Virus TI Series Parameter Reference Manual
Enjoy making waves.
TABLE OF CONTENTS Table Of Contents 11 Oscillators Oscillator 1 (Classic) Oscillator 1 (HyperSaw) Oscillator 1 (WaveTable) Oscillator 1 (Wavetable PWM Oscillator) Tips for auditioning the Wavetables Oscillator 1 (Simple Grain Table) Oscillator 1 (Complex Grain Table Oscillator) Oscillator 1 (Simple Formant Table Oscillator) Oscillator 1 (Complex Formant Table Oscillator) Oscillator 2 (Classic) Oscillator 2 (HyperSaw) Oscillator 2 (WaveTable) Oscillator 2 (Simple Grain Table) Oscillator 2 (Complex Grai
TABLE OF CONTENTS PARAMETER REFERENCE MANUAL 47 Mod Matrix Parameters Special Modulation Sources 51 Modulator Parameters LFO 1 LFO 2 LFO 3 LFO 1 Destinations LFO 2 Destinations LFO 3 Destination 57 Arpeggiator Parameters 59 Effect Parameters Delay Reverb Tape Delay Low EQ Mid EQ High EQ Distortion Analog Boost Chorus Classic Chorus Vintage Chorus Hyper Chorus Air Chorus Character Section Rotary Speaker Vowel Filter Comb Filter Phaser Vocoder Vocoder Parameters on Mod Matrix “Others” Effects I
8 PARAMETER REFERENCE MANUAL 123 Config Menu Parameters MIDI MIDI Dump RX MIDI Dump TX Inputs Audio Clock Global Soft Knob settings Global Tuning Random Patch Generator (PG) 131 System Settings Switches User Interface Mem Protect TABLE OF CONTENTS
10 PARAMETER REFERENCE MANUAL Legal Notice © Copyright 2009 - 2013 Kemper GmbH. All rights reserved. This manual, as well as the software and hardware described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice and should not construed as a commitment by Kemper GmbH.
Sound Parameters
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OSCILLATORS Oscillators The Virus TI has a total of five internal sound-generation sources: Three main oscillators, a sub-oscillator and a noise generator.
14 OSCILLATORS PARAMETER REFERENCE MANUAL parameter instead, controlling how much higher the pitch of the oscillator is than its master. To differentiate this function from standard oscillator synchronization, it is called Sync. Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu. Modulation destination “Osc Balance”.
16 OSCILLATORS PARAMETER REFERENCE MANUAL a unique mix of the two nearest waves, resulting in a smooth morphing of the timbre as you sweep the Index position. a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound, impossible via any other means. With Interpolation at zero position, the waves are blended as smoothly as possible, with the mid-point between each wave representing a 50/50 mix of the two nearest waves.
18 OSCILLATORS PARAMETER REFERENCE MANUAL Hint: If you do not make use of either the PulseWidth or Detune parameters, switch back to Wavetable mode to save on DSP and increase polyphony! Tips for auditioning the Wavetables This parameter can be modulated via the Mod Matrix and the LFO’s - please select ‘Wavetable 1/2 Index’ from the list of available destinations As with the majority of the Wavetable content, it is advisable to audition them at relatively low pitch (we suggest setting Oscillato
20 OSCILLATORS PARAMETER REFERENCE MANUAL Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu. For an effective demonstration, try sweeping from 0 (default) through to 127, with Formant Shift set at 12 o’clock position.
22 OSCILLATORS PARAMETER REFERENCE MANUAL Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. Index Determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound, impossible via any other means.
24 OSCILLATORS PARAMETER REFERENCE MANUAL Oscillator 2 (Classic) The movement within a wavetable will still be recognisable as you sweep through the Index points, but you will notice a very different character to the same table as played by the standard Wavetable oscillator. In contrast to the Simple version, the fundamental frequency is shifted along with the rest of the wave, resulting in a more dramatic effect. Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator.
26 OSCILLATORS PARAMETER REFERENCE MANUAL FM Amount 0 to 127: The intensity of frequency modulation. Modulation destination “Osc2 FM Amount“. Key Follow As in oscillator 1. FiltEnv>Pitch >-64 to +63: How much the filter envelope modulates the pitch of oscillator 2. This was implemented in previous Virus models to facilitate sync sweeps, and has been retained for compatibility reasons. Balance Mirrors the Balance parameter in the oscillator 1 page.
28 OSCILLATORS PARAMETER REFERENCE MANUAL Semitone As in oscillator 1. Modulation destination “Osc2 Pitch“. Key Follow As in oscillator 1. Balance Mirrors the Balance parameter in the oscillator 1 page Detune 0 to 127: Fine-tunes oscillator 2 upwards. Modulation destination “Osc2 Detune“. FM Mode Specifies the type of FM.
30 OSCILLATORS PARAMETER REFERENCE MANUAL Wavetable Selects the current Wavetable - each being a unique collection of different waves from which all manner of different timbres may be achieved. Wavetable Selects the current wavetable - each being a unique collection of different waves from which all manner of different timbres may be achieved. Formant Shift Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones.
32 OSCILLATORS PARAMETER REFERENCE MANUAL Oscillator 2 (Simple Formant Table Oscillator) Oscillator 2 (Complex Formant Table Oscillator) Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. Index Determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves.
34 OSCILLATORS PARAMETER REFERENCE MANUAL Key Follow -64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note number). Press both VALUE buttons at the same time for normal tuning (Norm). Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu.
36 OSCILLATORS PARAMETER REFERENCE MANUAL Value Meaning Hold Polyphonic. Notes are held until they are all released and a new note is played. Osc Volume -64 to -63: Determines the total level of all oscillators and input signals (but not Noise or Ring Modulator) immediately before entering the filters. Note: The value 0 is unity gain i.e. already maximum volume - positive values control Saturation intensity only.
38 FILTERS PARAMETER REFERENCE MANUAL Filters Volume Off, 1 to 127: The output level of the ring modulator. Independent of Osc Volume. Modulation destination “Ring Modulator“. The Virus TI has two multimode filters that can be configured in series, parallel or split (i.e. separate left and right channels with differing signal sources). Saturation Type Meaning Off No saturation.
40 FILTERS PARAMETER REFERENCE MANUAL Filter-1 About the Analog 1pole..4pole filter modes: In addition to the classic Virus filters, famous for their smooth, musical character, the Virus TI Snow offers an analog-style filter, inspired by the ‘ladder’ cascade array of the Minimoog synthesizer. However, where the original offered only a 4-pole lowpass, we have provided the option to choose between 1 and 4 poles on a single filter.
42 FILTERS PARAMETER REFERENCE MANUAL Mode Mode Meaning Low Pass LP. Allows frequencies below the cutoff point to pass through i.e rejects those above the cutoff point. High Pass HP. Allows frequencies above the cutoff point to pass through i.e. rejects those below the cutoff point. Band Pass BP. Allows frequencies close to the cutoff point to pass through i.e. simultaneously rejects those above and below the cutoff point. Band Stop BS.
44 ENVELOPES PARAMETER REFERENCE MANUAL Envelopes Note that the filter envelope generator can also be used for other purposes by setting Filter Envelope as source in the Matrix. Filter Envelope Attack 0 to 127: The time it takes for the filter envelope to rise from 0 to maximum. Decay 0 to 127: The time it takes to fall from maximum to the Sustain level (see below). Sustain 0 to 127: The nominal level after the Decay.
46 PARAMETER REFERENCE MANUAL ENVELOPES Decay 0 to 127: The time it takes to fall from maximum to the Sustain level (see below). Hardware interface: The parameters for Envelopes 3 and 4 can be found in the Single EDIT menu. Press EDIT, then PARAMETER < > to scroll through to the relevant pages. Sustain 0 to 127: The nominal level after the Decay. Virus Control: To edit envelopes 3 and 4, click the FILTER tab.
48 MOD MATRIX PARAMETERS PARAMETER REFERENCE MANUAL Mod Matrix Parameters The MOD menu contains all the parameters for the LFOs (Low Frequency Oscillators) and the Modulation Matrix. You can use a wide variety of modulators to apply dynamic changes to the sound, such as vibrato or tremolo effects, automated sweeps etc. The modulation matrix is used for custom control routing. Six sources can be routed to three destinations each.
50 MOD MATRIX PARAMETERS PARAMETER REFERENCE MANUAL AnaKey 1/2 Fine Use these modulation sources to offset parameters that affect pitch on certain keys. This might include the cutoff of a filter with very high resonance. Note: when applied to other parameters, the effect of Analog Key 1/2 Fine will likely be so subtle that you won’t notice any difference. In this case, please try one of the Coarse versions instead.
52 MODULATOR PARAMETERS PARAMETER REFERENCE MANUAL Modulator Parameters The MOD menu contains all the parameters for the LFOs (Low Frequency Oscillators) and the Modulation Matrix. You can use a wide variety of modulators to apply dynamic changes to the sound, such as vibrato or tremolo effects, automated sweeps etc. Traditionally, LFOs (low frequency oscillators) are used for cyclic modulation e.g. vibrato, tremolo etc..
54 MODULATOR PARAMETERS PARAMETER REFERENCE MANUAL Key Follow Off, 1 to 127: How much LFO1 rate is affected by MIDI note number. Note that Key Follow does not apply when LFOs are in Envelope Mode or are synchronized to the Clock). SHAPE Negative Positive Sine to Triangle to Square Triangle to falling Saw to rising Saw Saw concavity convexity Square pulse width <50% pulse width >50% LFO 2 S&H --- --- All edit parameters for LFO2 are the same as those for LFO1.
56 MODULATOR PARAMETERS PARAMETER REFERENCE MANUAL Modulation destination “LFO1>Resonance“. FM Amount -64 to +63: How much LFO2 modulates the amount of frequency modulation. Modulation destination “LFO2>FM Amount“. Filter Gain -64 to +63: How much LFO1 modulates the total level of all signals before entering the filters. Modulation destination “LFO1>Filter Gain“. Modulation destination “LFO2>Shape“. Resonance -64 to +63: How much LFO1 modulates the resonance of both filters.
58 ARPEGGIATOR PARAMETERS PARAMETER REFERENCE MANUAL Value Meaning Osc1+2 Pulse Width The pulse width of both oscillators at the same time. Osc2 Pulse Width The pulse width of oscillator 2. Sync Phase When Sync is switched on, this defines the absolute phase of oscillator 2 each time it is reset by oscillator 1. Modulating Sync Phase can cause effects similar to pulse width modulation, thus giving the (typically rather cold) sync-sounds more warmth.
60 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Resolution 1/128 to 1/2: The Arpeggiator’s rate expressed as a fraction of a bar in 4/4 time. The minimum rate is therefore one complete arpeggio every 4/4 bar. The standard setting is 1/16 (i.e. 16 beats per bar), and normally does not need to be changed. The actual rate is determined by the Tempo parameter. Note Length -64 to +63: Scales the lengths (hold time) of all notes. Negative values shorten the notes, positive values lengthen them.
62 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Delay Time 0.0 ms to 693.6 ms: Non-synchronized delay expressed in milliseconds. This values is used if Clock (see above) is set to Off. Mode Value Meaning Off No effect. All other parameters will not be visible. Reverb Standard reverb effect with predelay (see “Predelay” parameter below). Feedback 1 Reverb effect with a feedback loop in the pre-delay line, thus allowing multiple reverb tails.
64 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Predelay 0.0 ms to 300.4 ms: The time between the original signal and the reverb signal, expressed in milliseconds. This can be fed back for multiple reverb tails. Send Values between Off and 96 determines how much of the dry signal is sent to the delay. As you increase the value beyond 96, you are determining the balance between the dry signal and the delay output, until at Send = 127 the dry signal is faded out altogether.
66 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Low EQ Frequency 32 to 458: Low shelf (1 pole) cutoff frequency in Hertz. Gain -16 dB to +16 dB: Low shelf cut or boost. Mid EQ Frequency 19 Hz to 24.0 kHz: Centre frequency of the MID EQ. Values above 10,000 are given in kHz. Modulation destination “EQ Mid Frequency”. Q-Factor 0.28 to 15.4: Bandwidth around the centre frequency. Low values are wider, high values are narrower.
68 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Type Diagram Please be aware that you will not be able to hear a new selection made from the Type list until you play a new key. Some parameters are only available on a se´lection of algorithms. Wide Distortion This starts with a distortion shape softer than that of a tube, but you can make it scream like mad when you turn Intensity all the way up.
70 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Type Sounds like ... Tone Control Onion Overdrive A big distortion effect famous for its fuzzy character. This effect uses a dual filter array, similar to the Saffron Overdrive. Use lower values to soften the sound with a low pass filter, and higher values for a brighter, thinner sound. Pepper Overdrive A clear, powerful distortion that’s perfect for making leads cut right through the mix.
72 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Modulation destination “Chorus Mod Depth“. Mod Shape Sine, Triangle, Sawtooth, Square, S&H, S&G: Selects the waveform used to modulate the Delay parameter. Note: If you happen to own an original chorus unit from the analog era, you may notice that our choruses don’t feature a volume boost when you switch them on. This is because of our philosophy to always try to have equal volumes on our effects, compared to the unprocessed signal.
74 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Character Section X-Over Increase the value of the X-Over parameter to shield the lower frequencies of the input signal from the effect of the chorus.
76 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Distance Use the Distance parameter to adjust the distance of the microphones from the cabinet from 4 cm to 30 cm. The closer the microphones, the more intense the amplitude modulation (tremolo) will be. Mix Use the Mix parameter to adjust the balance between the input signal and the output of the Rotary Speaker effect.
78 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Modulation destination “Phaser Feedback“. Carrier Signal Meaning In L, In L+R, In R The carrier is one or both of the audio inputs. Mod Rate 0 to 127: Modulation rate - the speed of the Phaser’s dedicated LFO (a triangle wave) used to modulate the Frequency parameter (see above). Modulation destination “Phaser Mod Rate“. Spread -64 to +63: Simultaneously controls Carrier Spread and Modulator Spread (see below).
80 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Balance -64 to +63: Balance between the carrier and modulator signals. For pure vocoder signal, set this value to <0>.
82 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL Input Follower A modulation signal is extracted from the level of the selected input (see “Input Select” below) and replaces the filter envelope. To hear any effect, turn up ENV AMOUNT and/or use “Filter Envelope” as source in the Matrix. Input Select Value Meaning Off The Input follower is not used. The other parameters in this page will not be visible. Left, L+R , Right Signal source for the envelope follower.
84 EFFECT PARAMETERS PARAMETER REFERENCE MANUAL modulate them. You can, however, use monophonic modulators, such as the modwheel and channel pressure, and you can also use the LFOs. Filter Type This determines the filter behaviour. Choose values between and to achieve a blend of lowpass and bandpass filter effects, and values between and to achieve a blend of bandpass and highpass filter effects. Mod Matrix destination = “Filterbank Poles”.
86 COMMON PARAMETER REFERENCE MANUAL Common Tip: To achieve a nice, stereo tremolo effect, use values only slightly above or below +0. With Mix set to 64 and Phase set to either 0 or 127. This effect can be further enhanced by setting Shape L and Shape R to opposite extremes. Phase Use the Stereo Phase parameter to offset the phase of the sine wave for the left and right channels, thereby widening the stereo image.
88 COMMON PARAMETER REFERENCE MANUAL Bend Up -64 to +63 semitones: How much pitch bend is applied to the oscillators when the Pitch Bender (on a keyboard etc.) is at maximum. Bend Down -64 to +63 semitones: How much pitch bend is applied when the Pitch Bender is at minimum. Bender Scale LFO Phase -64 to +63: How much the phases of all LFOs are shifted against each other. For making Unison sound even more complex. Modulation destination “Unison LFO Phase”.
90 COMMON PARAMETER REFERENCE MANUAL Categories Resonance 1 -64 to +63: How much velocity affects the resonance of filter 1. Filter 2 Env Amount -64 to +63: How much velocity affects the envelope amount of filter 2. Resonance 2 -64 to +63: How much velocity affects the resonance of filter 2. Programs are assigned one or two categories to make it easier to find particular types (Lead, Pad, Drums etc.) via the SEARCH function. Inputs Soft Knob Name Cat 1, Name Cat 2 Off, Acid ...
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Atomizer
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ABOUT ATOMIZER
105 ABOUT ATOMIZER ATOMIZER OPERATIONS MANUAL About Atomizer What Is Atomizer? Atomizer is, at its heart, an instant looping device. It enables you to ‘play’ beat-synced loops on your keyboard in realtime, taken from any audio you choose to send into the Virus TI’s inputs. The loop lengths can range from a 1/2 note (minimum) down to a 1/32nd note, and from there, down to slices so small that they are perceived as pitched notes.
107 ABOUT ATOMIZER ATOMIZER OPERATIONS MANUAL Atomizing audio Reversing Audio Press and hold the A1 key on your keyboard (the next ‘A’ up from the tempo key) - you should hear the incoming audio being swapped with a pretty quick loop which, assuming you tapped the tempo in 1/4 notes, will actually be looping every 1/16th note. Let the note go, and you will immediately it switch back to the original incoming audio. Pushing the D1 key plays the buffered audio backwards.
109 ABOUT ATOMIZER ATOMIZER OPERATIONS MANUAL Modwheel The Modwheel behaves as a crossfade mixer controller. If you move it without holding down any of the action keys, it will have no effect on the incoming audio. At Minimum position, you will hear either the dry input, or the loop you are triggering. As you move the modwheel upwards, you will hear the looped signal fade out through a highpass filter as the incoming audio fades back in through a lowpass..... ...
111 ATOMIZER OPERATIONS MANUAL Applying additional FX If you like, and you *will* like, you can use the Virus TI’s effects section to enhance the Atomizer. Any effect you choose, i.e. Rate Reducer, Phaser, Delay, Reverb etc., will be applied to only the looped or ‘Atomized’ signal, so the incoming audio will always be dry.
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Multi Parameters
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MULTI MODE PARAMETERS
117 MULTI MODE PARAMETERS PARAMETER REFERENCE MANUAL Multi Mode Parameters Panorama -64 to +63: Stereo position of the Part. Overrides/overwrites the Single parameter of the same name. In earlier Virus models, Multi mode programs consisted of multiple Parts, each one referencing a Single program. The downside: Multi programs depended on the location of all their referenced Singles, so if you changed any program while working in Single mode, Multi programs would change accordingly.
119 MULTI MODE PARAMETERS PARAMETER REFERENCE MANUAL Init Volume Patch Volume Off, 1 to 127: Initializes MIDI volume (CC#7) for the current Part whenever this Multi program is selected. See Volume RX below. Quick access to the Patch Volume parameter, used for balancing levels between different programs. Low Key Tempo Quick access to the internal clock rate In Multi Mode, this controls the Master Clock parameter. C-2 to G8: The lowest MIDI note to which this Part will respond.
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Configuration Parameters
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CONFIG MENU PARAMETERS
125 CONFIG MENU PARAMETERS PARAMETER REFERENCE MANUAL Config Menu Parameters This menu is opened by pressing the CONFIG button to the left of the display. It contains global parameters that determine how the entire Virus works. Configuration data does not have to be explicitly stored. Multi Prog. Change Disabled, Enabled: Specifies whether the MIDI message “Program Change” will switch the entire Multi Mode program if received on the global MIDI channel.
127 CONFIG MENU PARAMETERS PARAMETER REFERENCE MANUAL Value Meaning To Edit Buffer Incoming bank data is not stored, but is treated as a series of individual programs. These will appear sequentially in the edit buffer – useful for trying out sounds without having to overwrite an entire bank. Verify Incoming bank data is compared with the memory in the Virus, after which a status message appears. Use this setting to check whether a bulk dump has been successful.
129 CONFIG MENU PARAMETERS PARAMETER REFERENCE MANUAL Characteristic Charateristics Meaning Linear For all applications besides a phono input Phono Vinyl discs have a special frequency response which generally needs adjusting for. Set this parameter to Phono when either connecting a turntable directly or using audio material recorded directly from vinyl (i.e. without deemphasis). Audio Clock Source Specifies the source of audio clock used for synchronization.
131 PARAMETER REFERENCE MANUAL Target Meaning Internal Knobs control internal functions directly and do not send MIDI. Internal+MIDI Knob data is also sent to MIDI Out. MIDI Knobs do not directly control internal functions, the data is sent to MIDI Out only. This setting is similar to the “Local Off” mode found in several other synthesizers. Global Tuning Master Tuning -64 to +63: Fine control over the pitch of the entire Virus, from 50 cents lower to 50 cents higher.
133 SYSTEM SETTINGS PARAMETER REFERENCE MANUAL System Settings This menu is opened by pressing the CONFIG button to the left of the display. It contains global parameters that determine how the entire Virus works. Configuration data does not have to be explicitly stored. Mode Meaning LFO The default value. LED intensity follows LFO oscillation. Ext Inputs LED intensity shows the level of external input. Auto Either of the above, depending on whether there is a signal at the inputs.
135 PARAMETER REFERENCE MANUAL SYSTEM SETTINGS
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