ACCESS VIRUS C SERIES USER MANUAL OS5 ENGLISH VERSION
©2002 Access Music GmbH, Germany. VIRUS is a trademark of Access Music GmbH. All other trademarks contained herein are the property of their respective owners. All features and specifications subject to change without notice. Written by Christoph Kemper, Uwe G. Hönig, Wiland Samolak and Marc Schlaile. Translation by Thomas Green and Howard Scarr. Graphic Design and DTP by Babylonwaves Media. http://www.access-music.de info@access-music.
2 1 Content IMPORTANT SAFETY REMARKS Handling............................................................... 44 All about the memory ........................................... 47 The Modulation Matrix and Soft Knobs..................48 Random Patch Generator......................................50 Categories............................................................ 52 The Effects Section............................................... 52 Audio Inputs ....................................................
ACCESS VIRUS OS5 MAIN EDIT MENU Common .............................................................. 96 Unison Mode........................................................ 99 Punch Intensity .................................................. 100 Envelope Sustain Time....................................... 100 Analog Inputs..................................................... 100 Follower (Envelope-Follower) ............................. 102 Ringmodulator ...................................................
4 1 INDEX INDEX ................................................................
Important Safety Remarks
6 2 Important Safety Remarks Please read all notes carefully before you power the device up. A few fundamental rules on handling electrical devices follow. SET-UP • Operate and store the device in enclosed rooms only. • Never expose the device to a damp environment. • Never operate or store the device in extremely dusty or dirty environments. • Assure that air can circulate freely on all sides of the device, especially when you mount it to a rack.
ACCESS VIRUS OS5 • Use only a dry, soft cloth or brush to clean the device. • Do not use alcohol, solvents or similar chemicals. These can damage 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.
8 2 Important Safety Remarks
Prologue
10 CHAPTER 3 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 characteristics and tone of traditional analog synthesizers in a previously unparalleled level of quality and handling ease.
ACCESS VIRUS OS5 LFOs can run independently or in sync. A number of keyboard trigger options enable you start LFO waveshapes 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 configurations, you can assign three modulation sources to up to nine different modulation destinations via the Modulation Matrix.
12 CHAPTER 3 Prologue
Introduction
14 CHAPTER 4 Introduction THE VIRUS This section provides deliberate, step-by-step guidelines on operating 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 demonstrate the different functional groups, their control features and the tasks they execute.
ACCESS VIRUS OS5 The Virus MASTER VOLUME Controls the overall volume of the VIRUS. This control determines the volume of the signal pair piped through Output 1 before it is converted into an analog signal. This means that under normal circumstances, you should turn Master Volume all they way up because you of course want the VIRUS to deliver the most dynamic signal possible. and so on, simply use the PARAMETER/BANK buttons to step from one program bank to another.
16 CHAPTER 4 Introduction SOUND CATEGORIES To help you find the type of SINGLE sound you are looking for more quickly, the Virus operating system lets you define so-called „categories“ and save this information together with each of your SINGLE sounds.
ACCESS VIRUS OS5 The Amplifier Envelope THE AMPLIFIER ENVELOPE 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 hearing, beginning with the volume characteristics. Locate the section labeled AMPLIFIER at the bottom right of the control feature panel of the VIRUS. Here you can see four pots labeled ATTACK, DECAY, SUSTAIN and RELEASE, respectively.
18 CHAPTER 4 Introduction to others, i.e. the effectiveness of a control feature is altered, modified or even negated completely by other related functions. The final pot, RELEASE, determines the speed or rate at which the volume 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.
ACCESS VIRUS OS5 Filter Modulation 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: - LP the low pass filter we have just discussed. - 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. resonance up.
20 CHAPTER 4 Introduction 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. 6 6 12 0 CUTOFF 0 For your next experiment set the amplifier envelope so that you hear a constant level when you press and hold a note. Now deactivate the filter envelope by setting the ENV AMOUNT to 0.
ACCESS VIRUS OS5 The Saturation Stage wards 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.
22 CHAPTER 4 Introduction 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 are few differences in how you handle the second filter: • Only two control features of the VIRUS are allocated exclusively to Filter-2: Cutoff-2 and FILT 2 MODE. • The RESONANCE, ENV AMOUNT and KEY FOLLOW pots can be allocated to either of the two filters or both simultaneously.
ACCESS VIRUS OS5 The Second Filter In other words, at the center position (12 o’clock) the manually selected frequency of Filter-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.
24 CHAPTER 4 Introduction FILTER ROUTING The final parameter we’ll discuss for the time being is FILTER ROUTING. This feature offers several filter routing options which allow you to operate the filters in series, i.e. patch one after the other in the signal chain, or in parallel, which means side by side in the signal chain: - SER-4 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.).
ACCESS VIRUS OS5 The First Oscillator THE FIRST OSCILLATOR To this point, we have turned our attention exclusively to sound-shaping functions and have always started with the same basic material: 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.
26 CHAPTER 4 Introduction 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 variety of material to work with.
ACCESS VIRUS OS5 The Second Oscillator (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.
28 CHAPTER 4 Introduction OSCILLATORS 12 0 WAVE SHAPE WAVE SEL / PW 0 SYNC AUDITION - 48 48 SEMITONE OSC 1 6 EDIT 6 0 6 OSC 2 0 12 DETUNE 2 / 3 OSC 3 12 FM AMOUNT SELECT pot. What happens is that the wave cycle of Oscillator 2 is interrupted as soon as Oscillator 1 starts its cycle. The pitch of the second oscillator no longer has the expected effect, instead it generates special tones, in some cases for lack of a better description “screaming” type effects.
ACCESS VIRUS OS5 The Third Oscillator THE THIRD OSCILLATOR The VIRUS also has a third main oscillator, which can be used to add more movement and body to the sound. Oscillator 3 is activated using the OSC 3 ON key, and its parameters become available after pressing the OSC 3 selection button. Although the oscillator 3 parameters are no different from oscillators 1 and 2, there is one thing you should keep in mind.
30 CHAPTER 4 Introduction the ring modulator. 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 Oscillator 1 and the SubOscillator are routed to Filter1, whereas Oscillator 2 and the Noise Generator are routed to Filter-2.
ACCESS VIRUS OS5 The LFOs Once you have pressed the lower SELECTbutton button, you can scroll forwards or backwards through the available modulation destinations with the PARAMETER buttons. When the EDIT key in this section is held down, modulation destinations can be selected by turning the SELECT control. Currently you are unable to hear the effect of the LFO as its modulation intensity is set to 0 in the sound program.
32 CHAPTER 4 Introduction of the oscillator mix. When you run into this type of problem, check out the signal routing, if any configurations 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, analyze the unexpected sound and fix the mix. Continued your experiments with different LFO waveshapes.
ACCESS VIRUS OS5 The MOD Section parameter located in the LFO EDIT menu, you can have the ”ramp” rise or fall exponentially. 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 relationship between attack and decay; in other words, their respective rates.. Dial in the desired speed via the RATE pot.
34 CHAPTER 4 Introduction VOLUME AND PANORAMA POSITION You probably noticed that the many of the sound shaping options available in the VIRUS occasionally influence the volume level. For instance, an unfiltered sawtooth 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 reducing the overall volume of the signal. This is why the VIRUS is equipped with a programmable volume pot for each SINGLE PROGRAM.
ACCESS VIRUS OS5 Unison Mode UNISON MODE where two voices are played for every note. In the ”OFF” position, one voice per note is played. When we talked about the oscillators, 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.
36 CHAPTER 4 Introduction THE EFFECTS Reverb decay; FEEDBACK/DAMPING determines the degree of feedback in the Delay signal, or high frequency damping for the Reverb. At the bottom left of the panel is the effects section, divided into an EFFECTS and a DELAY/ REVERB block. This gives you access to Distortion, Phaser and Chorus effects as well as Delay and Reverb. If Delay or Reverb are synchronized to the clock, DELAY/REV TIME controls the time expressed as a note value (1/16, 1/8, etc.).
ACCESS VIRUS OS5 The Effects - RATEREDUCER Variable reduction of the sampling rate; generates digital aliasing effects. - LOWPASS 1-pole lowpass filter; gentle reduction of higher frequencies. - HIGHPASS 1-pole highpass filter; gentle reduction of lower frequencies. The INTENSITY control is used for setting the degree of distortion (in distortion algorithms) or the cutoff frequency (in the two filter algorithms). INTENSITY ranges from very slight to extreme.
38 CHAPTER 4 Introduction the DEPTH i.e. modulation intensity of the LFO. Please note that signal paths in the Virus Chorus/Flanger are stereo throughout: The stereo position and any panorama modulation or stereo spread values are preserved in the processed signal. . DELAY/REVERB 6 12 0 EDIT 6 SEND 6 12 0 DELAY/ REV TIME 0 12 FEEDBACK/ DAMPING DELAY/REVERB The DELAY/REVERB section is responsible for two different effects.
ACCESS VIRUS OS5 More to ComeSoundDiver Virus from the computer (Mac or PC). Even if you prefer to control your Virus with its own knobs and buttons most of the time, SoundDiver still has quite a few useful functions and features which complement the Virus user interface very well. Take for instance SoundDiver’s Memory Manager. This can display the entire memory contents of the Virus clearly arranged on a single page, and has many comfortable functions to help you manage all your Single and Multi programs.
40 CHAPTER 4 Introduction
Concept and Operation
42 CHAPTER 5 Concept and Operation OPERATING MODES In the VIRUS you can select from two basic operating modes, SINGLE MODE and MULTI MODE. In SINGLE MODE, the VIRUS is able to generate a single sound program only. All 32 voices, all effects and most importantly, all control features (with the exception of the MULTI button) function in conjunction 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.
ACCESS VIRUS OS5 Operating Modes the PART numbers are identical to the MIDI channels of the PARTs. Now when you work in MULTI SINGLE mode, the VIRUS responds as if it were in SINGLE mode, except that you have 16 sounds available simultaneously on 16 MIDI channels. Use the PART buttons to select these sounds. You only need to exit MULTI SINGLE mode when you want to store the MULTI program, for example, to save the current global delay/reverb setting.
44 CHAPTER 5 Concept and Operation MASTER CLOCK AND MIDICLOCK The VIRUS has a global clock generator which can be used to synchronize the LFOs, the arpeggiators and the delay/reverb effects to a common tempo. The internal clock generator either works at a definable rate or slaves automatically to any MIDI clock signal (e.g. from a sequencer) arriving at the MIDI IN socket.
ACCESS VIRUS OS5 Handling that you can access these directly - especially while you are playing!. In just a few cases the control features have dual functions. EDIT GLOBAL / RANDOM MULTI EDIT Peripheral parameters, on the other hand, are compiled in menus. Among these menus are above all the EDIT main menu in the display section as well as the six local EDIT-menus in the individual function blocks.
46 CHAPTER 5 Concept and Operation (mostly zero). This pertains to unipolar parameters (value range of 0 to 127) as well as bipolar parameters (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 settings as described in the paragraph below.
ACCESS VIRUS OS5 All about the memory - OFF Knob movements are not displayed; the current contents of the display remain intact when you turn a knob. - ON The lower row of the display is being overwritten by the parameter's value. - SHORT When you turn a knob, the current contents of the lower display line are briefly overwritten by data representing the change in parameter value; once the action is completed, the original contents reappear in the lower display line.
48 CHAPTER 5 Concept and Operation Compare mode lets you hear the unedited sound that was originally stored in this memory slot. Press EDIT or UNDO 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 program numbers of the Compare sound.
ACCESS VIRUS OS5 The Modulation Matrix and Soft Knobs so-called ASSIGN units, which are accessed from within the LFOS/MOD section by pressing the SELECT button and then the entry “MOD”. Each of the the six ASSIGN units can be used to route a modulation source to one or more modulation destinations. Select one of the available modulation sources (under SOURCE) and one or several of the available destinations (DESTINATION). Each destinations has an modulation intensity parameter (AMOUNT).
50 CHAPTER 5 Concept and Operation MULTISINGLE MULTI SINGLE + SOFT KNOB 1 - + SOFT KNOB 2 VALUE These SOFT KNOBS operate in three different modes: - GLOBAL The knob controls the parameter that you have set to Global in the SOFT KNOBS menu regardless of what the other settings and the selected SINGLE program may be. - SINGLE The knob controls the parameter that you have set to Single in the SOFT KNOBS menu.
ACCESS VIRUS OS5 Random Patch Generator The RANDOM PATCH GENERATOR is accessed by pressing the RANDOM button. The results of randomization are sent directly to the edit buffer so they can be listened to immediately. RANDOM can be used repeatedly to cause even more random changes to the sound. If you are happy with the results, you should store the sound in one of the SINGLE programs (Banks A or B).
52 CHAPTER 5 Concept and Operation CATEGORIES The VIRUS gives you the option of classing the stored SINGLE sounds in categories. With the benefit of these categories, you’ll be able to find a desired sound much faster. currently selected category. It doesn’t matter if this sound has been assigned to the category via CATEGORY 1 or CATEGORY 2; in either case, it will show up in the list.
ACCESS VIRUS OS5 Audio Inputs AUDIO INPUTS You can also opt to use external audio signals in place of the on-board oscillators for the sound programs or MULTI PARTs. The VIRUS is equipped with two inputs for external signals. You can route these to its sound generating components (the filters, the saturation stage as well as the volume and panorama stage) or patch them directly to the effects section of the VIRUS. External audio signals may also be used as carrier or modulator signals for the vocoder.
54 CHAPTER 5 Concept and Operation ically 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 possible clean signal level to the analog-to-digital converters of the VIRUS so that they will deliver the best possible performance. ic).
ACCESS VIRUS OS5 Additional functions In contrast to the majority of other effects, the delay/reverb section is not available individually for each PART. Instead, it processes the signals 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 distributed to the outputs of the individual PARTs.
56 CHAPTER 5 Concept and Operation
Synthesis Parameters
58 CHAPTER 6 Synthesis Parameters Oscillators 1 is a sine wave; No. 2 a triangle, the remainder of the waves feature different combinations of frequencies. The following section lists all parameters in • When the SHAPE value is higher than that of the center position, then WAVE SEL/PW determines the pulse width: At the far left position the pulse width is 50%, at the far right it is 0%, which means the wave no longer oscillates. the VIRUS, each with a brief definition or explanation.
ACCESS VIRUS OS5 Oscillator (Edit-Menu) FM AMOUNT Controls the frequency modulation intensity of the second oscillator by the first. Depending on the selected FM AMOUNT and the interval between the oscillators, the frequency modulation generates everything from slightly to radically enriched 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.
60 CHAPTER 6 Synthesis Parameters OSCILLATOR-2 WAVE Selects among of 64 spectral 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. - NOISE The noise generator is the FM source (see also NOISE Color). Excellent for drum sounds.
ACCESS VIRUS OS5 Oscillator (Edit-Menu) FILT ENV -> FM It determines the intensity at which the filter envelope controls the frequency modulation (FM AMOUNT). This as well as the previous parameter are ”relics” from the predecessor model of the VIRUS. Modulations such as these may also be implemented via the Modulation Matrix (see the section ”ASSIGN” below).
62 CHAPTER 6 Synthesis Parameters OSCILLATOR-3 SEMITONE Transposes Oscillator 3 in semitone steps. Control range: +/-4 octaves. (Not available if OSCILLATOR 3 MODE = “OFF” or “SLAVE”.) junction with Oscillator 3 and PHASE INIT, you can create prominent overtones that are initiated at the beginning of a note.
ACCESS VIRUS OS5 Oscillator (Edit-Menu) Filter FILTERS (PANEL) CUTOFF Determines the cutoff frequency of Filter-1 and 2 (with exceptions; see CUTOFF 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, you will hear Filter-1/Saturation exclusively, whereas Filter-2 is blended into the mix as you rotate the knob towards the center position.
64 CHAPTER 6 Synthesis Parameters FILT 1 MODE & FILT 2 MODE Selects the operating mode of the indicated filter: - LP The low pass filter suppresses frequencies higher than the CUTOFF frequency (see appropriate section) and allows the lower frequencies through. - 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.
ACCESS VIRUS OS5 Filter-Edit-MenuFilter Envelope longer it takes for the envelope to fall from its current level to the minimum level, when the key is released. TIME Sets the bipolar time parameter for the filter envelope.
66 CHAPTER 6 Synthesis Parameters - RATEREDUCER Continuous reduction of the digital sampling rate; generates digital aliasing. - RATE+FLW The RateReducer with keyfollow; the sampling rate follows the played pitch. - LOWPASS 1-pole low-pass filter for moderate processing of high frequencies. - LOW+FLW The low-pass filter with keyfollow; the cutoff frequency follows the played pitch. - HIGHPASS 1-pole high-pass filter for moderate processing of low frequencies.
ACCESS VIRUS OS5 Filter-Edit-MenuFilter Envelope at this pitch. In the FILTER EDIT menu you have the option of freely defining the base note under KEYTRACK BASE.
68 CHAPTER 6 Synthesis Parameters 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. 01111111111111111112 1 FILT ENV SusTime 30≤ 61111111111111111154 AMPLIFIER ENVELOPE SUSTAIN TIME See above.
ACCESS VIRUS OS5 Filter-Edit-MenuFilter Envelope Envelopes 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.
70 CHAPTER 6 Synthesis Parameters Mixer NOISE VOLUME The volume of the noise generator. As with the ring modulator, the volume is idependent off the OSC VOL parameter. OSC BALANCE Determines the balance between the Oscillators 1 and 2 volume level. SUB OSC Determines the volume level of the SubOscillator.
ACCESS VIRUS OS5 LFO (Panel)Filter Envelope LFO and ModMatrix AMOUNT (LFO-1) After selecting LFO 1 (via the SELECT button) you can use the lower SELECT button to scroll down through the modulation destinations for LFO 1. If you press and hold the EDIT button at the same time, you can scroll in the other direction.
72 CHAPTER 6 Synthesis Parameters If the modulation intensity for the selected destination is not „0“, its LED stays lit after you quit the menu. 01111111111111111112 1 LFO 1 Amount 12≤ 61111111111111111154 AMOUNT (LFO-3) After selecting LFO 3 (via the SELECT button) you can use the lower SELECT button to scroll down through the modulation destinations for LFO 3. If you press and hold the EDIT button at the same time, you can scroll in the other direction.
ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope Between the two positions Filter-1 and FILTER2 you will find the position Filter-1+2, which lets you jointly control the modulation intensities of both oscillators. In this position, the Filter-1 and Filter-2 LEDs flash. LFO (EDIT MENU) When you set it to OFF, the LFO oscillates in the normal manner, independently of the global Master Clock (CLOCK TEMPO). When you enter a note value here, the LFO rate is synced up to the global master clock.
74 CHAPTER 6 Synthesis Parameters - 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). LFO-1TRIGGER 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.
ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope MIDI clock. When the LFO is synced up to the master clock, you can also select the desired note value via the LFO RATE knob. 01111111111111111112 1 LFO2 Clock 1/24≤ 61111111111111111154 LFO-2 CONTOUR 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.
76 CHAPTER 6 Synthesis Parameters LFO-3 FADE IN This parameter lets you automatically initiate a delayed fade-in the LFO3 modulation that you set up via OSC AMOUNT (see the section above). FADE IN controls the overall delay and fade-in time. 01111111111111111112 1 LFO3 FadeIn 0≤ 61111111111111111154 LFO-3 KEY FOLLOW Controls the intensity of the KEY FOLLOW function - i.e. the rate at which the LFO follows the pitch of a played note. At a value of 0, KEY FOLLOW is deactivated.
ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope For your SOURCEs, you have two different types of modulation sources to chose from. The first type comprises external MIDI controllers such as the modulation wheel or breath 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.
78 CHAPTER 6 Synthesis Parameters ASSIGN 1 AMOUNT Controls the intensity of the first modulation allocation. ASSIGN 3 DESTINATION 2 Selects the second modulation destination for the third modulation assignment. 01111111111111111112 1 ASSIGN 1 Amount +10≤ 61111111111111111154 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 assignment.
ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope ASSIGN 6 SOURCE Selects the modulation source for the first modulation assignment. ASSIGN 6 DESTINATION Selects the modulation destination for the first modulation assignment. ASSIGN 6 AMOUNT Controls the intensity of the first modulation allocation.
80 CHAPTER 6 Synthesis Parameters Arpeggiator Edit The controls in the Arpeggiator section only consists of two buttons: ARP ON switches it on or off, and EDIT opens up the arpeggiator menu: ARPEGGIATOR OCTAVES Controls the ascending transposition of arpeggios by octaves. Control range: 1 to 4 octaves. 01111111111111111112 1 ARPEGGIATOR Octaves 2≤ 61111111111111111154 ARPEGGIATOR MODE Arpeggiator mode is the first parameter in the menu. You can choose between: - OFF Self-explanatory.
ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope When SWING is set to the lowest value (50%), the interval between the individual sixteenth beats is identical and the length of an eighth note is divided into two identical beats; in other words, the rhythm is "binary". At 66%, the rhythm is "ternary", the length of a eighth note is divided by a factor of 2:1. At the highest value, 75%, the eighth note is divided by a factor of 3:1.
82 CHAPTER 6 Synthesis Parameters The internal Effects The Effects menu contains the parameters of the effects section and audio inputs (INPUT). The following effects are available individually per PART – i.e. you have 16 versions available, all in stereo: RINGMODULATOR DISTORTION ANALOG BOOST PHASER CHORUS EQUALIZER - LIGHT, SOFT, MIDDLE, HARD Different analog distortion curves with different characteristics and intensities. - DIGITAL Digital distortion with hard clipping.
ACCESS VIRUS OS5 Chorus (Panel)Filter Envelope The Effects section of the VIRUS features a further distortion module called SATURATION. Its design is identical to that of the DISTORTION module discussed here, except for one major difference: whereas SATURATION affects each voice separately, DISTORTION processes all voices collectively in the effects section. This makes a huge difference in tone.
84 CHAPTER 6 Synthesis Parameters 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 feedback values let you dial in different flanger characteristics.
ACCESS VIRUS OS5 Delay / ReverbFilter Envelope DEPTH SPREAD Controls the intensity of the Phaser frequency modulation by the LFO. Use SPREAD to increase or decrease the distance between the notches and peaks in the frequency spectrum. In other words, here you can adjust bandwidth of the phaser effect.
86 CHAPTER 6 Synthesis Parameters to the room simulation in the signal path. Delay time and feedback are infinitely 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.
ACCESS VIRUS OS5 Delay / Reverb (Menu)Filter Envelope DELAY FEEDBACK (DELAY MODE) Controls the amount of feedback of the Delay. 01111111111111111112 1 DELAY Feedback 22≤ 61111111111111111154 REVERB DECAY TIME (REVERB MODE) This parameter determines the decay time for the given room. In a real room, the sound bounces off several walls and covers a considerable distance before it reaches your ear. The longer the sound travels and the more often it is reflected, the softer it will become.
88 CHAPTER 6 Synthesis Parameters - REV+FEEDB1 This the VIRUS' trademark room simulation. Here you can use the FEEDBACK control to generate pre-delay feedback. The feedback effect generates rhythmic repetitions of the REVERB signal, which are repeated at the intervals determined by the assigned pre-delay time. - REV+FEEDB2 Room simulation with feedback and REV+FEEDB1.
ACCESS VIRUS OS5 Delay / Reverb (Menu)Filter Envelope DELAY COLOR A filter 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).
90 CHAPTER 6 Synthesis Parameters 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 r oom reflections, which in turn influences the character of the room simulation. In bigger rooms, sound travels across greater distances than in a small room, which means that the intervals between the reflections bouncing off the virtual walls are also greater.
ACCESS VIRUS OS5 Delay / Reverb (Menu)Filter Envelope 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 milliseconds - you’re actually creating an “unnaturally” large room. The room simulation will sound washed out or much like a diffuse echo.
92 CHAPTER 6 Synthesis Parameters VOCODER TUNE Controls the frequency range of ANALOG BOOST. For more information on the Vocoder see “The Vocoder of the VIRUS” on page 131 01111111111111111112 1 ANALOG BOOST Tune 32≤ 61111111111111111154 ANALOG BOOST This effect produces the typical bass response of analog synthesizers. By changing the value of the TUNE parameter, you can boost the middle range or even reduce high frequencies.
ACCESS VIRUS OS5 EqualizerFilter Envelope MID-EQ FREQUENCY Center frequency of the midrange bandpass filter. Please note that this can actually be set anywhere between 20 Hz and 24 kHz, i.e. it is not necessarily restricted to what is usually considered “midrange”. MID-EQ Q-FACTOR Midrange bandwidth around the center frequency. Lowering the Q-factor increases bandwidth, so cut or boost will apply to a wider range of frequencies. Increasing the Q-factor narrows the bandwidth i.e.
94 CHAPTER 6 Synthesis Parameters
Main Edit Menu
96 CHAPTER 7 Main Edit Menu COMMON CLOCK TEMPO The VIRUS has a global clock generator which can be used to synchronize the LFOs, the arpeggiators and the delay/reverb effects to a common tempo. The internal clock generator either works at a definable rate or slaves automatically to any MIDI clock signal (e.g. from a sequencer) arriving at the MIDI IN socket. Internal clock speed is controlled by the CLOCK TEMPO parameter, which can be set to any value beween 63 und 190 BPM (Beats Per Minute).
ACCESS VIRUS OS5 Common PANORAMA Determines the Panorama position of the SINGLE program. Dieser Parameter kann auch über Midi mit dem Controller #10 (Panorama) gesteuert werden. 01111111111111111112 1 COMMON Panorama +0≤ continue to run through their phases when you play other notes (Single Trigger mode); Portamento is only active when you play legato. - HOLD The sound can be played polyphonically. However, the played notes are held by a virtual hold pedal even after you release the keys.
98 CHAPTER 7 Main Edit Menu (see “The VIRUS kc and the indigo” on page 126). 01111111111111111112 1 COMMON Transpose +12≤ 61111111111111111154 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. - LIN Starting from the 0 value, (center position) the pitch bend is linear.
ACCESS VIRUS OS5 Unison Mode - NOTE Adaptive Control Smoothing is carried out continuously (smoothed), but jumps in steps when a new note is played. 01111111111111111112 1 COMMON SmoothMode On≤ 61111111111111111154 DETUNE Slightly detunes the voices involved in UNISON mode. 01111111111111111112 1 UNISON Detune 48≤ 61111111111111111154 PAN SPREAD Creates a stereo panorama spread of the voices involved in UNISON mode. Use it connection with UNISON DETUNE to create intense stereo effects.
100 CHAPTER 7 Main Edit Menu PHASE pertains to all LFOs and does not impair the phase response of the LFOs within either of the two voices.
ACCESS VIRUS OS5 Envelope Sustain TimeAnalog Inputs gate does. If you turn FILTER KEY FOLLOW up, the input signal is filtered by a different filter frequency depending on the key you press. The sound program can still be played polyphonically and you can allocate several different filter frequencies and independent envelopes simultaneously (!) to the input signal via the keyboard. - STATIC Instead of the internal sound sources, an external signal source is routed to the filter section.
102 CHAPTER 7 Main Edit Menu 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 OUTPUT SELECT before you can establish a signal connection between the two PARTS. Several PARTs can simultaneously access the external input or the internal aux paths via INPUT SELECT. FOLLOWER (ENVELOPEFOLLOWER) The envelope follower generates a modulation signal from an audio signal.
ACCESS VIRUS OS5 Second Output/SurroundAnalog Inputs tudes of both signals, which provides the frequencies’ sums and differences. The more harmonics in the incoming signal, the more distinct 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 modulator operates in mono or stereo. DIR/EFF - LEFT The ring modulator is inactive, only the direct signal is audible.
104 CHAPTER 7 Main Edit Menu 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 process this signal further. If no output has been selected for SECOND OUTPUT Select (Off), the Balance parameter is disabled.
ACCESS VIRUS OS5 VelocityAnalog Inputs VELOCITY FILT 1 ENV AMT Determines the intensity of the VELOCITY control for the modulation of Filter-1’s cutoff frequency by the filter envelope. VELOCITY RESONANCE 2 Determines the intensity of the VELOCITY control for the resonance of Filter-2.
106 CHAPTER 7 Main Edit Menu SOUND CATEGORY Every SINGLE sound can be assigned to up to two categories by means of the parameters CATEGORY 1 and CATEGORY 2. For example, 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.
ACCESS VIRUS OS5 Soft Knob-1/2Analog Inputs and is stored along with it. The entry is only active when SOFT KNOB-1 MODE is set to SINGLE. When SOFT KNOB-1 SINGLE is set to OFF, the Display page setting SOFT KNOB-1 GLOBAL is activated. 01111111111111111112 1 DEF 1 SINGLE DelayTime (ms)≤ 61111111111111111154 SOFT KNOB-1 GLOBAL This is where you enter the parameter assignment for the SOFT KNOB-1 knob. The entry remains valid regardless of the currently selected SINGLE PROGRAM.
108 CHAPTER 7 Main Edit Menu ate globally and are accessible in the SYSTEM menu at any time irrespective of the given operating mode.
Multi Mode & System Setup
110 CHAPTER 8 Multi Mode & System Setup Multi Mode Parameters Please bear in mind the PART- and/or MULTI-related parameters described in the following are available in MULTI mode only. PART DETUNE Fine-tunes the PART. 01111111111111111112 1 B36 101BASS RP PartDetune +10≤ 61111111111111111154 PART VOLUME SELECT BANK Activates the bank for a SINGLE PROGRAM for the current PART.
ACCESS VIRUS OS5 tion between the two PARTS. Several PARTs can simultaneously access the external input or the internal aux paths via OUTPUT SELECT.
112 CHAPTER 8 Multi Mode & System Setup date a new voice. When you set the Priority of a PART to ”High”, the VIRUS will not ”steal” any notes from the voices of this PART. Use this parameter 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.
ACCESS VIRUS OS5 PRG CHG ENABLE Switches a given PART’s MIDI receive mode for MIDI Program Change messages ON and OFF.
114 CHAPTER 8 Multi Mode & System Setup SYSTEM The following parameters are global parameters and are accessible at any time in the SYSTEM menu regardless of the current operating mode. If you own a keyboard version of the VIRUS, the parameters for the keyboard and other manual control devices will appear at this point.
ACCESS VIRUS OS5 Keyboard KEYBOARD MODE KEYBOARD TRANSPOSE The Keyboard Mode function enables you to select OneChannel or Multichannels and this is how it works: The VIRUS keyboard can be transposed in semitones. Note that this transposition applies to the output of the keyboard, it is not generated within the Virus itself. Transposition therefore also applies to notes sent to the MIDI OUT socket.
116 CHAPTER 8 Multi Mode & System Setup PEDAL-1 INPUT Selects the MIDI controller number of the first pedal. The default value is CC#64 (sustain pedal). 01111111111111111112 1 KEYB PEDAL-1 HoldPedal S65≤ 61111111111111111154 PEDAL-2 Selects the MIDI controller number of the second pedal. The default value is CC#7 (main volume). 01111111111111111112 1 KEYB PEDAL-2 Volume 7≤ 61111111111111111154 PRESSURE SENSITIVITY Adjusts the sensitivity of Aftertouch for the Virus kc and indigo.
ACCESS VIRUS OS5 MIDI This is a global parameter, i.e. it affects all involved PARTs and INPUT DIRECT THRU (see paragraph below). It is not stored along with the SINGLE PROGRAM. INPUT PHONO Since record players have a characteristic frequency response, we equipped the Virus Rack with a suitable Phono equalizer. It may be activated via the INPUT Phono parameter.
118 CHAPTER 8 Multi Mode & System Setup 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 complete Single sound to a parameter-based editor (Logic Environment, Cubase Mixer) that is compatible with the VIRUS for the purpose of updating the editor.
ACCESS VIRUS OS5 MIDI - VERIFY Compares 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’ display will indicate if the device is actually receiving data and it will call your attention to any transmission errors that may occur. Data stored in the VIRUS remains unaffected by this operation.
120 CHAPTER 8 Multi Mode & System Setup ARPEGGSEND MIDI VOLUME ENABLE This parameter determines whether or not (ON or OFF, respectively) the arpeggiator sends the notes it generates to the MIDI Out. This function is a feasible option only when you want to address further sound generators via MIDI. Globally switches the reception of Volume data (Controller #7) on (ENA) or off (DIS).
ACCESS VIRUS OS5 System MIDI DEVICE ID Here you can enter the identification number for system exclusive data transfer. To enable communication between two VIRUS units - i.e. to exchange system exclusive data - you must assign the same MIDI DEVICE ID to both units. 01111111111111111112 1 MIDI DeviceId polypressure data is disabled on the receive side; if you set it to ”Contr”, both polypressure and SysEx data are received.
122 CHAPTER 8 Multi Mode & System Setup To emulate the behavior of earlier operating system version, you need to switch ON the option. 01111111111111111112 1 SYSTEM Arpeggiator ON≤ 61111111111111111154 01111111111111111112 1 SYSTEM MemProtect Off≤ 61111111111111111154 DELAYGLOBAL Enables or disables the delay globally. This global parameter overwrites the Delay/Reverb setting of the individual patches. To emulate the behavior of earlier operating system version, you need to switch ON the option.
ACCESS VIRUS OS5 System ly to reflect the current SEND value of the phaser. To avoid unwanted value jumps in these parameters, you can activate the Show All option and make your adjustments from within the menu instead. LCD CONTRAST Lets you adjust the contrast of the LC display to different light conditions and viewing angles.
124 CHAPTER 8 Multi Mode & System Setup - ON The contents of the display are overwritten when you turn a knob; the original menu does not reappear in the display. 01111111111111111112 1 SYSTEM KnobDispl Short≤ 61111111111111111154 LED MODE Here you can chose between two operating modes for the RATE LEDs of LFO 1 and 2: - LFO The LEDs indicate the oscillations of the LFOs. - INPUT The LEDs serve as level indicators for the two external audio inputs (RATE 1 = Input L; RATE 2 = Input R).
The keyboard versions of the Virus
126 CHAPTER 9 The keyboard versions of the Virus THE VIRUS KC AND THE INDIGO (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. Although the VIRUS kc or the indigo is merely a VIRUS with a keyboard, there are a few characteristics to be considered, which is what the following section deals with.
ACCESS VIRUS OS5 The VIRUS kc and the indigo 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. the other control features. These multiple assignment capabilities enable you to create very complex sound changes, one might call them Sound-”Morphing.
128 CHAPTER 9 The keyboard versions of the Virus 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 manufacturers’ control pedals have a different polarity, so that the pedals do not function correctly with the VIRUS kc / indigo (no control effect or erratic control).
ACCESS VIRUS OS5 The Keyboard-Modes 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 example 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.
130 CHAPTER 9 The keyboard versions of the Virus 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 appropriate keyboard zone. THE INTERNAL + EXTERNAL KEYBOARD ZONE Keyboard Mode =Int+Midi 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.
The Vocoder of the VIRUS
132 CHAPTER 10 The Vocoder of the VIRUS VOCODER Although vocoder sounds have seen a comeback in the recent time, many musicians do not specifically know how they work or even more importantly, how they sound! Various Vocoder presets are stored In the last section of SINGLE bank D (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 necessarily easy to handle.
ACCESS VIRUS OS5 Vocoder THE MODULATOR BANK This cascade of bandpass filters split the frequency spectrum of the modulator into slices, quite similar to the way a studio frequency analyser would. THE ENVELOPE FOLLOWER The level at the output of each bandbass filter is measured by the modulator bank. The resulting control 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.
134 CHAPTER 10 The Vocoder of the VIRUS THE PARAMETERS OF THE VIRUS VOCODER OSC VOL DEFAULT: 0 (MIDDLE) The Vocoder related parameters are located in the EFFECT Menu OSC VOL adjusts the output level of the vocoder.
ACCESS VIRUS OS5 The parameters of the VIRUS Vocoder FREQUENCY SPREAD KNOB: KEYFOLLOW 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 controls the modulator. With maximum KEYFOLLOW (+63) the filters cover the whole frequency spectrum.
136 CHAPTER 10 The Vocoder of the VIRUS VOCODER RELEASE KNOB: FILTER DECAY DEFAULT: 0 (LEFT) The release time of the envelope follower. This parameter controls how fast the carrier bands reflect if a certain frequency disappears from the spectrum 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.
ACCESS VIRUS OS5 Notes about the vocoder: NOTES ABOUT THE VOCODER: can be used at once to drive the vocoder’s in. Using FILTER BALANCE you can balance the level of the original signal. The vocoder can also be controlled by any part of the multimode. If more than one part of the multimode contains an activated vocoder, only the vocoder of the part with the lowest part number is active. The effect section (chorus, delay) and the output selection can be used in a vocoder patch.
138 CHAPTER 10 The Vocoder of the VIRUS
The VIRUS and Sequencers
140 CHAPTER 11 The VIRUS and Sequencers BASICS Sequencers are used for recording and playing back MIDI data i.e. notes and controller information. To receive MIDI, the sequencer’s MIDI Out must be connected to the Virus’ MIDI In. If you want to use a Virus KC or indigo as your master keyboard, its MIDI Out must also be connected to the sequencer’s MIDI In.
ACCESS VIRUS OS5 using the channel of the currently selected track instead. This way you will hear the same sound during recording and playback. If you want to use the Virus as a master keyboard, you should set the parameter "KEYBOARD Local" in the SYSTEM menu to "Off". This cuts the internal connection between the Virus keyboard and its sound generation circuitry so they are only connected via the MIDI cables to and from the sequencer.
142 CHAPTER 11 The VIRUS and Sequencers solved by splitting up its parameters into three Parameter PAGEs for data transport purposes. Each of these three PAGEs can contain up to 128 parameters. A SINGLE program consists of the parameters of the two first PAGEs. Parameters of the first PAGE are assigned to the MIDI controllers, while the parameters of the second PAGE are sent and received by so-called polypressure data.
ACCESS VIRUS OS5 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 control 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.
144 CHAPTER 11 The VIRUS and Sequencers 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. The Control Smooth mode parameter setting is considered a component part of a SINGLE sound and is thus stored with it. Step sequencers let you assign a new cutoff value for every note. You can create the same effect on a conventional sequencer.
ACCESS VIRUS OS5 Arrangement Dump - The Sound in the Song however, you change or replace the sound in the VIRUS at some point? The program change message in the song would call up the wrong sound. The more reliable and certainly more elegant solution would be to store the sound(s) in the song. The VIRUS then receives all settings for sounds at the beginning the song, and you’d prevent hiccups such as the wrong sounds, ”stuck” values and jumps from the get-go.
146 CHAPTER 11 The VIRUS and Sequencers the arrangement rather than the actual SINGLEs, the sounds of all active PARTs are sent separately (for more info on this, see the section 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.
Tips and tricks
148 CHAPTER 12 Tips and tricks MULTI SINGLE MODE VALUE BUTTONS In MULTI mode, the EDIT menus are responsible for administering the 16 PARTs. Consequently, you can’t access SINGLE 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.
ACCESS VIRUS OS5 About the Delay/Reverb 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 signal 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 polyphonically.
150 CHAPTER 12 Tips and tricks patch just the pure effect signal of a MULTI Part through as you would it you were using a conventional dry/wet effect knob. 01111111111111111112 1 DELAY EffectSend its external inputs to any available aux send bus or effect send on your mixer or to the individual outputs 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.
ACCESS VIRUS OS5 Oscillators trols the filters cutoff frequency and creates a typical "Autowah" effect, whereby the filter is opened according to the drumloop's volume (respectively its beats). In addition to this, or as an alternative, you can control other parameters. Of course you can also use the external signal as the modulation sour ce without processing it in the VIRUS at all.
152 CHAPTER 12 Tips and tricks these spectra can be modulated continuously via envelopes and LFOs. FM and SYNC will of course also work with the 64 digital waveforms.
ACCESS VIRUS OS5 Filters Like all other oscillators, the level of Oscillator 3 is controlled via OSC VOL.. FILTERS 36 dB/oct. As you turn the knob to the left, you’re fading Filter-2 out and consequently steadily reducing the slope until you arrive at 24 dB/oct. You can morph from 24 decibels to 12 decibels by using the filter routing option SER 4. In this configuration, both filters have a slope of 12 dB/oct., so it doesn’t matter in which direction you dial the FILT BALANCE knob.
154 CHAPTER 12 Tips and tricks TION) 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. SATURATION CURVE: SHAPER The Shaper’s saturation response differs from that of the other SATURATION Curves. Its characteristic curve is a sine wave with several cycles.
ACCESS VIRUS OS5 Volume Control In contrast to ENV mode (which is available independently of KEY TRIG PHASE), an LFO with KEY TRIG PHASE will continue to oscillate 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.
156 CHAPTER 12 Tips and tricks ble-click on the two Transpose buttons (Panic function) resets Channel Volume and Expression to this unit value. ed and sent back to the VIRUS. Reasonably enough, you should set the controller number for the SOFT KNOB under SOFT KNOB-1/2 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 SOFT KNOB Global setting).
ACCESS VIRUS OS5 MIDIHow to modulate the Vocoder parameters For example: To modulate the CARRIER CENTER FREQUENCY you need to choose FILTER1 CUTOFF as the Modulation Matrix DESTINATION.
158 CHAPTER 12 Tips and tricks 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. PART BANK SELECT ( t h e change is executed only when a program change command is received) Parts to High, you’re defeating the purpose of this parameter.
ACCESS VIRUS OS5 How to install UpdatesHow to modulate the Vocoder parameters INSTALLING A NEW OPERATING SYSTEM The Virus C, kc and indigo use an identical operating system. The differences in hardware is detected automatically. - Load the MIDI file into your sequencer and make sure you have chosen the right MIDI channel and port settings. The MIDI file contains the new software for the VIRUS, packed in MIDI Sysex data.
160 CHAPTER 12 Tips and tricks - Once the loading process is completed, please press [Store] on VIRUS 2; the software will now be burned to the Flash Rom. SOFTWARE UPDATES Access is known for their policy of free software updates. Simply download the latest VIRUS operating 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.
Appendix
162 CHAPTER 13 Appendix SYSTEM EXCLUSIVE DATA VIRUS MIDI SYSTEM EXCLUSIVE 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 0 to 127. Each parameter is represented by one byte with a maximum value of 127. All parameters are individually accessible by SysEx-Parameterchange. The pages A and B represent a Single-Program, thus a Single-Program contains 256 Bytes.
ACCESS VIRUS OS5 System Exclusive Data CONTROL CHANGE MESSAGE (ONLY PAGE A) Bc nn Status byte, c=MIDI channel Parameter Number 0..127 (see parameter list Page A) SYSTEM-EXCLUSIVE-MESSAGE F0 00 20 33 vv Parameter Value 0..127 see parameter list Page A) The Control Change messages are defined as Performance Controller (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.
164 CHAPTER 13 Appendix 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) mm cs Program Number 0..127 [256 multi bytes] Checksum optional {F0,00,20,33,01,dd,11,bb,mm,[256 multi bytes],cs,F7} SINGLE DUMP [message]= 10 Single Dump bb Bank Number 00 Single Edit buffer 01..04: Single Bank A..D ss Program Number 0..
ACCESS VIRUS OS5 System Exclusive Data MULTI REQUEST GLOBAL REQUEST [message]= 31 Multi Request bb Bank Number 00:Multi Edit buffer; 01:Multi Bank mm Program Number 0..127 [message]= 35 Global Request {F0,00,20,33,01,dd,31,bb,mm,F7} [message]= 36 Total Request When bank number 00, the dump destination is the Multi Edit buffer. In this case the program number is ignored.
166 CHAPTER 13 Appendix PARAMETER DESCRIPTIONS No. Class Name Range Value Text A 0 p Bank Select 0..3 A 1 p Modulation Wheel A 2 p Breath Controller A 3 p Contr 3 A 4 p Foot Controller A 5 a Portamento Time A 6 p Data Slider A 7 p Channel Volume A 8 p Balance A 9 p Contr 9 A 10 a Panorama 0..127 A 11 p Expression 0..127 A 12 p Contr 12 A 13 p Contr 13 A 14 p Contr 14 A 15 p Contr 15 A 16 p Contr 16 A 17 a Osc1 Shape 0..
ACCESS VIRUS OS5 Parameter Descriptions Value 167 No. Class Name Range A 27 a Osc2 FM Amount 0..127 Text A 28 a Osc2 Sync 0..1 A 29 a Osc2 Filt Env Amt 0..127 -64..+63 A 30 a FM Filt Env Amt 0..127 -64..+63 A 31 a Osc2 Keyfollow 0..127 -64..+63: A 32 p Bank Select 0..3 Bank A..D A 33 a Osc Balance 0..127 -64..+63: A 34 a Suboscillator Volume 0..127 A 35 a Suboscillator Shape 0..1 A 36 a Osc Mainvolume 0..127 A 37 a Noise Volume 0..
168 CHAPTER 13 Appendix No. Class Name Range A 59 a Amp Env Attack 0..127 Value Text A 60 a Amp Env Decay 0..127 A 61 a Amp Env Sustain 0..127 A 62 a Amp Env Sustain Time 0..127 -64..+63: Fall..Infinite..Rise A 63 a Amp Env Release 0...127 A 64 p Hold Pedal A 65 p Portamento Pedal A 66 p Sostenuto Pedal A 67 a Lfo1 Rate 0..127 A 68 a Lfo1 Shape 0..5 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G .. A 69 a Lfo1 Env Mode 0..1 0:Off 1:On A 70 a Lfo1 Mode 0..
ACCESS VIRUS OS5 Parameter Descriptions 169 No. Class Name Range Value A 88 a Cutoff1 Lfo2 Amount 0..127 -64..+63 A 89 a Cutoff2 Lfo2 Amount 0..127 -64..+63 A 90 a Panorama Amount L f o 2 0..127 -64..+63 A 91 a Patch Volume 0..127 A 93 a Transpose 0..127 A 94 a Key Mode 0..4 0:Poly 1..4: Mono1-4 A 97 a Unison Mode 0..15 0:Off 1:Twin 2..15 A 98 a Unison Detune 0..127 A 99 a Unison Spread A100 a Unison Lfo Phase 0..127 A101 a Input Mode 0..
170 CHAPTER 13 Appendix No. Class A118 a,ms,n Delay Lfo Shape p Name A119 a,ms,n Delay Color p 0..127 A122 g Keyb Local 0..1 A123 p All Notes Off Reverb Damping Range Value 0..5 Text 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G .. 0..127 -64..
ACCESS VIRUS OS5 Parameter Descriptions No. Value 171 Class Name Range Text B 1 b Arp Mode 0..6 B 2 b Arp Pattern Select 0..31 B 3 b Arp Octave Range 0..3 B 4 b Arp Hold Enable 0..1 B 5 b Arp Note Length 0..127 -64..+63c B 6 b Arp Swing 0..127 50%..75% B 7 b Lfo3 Rate 0..127 B 8 b Lfo3 Shape 0..5 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G .. B 9 b Lfo3 Mode 0..1 0:Poly 1:Mono B 10 b Lfo3 Keyfollow 0..127 B 11 b Lfo3 Destination 0..
172 CHAPTER 13 Appendix No. Class Name Range B 34 b,Vb Osc FM Mode 0..12 Value Text 0:Pos-Tri 1:Tri 2:Wave 3:Noise 4:In L 5:In L+R .. B 35 b Osc Init Phase 0..127 0:Off 1..127 B 36 b Punch Intensity 0..127 B 38 b,Vb Input Follower Mode 0..9 0:Off 1:In L 2:In L+R ... B 39 b Vocoder Mode 0..12 0:Off 1:Osc 2:OscHold 3:Noise 4:In L 5:In L+R .. B 41 b,Vb Osc3 Mode 0..67 0:Off 1:Osc2Slave 2:Saw 3:Pulse 4:Sine 5 Triangle .. B 42 b,Vb Osc3 Volume 0..
ACCESS VIRUS OS5 Parameter Descriptions No. Class Name B 67 b Assign2 Source Range see Assign Sources List B 68 b Assign2 Destination1 see Assign Destinations List B 69 b Assign2 Amount1 B 70 b Assign2 Destination2 0..127 Value 173 Text -64..+63 see Assign Destinations List B 71 b Assign2 Amount2 B 72 b Assign3 Source 0..
174 CHAPTER 13 Appendix No. Class Name Range B100 b,Vb Distortion Curve 0..6 Value Text 0:Off 1:Light 2:Soft 3:Middle 4:Hard 5:Digital .. B101 b,Vb Distortion Intensity 0..127 B102 b,Vc Assign 4 Source 0..27 see Assign Sources List B103 b,Vc Assign 4 Destination 0..122 see Assign Destinations List B104 b,Vc Assign 4 Amount 0..127 B105 b,Vc Assign 5 Source 0..27 see Assign Sources List B106 b,Vc Assign 5 Destination 0..
ACCESS VIRUS OS5 Parameter Descriptions No. Class Name Range Value Text C 5 m,np Multi Name Char1 32..127 ASCII C 6 m,np Multi Name Char2 32..127 ASCII C 7 m,np Multi Name Char3 32..127 ASCII C 8 m,np Multi Name Char4 32..127 ASCII C 9 m,np Multi Name Char5 32..127 ASCII C 10 m,np Multi Name Char6 32..127 ASCII C 11 m,np Multi Name Char7 32..127 ASCII C 12 m,np Multi Name Char8 32..127 ASCII C 13 m,np Multi Name Char9 32..
176 CHAPTER 13 Appendix No. Class Name C 69 g Keyb Pedal 2 Contr Range Value Text C 70 g Keyb Pressure Sens 0..127 0:Off 1..127 C 72 m Part Enable 0..1 0:Off 1:On C 73 m Part Midi Volume Ena- 0..1 ble 0:Off 1:On C 74 m Part Hold Pedal Enable 0..1 0:Off 1:On C 75 m Keyb To Midi 0..1 0:Off 1:On C 77 m Note Steal Priority 0..1 0:Low 1:High C 78 m Part Prog Change Ena- 0..1 ble 0:Off 1:On C 85 g Glob Prog Change En- 0..
ACCESS VIRUS OS5 Parameter Descriptions No. Class Name Range C115 g Soft Knob-2 Midi 0..127 Value C116 g Expert Mode 0..2 C117 g Knob Mode 0..5 0:Off 1:Jump 2:Snap 3:Relative (...) C118 g Memory Protect 0..1 0:0ff 1:On 2:Warn C120 g Soft Thru 0..1 0:0ff 1:On C121 g Panel Destination 0..2 0:Internal 1:Int+Midi 2:Midi C122 g Play Mode 0..2 0:Single 1:MultiSingle 2:Multi C123 g Part Number 0..15;40 C124 g Global Channel 0..15 C125 g Led Mode 0..
178 CHAPTER 13 Appendix MULTI DUMP TABLE NO REF NAME RANGE VALUE 32..127 ASCII 0..127 63..190 BPM Multi Delay Mode 0..1 0:Off 1:On Multi Delay Time 0..127 18 Multi Delay Feedback 0..127 19 Multi Delay Rate 0..127 20 Multi Delay Depth 0..127 21 Multi Delay Shape 0..5 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G 22 Multi Delay Output Select 0..127 0:Out1L 1:Out1L+R 2:Out1R .. 23 Multi Delay Clock 0..16 Off, 1/64..3/4 24 Multi Delay Color 0..127 25..31 Internal 0..
ACCESS VIRUS OS5 Multi Dump Table NO REF NAME RANGE VALUE 128..1 43 Part 1..16 Detune 0..127 -64..+63 144..1 59 Part 1..16 Part Volume 0..127 -64..+63; 160..1 75 Part 1..16 Midi Volume Init 0..127 Off, 1..127 176..1 91 Part 1..16 Output Select 0..14 192..2 07 Part 1..16 Effect Send 0..127 208..2 39 Internal 240..2 55 Part State TEXT 0=Unity Gain 0:Out1L 1:Out1L+R 2:Out1R .. Part 1..
180 CHAPTER 13 Appendix NO REF NAME RANGE VALUE TEXT Part State Bitfield: Bit 0 Part Enable 0:Off 1:On Bit 1 Part Midi Volume Enable 0:Off 1:On Bit 2 Part Hold Pedal Enable 0:Off 1:On Bit 3 Keyb To Midi 0:Off 1:On Bit 4 Internal Bit 5 Note Steal Priority 0:Low 1:High Bit 6 Part Prog Change Enable 0:Off 1:On All bytes are shown in decimal representation.
ACCESS VIRUS OS5 Classes MS: MULTI/SINGLE PARAMETER W h e n i n 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 corresponding Multi Patch settings are active. NP: NON-PART-SENSITIVE SOUND PARAMETER When in Multi Mode, the parameter affects all Multi Parts.
182 CHAPTER 13 Appendix MOD MATRIX SOURCES All sources of the SOFT KNOBS-1/2 Off PitchBnd ChanPres ModWheel Breath Contr3 Foot Express Contr 12 Data Balance Contr 9 Contr 13 Contr 14 Contr 15 Contr 16 HoldPed PortaSw SostPed AmpEnv Lfo 3 VeloOn FiltEnv Lfo 1 Lfo 2 VeloOff KeyFlw Random
ACCESS VIRUS OS5 Mod Matrix Destinations MOD MATRIX DESTINATIONS All destinations of the Modulation Matrix Off PatchVol ChannelVol Panorama Transpose Portamento Osc1Shape Osc1PlsWdh Osc1WavSel Osc1Pitch Osc1Keyflw Osc2Shape Osc2PlsWdh Osc2WavSel Osc2Pitch Osc2Detune Osc2FmAmt Osc2EnvAmt FmEnvAmt Osc2Keyflw OscBalance SubOscVol OscMainVol NoiseVol Cutoff Cutoff2 Filt1Reso Filt2Reso Flt1EnvAmt Flt2EnvAmt Flt1Keyflw Flt2Keyflw FltBalance FltAttack FltDecay FltSustain FltS
184 CHAPTER 13 Appendix SOFT KNOB DESTINATIONS All destinations of the SOFT KNOBS-1/2 Off ModWheel Breath Contr3 Foot Data Balance Contr9 Expression Contr12 Contr13 Contr14 Contr15 Contr16 PatchVolume ChannelVolume Panorama Transpose Portamento UnisonDetune UnisonPanSprd UnisonLfoPhase ChorusMix ChorusRate ChorusDepth ChorusDelay ChorusFeedback EffectSend DelayTime(ms) DelayFeedback DelayRate DelayDepth Osc1WavSelect Osc1PulseWidth Osc1Semitone Osc1Keyfollow Osc2WavSel
ACCESS VIRUS OS5 MIDI Implementation Chart MIDI IMPLEMENTATION CHART Function Transmitted Recocgnized 1 1-16 1 1-16 Default Messages Altered X X ************ X X X Note True Voice 0-127 ************ 0-127 0-127 Note ON Note OFF O X O X Key’s Ch‘s X X X O X O 14-Bit O O O O O O O O O O O O O O Modwheel Breath Control Portamento Time Volume Panorama Bank Select Sustain O ************ O 0-127 O O Common :Song Pos :Song Sel :Tune .
186 CHAPTER 13 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 product. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used.
ACCESS VIRUS OS5 FCC Information (CANADA) FCC INFORMATION (CANADA) The digital section of this apparatus does not exceed the „Class B“ limits for radio noise emmissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications.
188 CHAPTER 13 Appendix DECLARATION OF CONFORMITY EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , EN 60065 : 1993 Diese Erklärung wird verantwortlich für den Hersteller abgegeben: EG-KONFORMITÄTSERKLÄRUNG This declaration has been given responsibly to the manufacturer: Für das folgend bezeichnete Erzeugnis/ For the following named product ACCESS VIRUS SYNTHESIZER MODEL C / KC / INDIGO Access Music Electronics GmbH Am Stadion 10 45659 Recklinghausen Germany Recklinghausen, 1.2.
ACCESS VIRUS OS5 Garantie Bestimmung GARANTIE BESTIMMUNG access Music Electronics leistet Garantie für alle nachweisbaren Material- und Fertigungsfehler für eine Dauer von 24 Monaten ab Verkauf oder Aushändigung an den Endverbraucher. Von der Garantie ausgenommen sind alle Schäden, die durch falsche oder unsachgemäße Bedienung, durch falsche Verbindungen mit anderen Geräten oder durch nicht bestimmungsgemäße Verwendung des Gerätes entstehen.
190 CHAPTER 13 Appendix WARRANTY The following stipulations also apply: - Ensure the unit is sent in its original package or one of equal quality. The access music electronics warranty covers all defects in material and workmanship for a period of six months from the date of original purchase. This warranty does not cover defects due to abuse, faulty connections or operation under other than specified conditions.
Index
192 14 Index Index A ADAPTIVE CONTROL SMOOTHING 98, 143 AFTERTOUCH 128 AMPLIFIER 17 AMPLIFIER ENVELOPE 17 ANALOG BOOST 92 ANALOG BOOST INTENSITY 92 ANALOG BOOST TUNE 92 ANALOG INPUTS 100 ARPEGGIATOR 156 ARPEGGIATOR CLOCK 81 ARPEGGIATOR GLOBAL 121 ARPEGGIATOR HOLD 81 ARPEGGIATOR MODE 80 ARPEGGIATOR NOTE LENGTH 80 ARPEGGIATOR OCTAVE 80 ARPEGGIATOR PATTERN 80 ARPEGGIATOR SEND 120 ARPEGGIATOR SWING 80 ARRANGEMENT DUMP 118, 145 ASSIGN 48, 76, 156 ATTACK 17, 64, 69 AUDIO INPUTS 53 AUDIO OUTPUTS 54 AUDIO ROUTING
ACCESS VIRUS OS5 E H EDIT BUFFER 43 EDIT MENU 45 EFFECT 150 EFFECT SECTION 52 EFFECT SEND 150 ENVELOPE 17 ENVELOPE FOLLOWER 102, 150 ENVELOPE MODE 32 ENVELOPE POLARITY 67 EQUALIZER 92 EXPRESSION CONTROLLER 157 HIGH KEY 112, 115, 129 HIGH PAGE 121 HIGH PASS 19 HOLD PEDAL 112 F FILTER 18, 21, 22, 153 FILTER BALANCE 22, 23, 63, 153 FILTER CUTOFF 63 FILTER CUTOFF LINK 67 FILTER ENV AMOUNT 63 FILTER ENVELOPE 64 FILTER GAIN 155 FILTER HÜLLKURVE 19 FILTER KEY FOLLOW 66 FILTER KEYFOLLOW BASE 67 FILTER MODE 64
194 14 Index LFO TRIGGER 155 LFO TRIGGER PHASE 74, 75, 154 LOCAL OFF 114, 126 LOW KEY 112, 115, 129 LOW PAGE 121 LOW PASS 19 M MASTER CLOCK 44 MASTER TUNE 121 MASTER VOLUME 15 MEMORY PROTECT 122 MIDI 121, 157 MIDI CHANNEL 111 MIDI CLOCK 44 MIDI DUMP RX 118, 157 MIDI DUMP TX 117, 145 MIDI IMPLEMENTATION CHART 185 MIDI PARAMETER 117 MIDI VOLUME 112 MIDI VOLUME ENABLE 120 MIXER 70 MOD MATRIX DESTINATIONS 183 MOD MATRIX SOURCES 182 MODULATION 19 MODULATION MATRIX 48 MODWHEEL 115 MULTI CHANNEL 115, 129 MULTI
ACCESS VIRUS OS5 PRIORITY 111, 158 PROGRAM CHANGE ENABLE 113, 120 PULSE WIDTH 27, 151 PUNCH INTENSITY 100 R RANDOM AMOUNT 114 RANDOM PATCH GENERATOR 50 RATEREDUCER 37 RECTIFIER 36 RELEASE 18, 64, 69 RESET FUNCTION 55 REVERB 38, 85, 122 REVERB CLOCK 91 REVERB COLOR 90 REVERB DAMPING 87 REVERB DECAY TIME 87 REVERB EFFECT SEND 86 REVERB FEEDBACK 91 REVERB MODE 87 REVERB OUTPUT SELECT 91 REVERB PREDELAY 90 REVERB SEND 149 REVERB TYPE 90 RINGMODULATOR 29, 70, 102 S SAMPLE&GLIDE 32 SAMPLE&HOLD 32 SATURATION 21
196 14 Index W WARRANTY 190
