with out processing it in the Virus at all ACCESS VIRUS OS4 233 Envelope Follower When the Envelope Follower is activated it replaces the filter envelope so that when Env Amount is turned up it directly affects the filter frequencies Any other parameter can be modulated with the Envelope Follower via the Modulation Matrix ASSIGN Select FiltEnv as the modulation source Three filter envelope knobs are used to control the envelope fol lower when it is active Envelope Follower Attack Knob FILTER ATTACK It controls the attack rate of the envelope fol lower With this parameter you can determine how fast the enve lope follower will respond to the rise in signal level Higher values slow the envelope follower down and delay its response 234 CHAPTER 23 Tips tricks and other Words of Wisdom Envelope Follower Release Knob FILTER DECAY It controls the decay time of the envelope fol lower With this parameter you can determine how swiftly the envelope follower will respond to a decrease in signal level Higher val ues let the Follower linger Envelope Follower Gain Knob FILTER SUSTAIN It controls the input level of the envelope fol lower directly The nominal value is the center position
201. re delay feedback REVERB FEEDBACK see below when you use this parameter 1 REWERB Color REVERB PREDELAY This parameter controls the pre delay time of the given room simu lation In a real room sound travels quite a distance and is reflected at least once before it reaches your ear This means that a certain amount of time elapses before you hear the earliest reflections of the room signal The bigger the room the longer it takes for the reflected sig nal to reach your ear This effect is emulated in a room simulation be means of a parameter called pre delay Irrespective of the values set for the other REVERB parameters the amount of pre delay has a decisive impact on our perception of the size of a room When you set a high pre delay value say some hundred millisec onds you re actually creating an unnaturally large room The room simulation will sound washed out or much like a diffuse echo Pre delay has a formative effect on room simulation particu larly since like with the pure DELAY algorithms you can use it to match the reverb effect to the rhythmic context And like the DELAY parameters pre delay is infinitely variable it is suitable for generating feedback and it can be synced up to the global clock gen erator REVERB PREDELAY controls the absolute pre delay time in millisec onds ms The peak value depends on the room size REVERB TYPE see above that you have selected b
202. s List B66 b Assigni Amount 0 127 64 63 B68 b Assign2 see Assign Destinations List Destination B7o b Assign2 see Assign Destinations List Destination2 ACCESS VIRUS OS4 267 Parameters Describtion B72 b Assign3 Source see Assign Sources List Ba b Assign3 Amount 0 127 64 63 B76 b Assign3 Amount2 0 127 64 63 B78 b Assign3 Amount3 0 127 64 63 B79 b LFO1 Assign Dest see Assign Destinations List B81 b LFO2 Assign Dest see Assign Destinations List B84 byvb Phaser Mode 0 6 o Off 1 6 Phaser Stages B86 b Vb Phaser Rate 0 127 B88 b Vb Phaser Frequency 0 127 Bgo b Vb O Phaser Spread 0 127 268 CHAPTER 24 Appendix B98 b Vb BassTune 0 127 B oo b Vb Distortion Curve 0 6 0 Off 1 Light 2 Soft 3 Middle 4 Hard 5 Digital B12 b Single Name Chari o 32 127 ASCII B14 b Single Name Char3 32 127 ASCII B16 b Single Name Char5 32 127 ASCII B18 b Single Name Char7 32 127 ASCII B120 b Single Name Charg 32 127 ASCII B 22 b Filter Select 0 2 o Filt 1 Filt2 2 Filt 2 B124 b Vb Category2 ACCESS VIRUS OS4 269 Parameters Describtion C5 m np Multi Name Chan 32 127 ASCII C7 m np Multi Name Char3 32 127 ASCII C9 m np Multi Name Char5 32 127 ASCII Cn m np Multi Name Char7 32 127 ASCII C13 m np MultiNameCharg 32 127 ASCII C22 m np Delay Output Sel 0 14 o Out l 1 OutiL R 2 Outir ect C32 m bp Part Bank Change 0 3 Bank A D C34 m Part Midi Channel 0 15 1 16 C
203. s point we would like to men tion the OSC VOL pot in the MIXER section The portion of the control range from the far left to the cen 28 CHAPTER 4 Introduction ter position 12 o clock determines the volume of the filter section s MIX input signal The portion of the control range located to the right te of the center position 12 o clock i gt does not achieve any increase in 4 ie volume it simply intensifies the eee degree of SATURATION or distortion This effect is only achieved when ee you have activated a SATURATION Gi 3 curve The intensity of the remain ing available DSP effects is also E controlled via the OSC VOL knob wi oi 1 S4y lt 6 OSC VOL Feel free to experiment with the Tn diverse SATURATION Curves and be THE SECOND FILTER sure to vary the OSC VOL settings Note how the different CUTOFF and RESONANCE settings influence the SATURATION curve You probably noticed that by a adding a bit of SATURATION to the signal you can come up witha pretty heavy aggressive sound especially with a low filter fre quency level and high resonance You re probably thinking these types of sounds could do with some more filtering We had the same idea which is one of the rea sons why we equipped the Virus with another filter per voice The technical design of this second filter is identical to the first so we won t discuss it in as much detail as we did the first filter However there
204. s set to Auto the Virus automatically activates this level indicator mode when the selected SINGLE program accesses the external audio inputs The LEDs will flash rapidly to indicate that the inputs are being overloaded Signals within the Virus may also be overloaded and may distort when their levels are too high Inherently a virtual analog synthe sizer s resonating filters and high level of polyphony lend signal lev els considerable dynamic poten tial We could only rule out this type of distortion entirely by low ering the fundamental output of the device significantly or by limit ing specific parameters However this type of problem occurs only in a very few very specific scenarios Since the problem is so context related we chose not to lower the device s output power or limit its parameters Instead we recom mend that you simply lower signal levels Patch Volume etc to pre vent undesirable distortion To help you keep an eye on signal levels you can activate LED mode to visually monitor the levels and amount of distortion of the three audio outputs and two aux buses ABOUT THE DELAY REVERB DELAY REVERB Effect Send The Effect Send parameter works like a classic aux send knob ona mixer post fader i e it adjusts the level of the global DELAY REVERB effect signal without influ encing the dry signal However the dry signal is faded out in the final third of the control range so that you can
205. s you control how the Virus steals notes when its polyphonic performance is maxed out In the first position LOW the voices of all PARTS have the same priority when one voice is switched off to accommodate a new voice When you set the Prior ity of a PART to High the Virus will not steal any notes from the voices of this PART Use this param eter sparingly In other words if you set all Parts to High you re defeating the purpose of this 146 CHAPTER 15 Within the CTRL Menu parameter In this case it wouldn t have any effect since the priority of all voices is the same 1 B36 1 1BASS FP Priority Lou KEYRANG In MULTI mode you can limit the note range of individual PARTS Use the LowKey and High Key parameters to define the upper and lower limits of the note range to which the PART will respond This lets you assign the sounds of several PARTS that are addressed by the same MIDI chan nel to different keyboard zones to create what are called split sounds If however you adjust the two parameters so that the value of LowKey lies above that of HighKey the note range between these two high and low limits is disabled and the PART will respond only to notes the lie above and below this zone LOW KEY Determines the lowest MIDI note that the PART responds to 1 B36 161BA Lowk es 7 WI Ww cl l ba a 70 HIGH KEY Determines the highest MIDI note that the PART responds to 1 B36 1
206. sEx Parameter change or Single Dump the part is addressed by the part number irre spective of the actual MIDI chan nel setting b Sound Parameter of Bank B Accessible by MIDI Polyphonic Pressure SysEx Parameterchange and Single Dump The Sound Parameters are stored with a Sin gle Sound When received as Poly phonic Pressure the Sound Parameter is received only by the Multi Part with the lowest part number if more than one Multi Part is set to the same MIDI chan nel When received as SysEx Parameterchange or Single Dump the part is addressed by the part number irrespective of the actual MIDI channel setting m Multi Parameter Accessible by SysEx Parameterchange and Multi Dump The Multi Parameters are stored with a Multi Patch ms Multi Single Parameter When in Single Mode the parameter is received and stored with the Single Sound When in Multi Mode the parameter is received and stored with the Multi Patch In Multi Mode the Single Sound settings are ignored while the correspond ing Multi Patch settings are active np Non part sensitive Sound Parameter When in Multi Mode the parameter affects all Multi Parts bpc Bank Program Change Parameter Bank Select selects the Single bank accessed by a subse quent Program Change similar to the regular Bank Select Bank Change directly changes the Single program to the requested bank without changing the program number Program Change directly changes the Singl
207. section of both oscil lators 1 WELOCITY Fulsellidth 2784 VELOCITY FM AMOUNT Deter mines the intensity of the VELOC ITY control for the frequency modulation 1 WELOCITY FrAmount VELOCITY FILT 1 ENV AMT Deter mines the intensity of the VELOC ITY control for the modulation of Filter 1 s cutoff frequency by the fil ter envelope 1 WELOCITY FiltiEnvAmt 44 134 CHAPTER 14 The Parameters VELOCITY FILT 2 ENV AMT Deter mines the intensity of the VELOC ITY control for the modulation of Filter 2 s cutoff frequency by the filter envelope 1 VELOCITY QecFoShare 284 VELOCITY RESONANCE 1 Deter mines the intensity of the VELOC ITY control for the resonance of Filter 1 1 VELOCITY fe SoOnance 584 VELOCITY RESONANCE 2 Deter mines the intensity of the VELOC ITY control for the resonance of Filter 2 1 VELOCITY fe SOonances H4 VELOCITY VOLUME Determines the intensity of the VELOCITY control for the volume 1 WELOCITY Uolume 7H4 VELOCITY PANORAMA Determines the intensity of the VELOCITY con trol for the Panorama position 1 VELOCITY Panorama 584 RA 136 CHAPTER 15 Within the CTRL Menu COMMON CLOCK TEMPO The Virus is equipped with a global clock gen erator that lets you sync LFOs arpeggiators and delay effects up to acommon song tempo and rhythm The clock generator works either internally with a freely vari able speed or it can in turn by synced up to the
208. should also dial in the second oscillator set OSC BALANCE to the ACCESS VIRUS OS4 235 Oscillators center position and use DETUNE to do just that to its pitch relative to the first oscillator Next to LFO1 LFO3 is also able to generate pulse width modulation However unlike LFO1 LFO3 s mod ulation algorithm was tweaked specifically to deliver what we con sider hip pulse width modulations Note that LFO3 PWM often delivers smoother results particular a softer tighter sound for pads Another advantage of LFO3 is that it frees up LFO1 so that you can use it for other sonic chores By the way KEYFOLLOW should also be activated for LFO3 Oscillator Sync FM On the Virus Oscillator 1 is always the component that determines the frequency for the two func tions oscillator synchronization SYNC and frequency modulation FM This means that you can use both of these options at the same time With frequency modulation you can create extremely complex spectra whereby inharmonic fre quency components are filtered out so to speak in the course of 236 CHAPTER 23 Tips tricks and other Words of Wisdom synchronization An infinite num ber of new harmonic spectra can be thus generated with the param eters FM AMOUNT and OSC2 SEMI TONE Moreover these spectra can be modulated continuously via envelopes and LFOs FM and SYNC will of course also work with the 64 digital waveforms 2 A 0 6 0 1
209. source is routed to the filter sec tion In contrast to DYNAMIC mode in STATIC mode one or two voices depending on the INPUT SELECT setting see appropriate section of the Virus are activated automatically without you actually playing notes on this PART The fil ters and the amplifier are switched permanently open the envelopes are deactivated and incoming notes are ignored Consequently you can use the filters and the amplifier as an effects section for the input signal gt TO EFFECTS The audio signal is routed directly to the effects sec tion of the SINGLE program or the PART In this mode the voices of the Virus are not used which means that polyphony remains fully intact The filter section is unavailable in this mode 1 IHPUT GLOBAL Mode Dsnsamicd Input Select Selects the external signal source for the INPUT MODEs The signal source that you select here is used for both the vocoder and the ring modulator in the effects section INL The left channel of the external dual audio input IN LAR Both channels of the external dual audio input stereo INR The right channel of the external dual audio input AUX1L The left channel of internal Aux 1 ACCESS VIRUS OS4 153 Input AUX 1 L R Both channels of internal Aux 1 stereo AUX1R The right channel of internal Aux 1 AUX 2L The left channel of internal Aux 2 AUX 2 L R Both channels of internal Aux 2 stereo AUX 2 R The right channel of internal Aux 2
210. sure or SysEx messages depending on the setting in CTRL MIDI CONTROL LoPage HiPage This function sends the SINGLE program that you are currently processing the contents of the Edit buffer The Controller Dump is not an alternative to a normal Single Dump since it takes so much longer to transmit data However it does allow you to send a com plete Single sound to a parameter based editor Logic Environment Cubase Mixer that is compatible with the Virus for the purpose of updating the editor gt SINGLE BUFFER This option dumps the data of the SINGLE pro gram that you are currently pro cessing the Edit buffer gt SINGLE BANKA All 128 sound programs of Bank A are sent gt SINGLE BANK B All 128 sound programs of Bank B are sent gt MULTI BUFFER This option dumps the data of the MULTI pro gram that you are currently pro cessing the MULTI s Edit buffer Please bear in mind that with this option merely the MULTI parame ters and not the associated SINGLE sounds are transmitted gt ARRANGEMENT The current MULTI and the SINGLE programs involved can be transmitted in one go with this option To shorten the amount of time that this dump takes only the sounds of those PARTs whose Part Enable option is set to On are sent gt MULTI BANK All MULTI pro grams are transmitted with this option Please bear in mind that with this option merely the MULTI parameters and not the associated SINGLE soun
211. t ClockTempo NoiseColor RingModMix Lfo2AssignAmt Foot Contr12 PatchVolume UnisonDetune ChorusDepth DelayFeedback OsciSemitone FmEnvAmount FiltiEnvAmount Lfo1 gt Osc Lfo2Symmetry Lfo2 gt Panorama PulsWidthVel Resonance2Vel Assign2Amt2 InputThru DelayColor Osc3Volume PhaserMix ACCESS VIRUS OS4 283 Definable Knobs Destinations PhaserRate PhaserDepth PhaserFrequenc PhaserFeedback PhaserSpread ArpMode ArpPattern ArpClock ArpNoteLength ArpSwing 284 CHAPTER 24 Appendix Model Access VIRUS Synthesizer MIDI IMPLEMENTA Version 4 0 Date 6 9 2000 Function Transmitted Recocgnized Remarks Basic Default 1 1 Channel Changed 1 16 1 16 Default X X Mode Messages X X Altered KKKKKKKKKKKK X Note 0 127 0 127 Number True Vorce KASAR 0 127 Velocity Note ON O O Note OFF X X After Key s X X Touch Ch s X O Pitch Bender X O 14 Bit 1 0 O Modwheel 2 0 O Breath Control 5 10 O Portamento Time Control Change TQ O Volume 10 0 O Panorama 32 0 O Bank Select 64 O O Sustain Prog True O O Change KKKKKKKKKKKK 0 127 ACCESS VIRUS OS4 285 MIDI Implementation Chart System Exclusive O O System Song Pos O X Song Sel X X Common Tune X X System Clock X X Start Stop Realtime Commands X X Continue Aux Local ON OFF X X Mes All NotesOff X O Sages ActiveSense X O Reset X X Note See MIDI
212. tand any thing We want to encourage you to experiment with mirror sym metrical sounds using this func tion It is definitely worth a try VOCODER Ge Se Ge 2 Oe o o le o ic o R 100 100 CARRI CENTER FREQUENCY Q FACTOR ACCESS VIRUS OS4 207 The parameters of the VIRUS vocoder VOCODER ER MODU LATOR Oe 6 6 MODULATOR OFFSET Ge S5 o fe o le ATTACK RELEASE FREQ SPREAD SELECT Se e Be o lie o 64 SPECTRAL BALANCE BAND QUANTITY This picture shows the filter section in vocoder mode Modulator Frequency Offset Knob CUTOFF 2 Default o mid dle A linear shift of the modula tor bank s central frequencies against the carrier bank results in pitch shifting and mickey mouse effects CUTOFF2 creates an offset of the modulator to the carrier bank Q Factor Knob RESONANCE Default o left The resonance parameter controls the quality of the filter bands like an equalizer s q factor Depending on the filter select setting the banks are adjusted together or indepen dently FILT1 is assigned to the car rier FILT2 controls the modulator A low quality factor of the carrier bank leads to a fairly neutral repro duction of the carrier signal A higher guality creates a higher res onanc
213. that feature an infinitely variable con trol range ergo you have more than 100 modulation destinations at your disposal If you haven t selected a source for one of the ASSIGN options SOURCE OFF the subordinate parameters will not be displayed In addition to the three ASSIGN options the user interface features as discussed earlier a freely definable modulation destination for LFO 1 and 2 called ASSIGN You ll find a list of available SOURCEs and DESTINATIONS in Appendix on page 251 ASSIGN 1 SOURCE Selects the mod ulation source for the first modula tion assignment m 1 ASSIGH 1 Source Chanfresd Li ASSIGN 1 DESTINATION Selects the modulation destination for the first modulation assignment SIGH 1 AS t Panorama 1 De Wi ACCESS VIRUS OS4 131 Assign Controls the intensity of the first modulation allocation 1 ASSIGH 1 Amount 14 ASSIGN 2 SOURCE Selects the modulation source for the second modulation assignment ASSIGN 2 DESTINATION 1 Selects the first modulation destination for the second modulation assign ment ASSIGN 2 AMOUNT 1 Controls the intensity of the second modulation assignment for the first modula tion destination ASSIGN 2 DESTINATION 2 Selects the second modulation destina tion for the second modulation assignment 132 CHAPTER 14 The Parameters ASSIGN 2 AMOUNT 2 Controls the intensity of the second modulation assignment for the seco
214. the RAM by loading it to a sequencer via Total Dump Be advised that RAM content is lost when the battery is swapped see Midi Dump TX on page 174 Care gt Do not open the device it is not equipped with any user service able parts Repair and mainte nance may only be carried out by qualified specialists gt Use only a dry soft cloth or brush to clean the device gt Do not use alcohol solvents or similar chemicals These can dam age the surface of the housing Fitness for Purpose This device is designed exclusively to generate low frequency audio signals for sound engineering related purposes Any other use is not permitted and automatically invalidates the warranty extended by Access Music Electronics GmbH ACCESS VIRUS OS4 9 10 CHAPTER 2 Safety Remarks Prologue Dear Virus Owner Congratulations on your choice the new Virus You have purchased a cutting edge synthesizer that comes fully loaded with several revolutionary features Here are just a few of the highlights The Virus delivers the sound char acteristics and tone of traditional analog synthesizers for instance the Prophet 5 or Memorymoog to name just two popular examples of the species in a previously unparalleled level of quality and handling ease We re not kidding the Virus actual delivers the authentic response of an analog synth via a digital signal processor chip although the sound shaping and voicing optio
215. the devices that could store sounds were introduced To this end the response of the Virus is manipulated so that it smoothes changes in parameter value Con veniently this feature is dynamic meaning that it takes into account the way these values change However smoothing is many cases undesirable For example left to its own devices this feature would smooth deliberate more radical knob movements where one value jumps to the next thus creating unintentional glitches For exam ple this type of response would 218 CHAPTER 22 The Virus and Sequencers defeat the purpose of effects gen erated by a step sequencer s con troller messages as well as gater effects that you programmed in your sequencer You can adjust Adaptive Parameter Smoothing via a function called Control Smooth mode in the EDIT menu COMMON SmoothMode to accommodate different sonic situations OFF Adaptive Control Smoothing parameter smoothing is disabled gt Application Parameter jumps are carried out without glitches This option is ideal when you want to create gating and similar effects e g via a step sequencer where parameter values change abruptly Side effect Continuous parame ter changes be it movements controlled via automated knobs or via MIDI are incremental which means you ll have to take zipper noise into account ON Adaptive Control Smoothing is enabled gt Application Parameter changes
216. tions If this product is found to be the source of interference which can be determi nated by turning the unit OFF and ON please try to eliminate the prob lem by using one of the following measures Relocate either this product or the device that is being affected by the inter ference Utilise power outlets that are on branch Circuit breaker or fuse circuits or install AC line filter s ACCESS VIRUS OS4 287 FCC Information U S A 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 co axial type cable If these corrective measures do not produce satisfactory results please con tact the local retailer authorised to distribute this type of product The statements above apply ONLY to products distributed in the USA 288 CHAPTER 24 Appendix FCC INFORMATION CANADA The digital section of this apparatus does not exceed the Class B limits for radio noise emmissions from digital apparatus set out in the radio interfer ence regulation of the Canadian Department of Communications Le present appareil numerique n emet pas de bruit radioelectriques depas sant les limites applicables aux appareils numerique de la Class B pre scrites dans la reglement sur le brouillage radioelectrique edicte par le Ministre Des Communication du Canada This only applies to products distributed in Canada Ceci ne s applique qu
217. to detail on them again 2 ole ida e Ge 0 0 SHAPE SEMITONE DETUNE o Go 6 O O Sr o le o le PW EDIT SYNC FM AMOUNT 38 CHAPTER 4 Introduction Locate the pot labeled DETUNE and slowly rotate it to the right from the far left position which is preset in the sound program You can hear the tone start to waver and as you turn the pot further to the right how this vibrato effect increases until Oscillator 2 sounds distinctly out of tune with Oscilla tor 1 This wavering or vibrato type effect has a popular traditional in synthesizers It is used to achieve chorus effects create sounds remi niscent of stringed instruments string sections or simply beef up the sound The SEMITONE pot enables you to transpose Oscillator 2 by plus minus four octaves in semitone steps while Oscillator 1 maintains the pitch This feature is especially interesting when used in conjunc tion with two other oscillator func tions synchronization and frequency modulation Locate and activate the SYNC but ton in the OSCILLATOR 2 section the LED must illuminate The syn chronization function forces Oscil lator 2 to restart its wave cycle at the same time as Oscillator 1 wave shape starts its cycle The initial effect of this measure is that the wavering tone that resulted from detuning and mixing the oscillator signals disappears The SYNC effect really becomes interesting when you transpose Oscillator 2 upwards in
218. tomatically influ ences an imaginary volume pot turns it up or down At the begin ning of the note ATTACK controls the rise or rate of increase to the maximum level Once the maxi mum level is achieved DECAY determines the fall or rate of decrease to the SUSTAIN value which is infinitely variable between the minimum and maxi mum levels The amplifier enve lope may remain at this value until the end of the note fall towards the minimum level as determined by the variable T ME value or even rise again towards the maximum level After the end of the note RELEASE controls the fall or rate of decrease to the minimum level Consequently the control pots labeled ATTACK DECAY TIME and RELEASE control a speed or rate where as SUSTAIN actually con trols a level THE FIRST FILTER Now we will take a look at a com ponent of a synthesizer that is generally regarded as the most important functional unit as it enables drastic sound shaping measures the filter or in the case of the Virus the two filters But first we will concentrate on just one of the two filters FILTERS 6 6 CUTOFF RESONANCE ENV AMOUNT KEYFOLLOW FILTER BALANCE le FULT Farz OrO Osera O 2 Oe O a AM 2 OHO O sers r Fi ke Ono O er CUTOFF 2 ATTACK DECAY DIT AILT MODE FILT 2 FILTER ROUTING SELECT Ge 4 oS ve SUSTAIN TIME RELEASE Locate the CUTOFF pot not to b
219. u Parameter for Oscillator 3 109 Menu Parameters of the Suboscillator eee 111 Mixer Parameters within then Oscillator edit Menu 112 Mixer aman almi 113 Filtters Panel 114 Filter Edit Menu 118 Amplifier 0 esessescsceecesesceneeseeneeseenees 122 Main Edit Menu Common 123 SSIS IN ia aaa li Velocity WITHIN THE CTRL MENU 135 COMMON 6ssscsscsnscsssssscdesnsessnsesssseosoevscies 136 ARPEGG ATOR emen 137 DEFINABLE 1 DEFINABLE 2 140 MULTI MODE parameters 142 PARAMETER OF THE FX MENU 149 The internal Effects VI pine ei Follower Envelope Follower Ringmodulator 155 VOCOUER s se hizaie imen sin 156 Distortions aaia 157 Analog Boost 158 Ph ser sank il 159 Chorus a lm ka klan 161 Delay Reverb eeene 162 GLOBAL MIDI AND SYSTEM PARAMETERS 173 GlobalParameters 174 System sale 180 RandomPatches 184 CATEGORIES 187 Sound Categories 188 THE KEYBOARD VERSIONS OF THE VIRUS 189 The Virus kb and the Virus Indigo 190 Local off and Three in One 190 Keyboard amp Company 192 The Keyboard Modes 195 THE VOCODER OF THE VIRUS 201 Vocoder sma
220. u need a tool that limits the effective range of the fil ter This is why we equipped the Virus with a control labeled ENV AMOUNT short for Envelope Amount When the pot is turned counter clockwise to the far left the filter has no effect on the cut off frequency the further you turn the pot to the right the greater the effect the filter envelope has on the filter frequency The maxi mum level of the envelope may lie outside the audible range when the filter has already been partially opened via the CUTOFF pot or was manipulated via other control options In extreme cases where the filter is already completely 26 CHAPTER 4 Introduction open the filter frequency cannot be increased regardless of how high you set the ENV AMOUNT Go ahead and spend some experi menting with different ENV AMOUNT CUTOFF and RESO NANCE settings for the diverse fil ter operating modes Also try varying the settings for the ampli fier envelope You will find that with just these few parameters you are able to come up with a vast amount of sound settings If you are among the many musicians who are associative listeners you might say many of the settings produce sounds reminiscent of stringed instruments some sound picked plucked or snapped others sound bowed For your next experiment set the amplifier envelope so that you hear a constant level when you press and hold a note Now deacti vate the filter envelope by setting the ENV
221. uencer Here the PART numbers are identi cal to the MIDI channels of the PARTs Now when you work in MULTI SINGLE mode the Virus responds as if it were in SINGLE mode except that you have 16 sounds available simultaneously on 16 MIDI channels Use the PART buttons to select these sounds You only need to exit MULTI SIN GLE mode when you want to store the MULTI program for example to save the current global delay reverb setting In MULTI mode these settings are not stored along with SINGLE sounds ACCESS VIRUS OS4 57 Edit Buffers In addition you can activate another complete MULTI program EDIT BUFFERS in MULTI mode only Whenever you play or edit a SIN GLE program its current data is stored in an edit buffer This is an individual memory slot for SINGLE programs that has nothing to do with the memory slots in the sound banks When you activate a new SINGLE its data is copied to the edit buffer There you can edit it as you see fit while the original remains unchanged in the bank When you activate STORE more on this in a bit the content of the edit buffer is copied back to the original slot in the bank or if you so desire to another memory slot In MULTI mode you have one MULTI edit buffer and 16 SINGLE edit buffers for the PARTs at your disposal When you activate another a MULTI program its data is copied from the MULTI bank to the MULTI edit buffer The MULTI program in turn contains address inf
222. ugh 116 CHAPTER 14 The Parameters Db HP The high pass filter works in the opposite manner of the low pass filter It suppresses the lower frequencies in a signal and lets the higher frequencies pass gt BP The band pass filter sup presses both ends of the tonal spectrum and allows only a nar rowly defined bandwidth of the original sound to pass gt BS The band stop filter band reject filter or notch filter works in the opposite manner of the band pass filter It allows all of the fre quencies of a signal except for a narrow frequency band around the cutoff to pass The term notch is fairly descriptive you might say this filter chops a notch out of the sound spectrum FILTER ROUTING This feature offers four filter routing options which allow you to operate the filters in series or in parallel b SER 4 The filters are switched in series with two poles each 12dB both filters have the same slope for a total of four filter poles 24dB P SER 6 The filters are switched in series Filter 1 has four poles 24dB Filter 2 has two poles 12dB so the overall slope is equivalent to six poles 36dB gt PAR 4 The filters are switched in parallel and feature two poles each 12dB b SPLIT The filters are switched in parallel and feature two poles each 12dB Additionally they receive independent input signal s more on this later The stereo position of the signals can also be manipu lated via
223. uncluttered as possible In all modesty we are especially proud of a feature we developed called Adaptive Parameter Smoothing For the first time in the history of synthesizers equipped with memories you can manipulate a knob or control fea ture without an audible step or increment In other words the sound does not change abruptly but SEAMLESSLY No more zipper noises The Virus responds just as smoothly as analog synthesizers did prior to the introduction of dig ital sound storage And users of contemporary soft ware sequencers will appreciate the fact that the Virus sends all sound shaping commands imme diately in the form of MIDI Control ler or Poly Pressure data and of course accepts all of the corre sponding Controller and SysEx messages This feature lets you dynamically control the Virus and all its functions via computer 14 CHAPTER 3 Prologue Although far from complete the features listed above give you some indication that you now own an exceptionally versatile high quality musical instrument that will give you plenty of joy for years to come We certainly hope you can fully exploit the enormous potential of this fine instrument Have fun and enjoy Your Virus Development Team By the way a rack mounting kit is optionally available for the Virus b Feel free to get in touch with your local authorized dealer for more info Many thanks to Ben Crosland Thomas Green Axel Hartmann Uwe G Ho
224. ut ing power This reduces the maxi mum number of voices dependent on the number of vocoder bands used A vocoder with 32 bands takes approximately 4 voices away although the vocoder only starts to reduce the number of voices when there is an audio signal at the vocoder input 10 seconds after the signal is diminished the VIRUS frees the voices again to get back the maximum polyphony As mentioned before the whole filter section is exchanged to the vocoder parameters parameters like saturation or the filter routing are not available anymore If you would like to use the vocoder as an external effect device choose one external input in the VOCODER MODE parameter page modulator signal and the carrier signal by the INPUT SELECT page A similar task has to be performed to use several multimode parts to feed the vocoder Use OUTPUT SELECT OutSel within the desired multimode patches to route them to the auxiliary sends Then select these auxiliary sends in the VOCODER MODE and INPUT page Isn t that easy The auxiliary sends of more than one part are mixed automatically similar to a mixing desk There fore a whole drum track which consists of several multiparts for several instruments can be used at once to drive the vocoder s in Using FILTER BALANCE you can bal ance the level of the original sig nal The effect section chorus delay and the output selection can be used in a vocoder patch The v
225. ut is infinitely variable SELECT This parameter controls the balance of levels between the nor mal and the second audio output This means that depending on the given application SECOND BAL ANCE can serve as an effect send knob when an external device is patched in via the second output or another PART of the Virus is patched in via the aux buses It 124 CHAPTER 14 The Parameters also serves as a back front knob when you want to create a quadra phonic signal 1 SECOND OUTPUT SELECT OFF 4 BALANCE With this parameter you can mix the output signals of the PARTs individually to the second output that you chose by means of the SELECT option When it is set to the OFF position you will only hear only the conventional output when it is set to 127 the signal is routed exclusively to the second output The values in between these two extremes determine the weighted balance between the conventional and the second out put In conjunction with the conven tional output of the given sound you end up with a quadraphonic signal that is suitable for Surround applications Using Panorama left right and the SECOND OUTPUT Balance front back you can cre ate a genuine quadraphonic mix in the Virus The second output can also serve as an FX loop To this end all you have to do is connect it to an exter nal effects device The Balance parameter then serves as an effect send knob that determines the balance bet
226. ween the direct or dry signal and the wet or effect signal When you opt to use one of the aux buses as a second output the aux bus can also serve as an FX loop You can route the aux signal to a PART and have the PART pro cess this signal further If no output has been selected for SECOND OUTPUT Select Off the Balance parameter is disabled 1 SECOND OUTPUT BALAHCE OFF 4 Key Mode Determines how a sound responds to the notes being played You can chose from gt POLY The sound is played poly phonically gt MONO1 Multi Trigger The sound is played monophonically When you play in a smooth even style legato the envelopes are restarted every time you play a note Multi Trigger mode Porta mento is always active gt MONO2 Multi Trigger Legato Glide The sound is played mono phonically when you play ina smooth even style legato the envelopes are restarted every time you play a note Multi Trigger mode Portamento is only active when you play legato gt MONO 3 Single Trigger The sound is played monophonically when you play in a smooth even style legato the envelopes are restarted at the first note only and continue to run through their phases when you play other notes Single Trigger mode Portamento ACCESS VIRUS OS4 125 Main Edit Menu Common is always active gt MONO 4 Single Trigger Legato Glide The sound is played monophonically when you play in a smooth even sty
227. when you set the pot to this position Experiment with the diverse FILTER BALANCE positions to get a feel for the different degrees of slope Rotate the CUTOFF pot or activate the filter envelope for both fil ters to hear the filters in action The CUTOFF 2 pot is a special fea ture It controls the cutoff fre quency of the second filter but is subordinate to the CUTOFF pot located above it In other words at the center position 12 o clock the manually selected frequency of Fil ter 2 is identical to that of Filter 1 When you rotate the pot to the left the cutoff frequency level of Filter 2 is increased relatively to Filter 1 when you turn to pot to the right the cutoff frequency level is decreased relatively Now when you adjust the CUTOFF pot you adjust the cutoff frequency of both filters by the same measure This feature lets you determine a differ ence in values in the filter frequen cies called an offset via the CUTOFF2 pot which remains con stant whenever you adjust the CUTOFF pot Yet another experiment in which you can come up new filtering characteristics that are typical of the Virus Set the FILTER BALANCE pot to the center position 12 o clock and CUTOFF 2 to the maximum level The FILTER ROUTING operating mode must remain SER 6 Set CUT OFF and RESONANCE to a middle value and select a clearly audible SATURATION curve Now you can filter this complex signal produced by a combination o
228. y LFO You can select from among 6 Share 14 DELAY OUTPUT SELECT Here you can select the external or internal Delay output The same destinations are available as for the PART signals This feature lets 168 CHAPTER 16 Parameter of the effects menu you route the Delay signal to the internal aux paths for further pro cessing i DELAY Qutsel Out 14274 The following parameters will only appear in the display when you re working with DELAY algorithms REVERB TYPE This parameter lets you select from among four different room sizes to create the type of simulation that you want Room size is decisive because it determines the density of room reflections which in turn influences the character of the room simulation In bigger rooms sound travels across greater dis tances than in a small room which means that the intervals between the reflections bouncing off the virtual walls are also greater Simu lating bigger rooms requires more delay memory which leaves you with less memory available for pre delay effects PREDELAY see below On the other hand you can deter mine the decay time of the room simulation independently for the room size of your choice You can select from among 1 REWERB Tyre Ambienced REVERB DECAY TIME This parameter determines the decay time for the given room In a real room the sound bounces off several walls and covers a con siderable distance before it reaches your
229. y pressing the same menu button lt PARAMETER gt 0 Se BANK s 2 e e o l2 VALUE PROGRAM 62 CHAPTER 6 Handling The menus particularly the EFFECTS menu contain parameter groups that are related by virtue of their function for instance all parameters that are used to con trol the phaser When you switch the phaser off PHASER Dry Eff OFF all Phaser parameters are of course irrelevant and will no longer appear in the menu In other words when the phaser is dis abled you can t view its parame ters The reason for this is to make menus clearer and less cluttered The VALUE buttons let you change the value of a parameter in steps When you hold one of these buttons down the value changes automatically and the longer you hold the button the faster the pace of the value change You can increase this pace even further by pressing and holding one VALUE button and simultaneously press ing the other VALUE button If you press and release both VALUE but tons simultaneously the parame ter is set to its default value mostly zero This pertains to uni polar parameters value range of o to 127 as well as bipolar parame ters value range of 64 to 63 You can also use the VALUE knob to change the value of the selected parameter The VALUE knob responds to the KNOB MODE set tings as described in the paragraph below The triangular icon located next to the parameter value indicates in
230. you will hear Filter 1 Sat uration exclusively whereas Filter 2 is blended into the mix as you rotate the knob towards the center position When the knob is set to the far right position you will hear Filter 2 exclusively whereas Filter 1 Saturation is blended into the mix as you rotate the knob towards the center position Consequently you must set FILTER BALANCE to the center position if you want both filters in series in equal amounts in the signal path ACCESS VIRUS OS4 115 Filters Panel CUTOFF 2 OFFSET Controls the cutoff frequency of Filter 2 Nor mally CUTOFF 2 does not operate absolutely but relatively to CUT OFF The cutoff frequency of the second filter is subordinate to the CUTOFF value you determined for the first filter However you can use the CUTOFF 2 knob to dial in a relative deviation in frequen cies i e a higher or lower fre quency OFFSET When you set CUTOFF 2 to the center position both filters have the same CUTOFF frequency In FILTER EDIT Menu you can access CUTOFF LINK ON OFF to sever the link between CUT OFF and CUTOFF 2 In this case the two knobs CUTOFF and CUTOFF 2 are independent cutoff controls for Filters 1 and 2 respectively FILT 1 MODE amp FILT 2 MODE Selects the operating mode of the indi cated filter gt LP The low pass filter sup presses frequencies higher than the CUTOFF frequency see appro priate section and allows the lower frequencies thro

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