Specifications

PARAMETER REFERENCE MANUAL70
EFFECT PARAMETERS
Chorus
Typically, Chorus is a thickening effect caused by modulating a pair of very short delay lines via a dedicated
LFO, then mixing this with the original dry signal. In combination with Feedback, the Chorus effect in your
Virus is also capable of anging, ensemble, vibrato or resonator effects. Note that if the Mix parameter is set
to Off, the other parameters will not be visible in the menu.
¦ Mix
Off, 1 to 127: Cross-fade between the dry and wet signal. Set this to 64 for maximum Chorus, or to 127 for
a vibrato effects. If set to Off, none of the other parameters in this menu will be visible.
Modulation destination “ChorusMix“.
¦ Type
Choose the Chorus type.
Classic Chorus
¦ Delay
0 to 127: The nominal delay time, modulated by a dedicated LFO (see “Mod Rate” etc. below). Very high
values result in a short but noticable stereo delay effect.
Modulation destination “ChorusDelay“.
¦ Feedback
-64 to +63: The amount of signal fed back into the Chorus input. The Feedback parameter is bipolar be-
cause positive and negative values have different tonal characteristics.
Modulation destination “ChorusFeedback“.
¦ Mod Rate
0 to 127: Modulation rate - the speed of the dedicated LFO.
Modulation destination “ChorusMod Rate”.
¦ Mod Depth
0 to 127: How much the LFO modulates the Delay parameter.
Type Sounds like ... Tone Control
Onion Overdrive A big distortion effect famous for its
fuzzy character.
This effect uses a dual lter array,
similar to the Saffron Overdrive. Use
lower values to soften the sound
with a low pass lter, 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. Use the Tone
control to soften sound with a
lowpass lter.
Use the Tone control to soften the
sound with a lowpass lter.
Chili Overdrive A classic “fuzzbox” overdrive. No tone control, just in-your-face
fuzz.
The choice of “Distortion” effects are similar those available in the FILTERS menu, but here they treat the sig-
nal as a whole, i.e. not each individual voice. The difference is particularly noticeable when playing chords.
¦ Intensity
0 to 127: Generally determines the amount of effect. In the two lter models (see “Low Pass” and “High
Pass” above), this is the cutoff frequency.
¦ Tone
Tone control is only available on a few algorithms.
Modulation destination “DistortionIntensity“.
Analog Boost
Analog Boost can be used to emulate the frequency response of various real analogue synthesizers. Note
that boosting bass frequencies will reduce the proportion of high frequencies in the resulting signal.
¦ Intensity
Off, 1 to 127: The degree of Analog Boost.
Modulation destination “AnalogBoostInt“.
¦ Frequency
0 to 127: The frequency where Analog Boost is applied. Very high values will even boost mid-range frequen-
cies.