©2000 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. Graphic Design and DTP by Babylonwaves Media. http://www.access-music.de info@access-music.
CONTENT INTRODUCTION - 15 The Virus ..................................................16 HANDLING - 59 The Amplifier Envelope ....................... 20 Parameter Selection and Data Entry ...............................................60 The First Filter .........................................23 Knob Modes ........................................... 63 Filter Modulation ...................................25 Display of values ................................... 64 The Saturation Stage ..........
AUDIO INPUTS - 83 Audio Inputs ........................................... 84 OSC Volume / Input.............................. 85 Input Level Indicator ............................86 Menu parameters for Oscillator-2...107 Menu-Parameter for Oscillator-3... 109 Menu-Parameters of the Suboscillator ...........................................111 Mixer-Parameters within then Oscillator-edit-Menu ...........................112 Mixer ........................................................
Analog Boost ......................................... 158 Phaser .....................................................159 Chorus..................................................... 161 Delay/Reverb.........................................162 THE VOCODER OF THE VIRUS - 201 Vocoder ................................................. 202 The parameters of the vocoder .......204 Notes about the vocoder ...................
LFOs ........................................................240 Volume Control ................................... 242 ASSIGN and the DEFINABLE Knobs. 243 ARPEGGIATOR ...................................... 244 MIDI ........................................................ 245 PRIORITY ................................................ 247 Installing an operating system update.................................................... 247 Loading the Operating System from One Virus to Another ........................
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ACCESS VIRUS OS4 7 Important Safety Remarks Please read and heed the following safety guidelines! Don’t expose the device to direct A few fundamental rules on handling electrical devices follow. Don’t expose the device to Please read all notes carefully before you power the device up. 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.
8 CHAPTER 2 Safety Remarks Always pull the actual plug, Memory battery change never the cord, when you’re unplugging the device. The Virus stores its sound programs in a battery-buffered RAM. This battery (general type designation: CR2032) should be replaced every three to four years. The housing has to be opened to change the battery, so take the device to a qualified service technician. Do your part in protecting our environment and take it to a shop that disposes of batteries properly.
ACCESS VIRUS OS4 9 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 engineeringrelated purposes. Any other use is not permitted and automatically invalidates the warranty extended by Access Music Electronics GmbH.
10 CHAPTER 2 Safety Remarks
ACCESS VIRUS OS4 11 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 - for instance the Prophet 5 or Memorymoog to name just two popular examples of the species - in a previously unparalleled level of quality and handling ease.
12 CHAPTER 3 Prologue With the benefit of two external audio inputs, the Virus may also serve as an FX device and signal processor that you can use creatively to come up with all kinds of effects. External signals can be processed with filter, gate and lo-fi effects, routed to the Virus effects section and serve as a modulation source for frequency and ring modulation. The filters can be switched in series or in parallel within the voices via several options.
ACCESS VIRUS OS4 13 via the Modulation Matrix. For your modulation sources, you have LFOs, velocity, the pitch bender, aftertouch, the modulation wheel, numerous MIDI controllers and other sources to chose from. For your modulation destinations, you can select any sound parameter of the Virus that is conducive to being remote controlled. Up to 16 arpeggiators are available in MULTI mode. These give you countless options for creating arpeggios, which can also be synced up to MIDI clock.
14 CHAPTER 3 Prologue Although far from complete, the features listed above give you some indication that you now own an exceptionally versatile, highquality musical instrument that will give you plenty of joy for years to come. We certainly hope you can fully exploit the enormous potential of this fine instrument. Have fun and enjoy! Your Virus Development Team By the way: a rack mounting kit is optionally available for the Virus b.
Introduction
16 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 OS4 17 The Virus Cable Connections Before you connect the Virus to an AC outlet and the rest of your equipment, ensure that all of the devices are switched OFF. If your Virus does not have a build-in keyboard, then connect the MIDI OUT of the desired MIDI send device (keyboard, computer, hardware sequencer, etc.) with the MIDI IN of the Virus. Connect the audio outputs of the Virus with the signal inputs of your audio system.
18 CHAPTER 4 Introduction cate the the MIDI Channel, the current Program Bank (A to D) as well as the number and name of the current sound program. Now if you play notes you should be able to hear this sound and a ≤ note (the round dot at the end of the note staff is solid black) should appear in the display every time you press a key and release a key. If you do not hear a sound but you see a half note (blank note head) check to see if you are sending on the wrong MIDI Channel.
ACCESS VIRUS OS4 19 The Virus (layered) on the keyboard. In other MULTI PROGRAMs, the sounds are divided up over several MIDI channels to make it easier to work with a sequencer. If you activate a MULTI PROGRAM and hear a single sound only, then you can control this MULTI PROGRAM via several channels. Your First Sound Program If you have never created or changed a sound on a synthesizer, we now have the pleasure of introducing you to this fascinating process. Select the single program “A127 START -”.
20 CHAPTER 4 Introduction 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 five pots labeled ATTACK, DECAY, SUSTAIN, TIME and RELEASE, respectively.
ACCESS VIRUS OS4 21 The Amplifier Envelope the numeric equivalent to the value determined by the current position of the pot. between the maximum and minimum levels at which the volume remains constant. This level in turn is controlled via the SUSTAIN pot. Always keep in mind that for a Whenever the SUSTAIN level is set to maximum, the volume cannot drop during the DECAY phase; in other words, in this situation the DECAY pot is ineffective.
22 CHAPTER 4 Introduction lower the level, the shorter the RELEASE phase. If you dialed in a brief DECAY or SUSTAIN-TIME phase and it ended while you held the key down then of course there will not be an audible RELEASE phase. The next phase of the amplifier envelope is determined by the SUSTAIN-TIME pot: If the pot is set to the center position (12 o’clock) indicated by the mathematical infinity symbol, then the SUSTAIN level remains constant through to the end of the note.
ACCESS VIRUS OS4 23 The First Filter THE FIRST FILTER Now we will take a look at a component of a synthesizer that is generally regarded as the most important functional unit as it enables drastic sound shaping measures: the filter - or in the case of the Virus, the two filters. But first we will concentrate on just one of the two filters. Locate the CUTOFF pot (not to be confused with CUTOFF 2!) in the section labeled FILTERS, directly above the section labeled AMPLIFIER.
24 CHAPTER 4 Introduction H P 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. B P the band pass filter which suppresses both ends of the tonal spectrum and allows only a narrowly defined bandwidth of the original sound to pass. B S The band stop filter, band reject filter or notch filter which works in the opposite manner of the bandpass filter.
ACCESS VIRUS OS4 25 Filter Modulation FILTER MODULATION Of course we don’t want to require you to execute every sound modification manually by twiddling pots.
26 CHAPTER 4 Introduction open, the filter frequency cannot be increased regardless of how high you set the ENV AMOUNT. Go ahead and spend some experimenting with different ENV AMOUNT, CUTOFF and RESONANCE settings for the diverse filter operating modes. Also try varying the settings for the amplifier envelope. You will find that with just these few parameters you are able to come up with a vast amount of sound settings.
ACCESS VIRUS OS4 27 The Saturation Stage maximum of -64 through 0 an on to the positive maximum of +63. Consequently, if this pot is set to the center position (12 o’clock or 0) the pitch of the notes corresponding to the keys on your keyboard has no effect on the cutoff frequency. If on the other hand you turn the KEY FOLLOW pot clockwise towards the positive control range, you will find that the filter opens up increasingly as the pitch increases with higher notes.
28 CHAPTER 4 Introduction ter position (12 o’clock) determines the volume of the filter section’s input signal. The portion of the control range located to the right of the center position (12 o’clock) does not achieve any increase in volume; it simply intensifies the degree of saturation or distortion. This effect is only achieved when you have activated a saturation curve. The intensity of the remaining available DSP effects is also controlled via the OSC VOL knob.
ACCESS VIRUS OS4 29 The Second Filter 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.
30 CHAPTER 4 Introduction The reason for this effect is that when you turn the FILTER BALANCE pot to the far left, only Filter-1 is audible. When you rotate the pot to the right, Filter-2 is blended in so that it follows Filter-1 in the signal chain. When you turn the FILTER BALANCE pot clockwise, Filter-1 is blended out of the signal chain until at the far right position only Filter-2 is active and audible. Each filter in the Virus normally features 2 poles.
ACCESS VIRUS OS4 31 The Second Filter Yet another experiment in which you can come up new filtering characteristics that are typical of the Virus: modifying the resonances of both filters as well as the SATURATION curve to come up with different filtering characteristics. Set the FILTER BALANCE pot to the center position (12 o’clock) and CUTOFF 2 to the maximum level. The FILTER ROUTING operating mode must remain SER 6.
32 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 OS4 33 Filter Routing Here is the filter routings capabilities of the Virus.
34 CHAPTER 4 Introduction THE FIRST OSCILLATOR To this point, we have turned our attention exclusively to soundshaping functions and have always started with the same basic material: a so-called sawtooth wave. This waveshape is especially wellsuited 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.
ACCESS VIRUS OS4 35 The First Oscillator pots labeled SHAPE and WAVE SEL/ PW. These enable you determine the waveshape and consequently the tonal spectrum of Oscillator 1. In the sound program, SHAPE is preset to the center position (12 o’clock), which is equivalent to a value of 64. On the pot, this position is identified via a graphic depiction of a sawtooth wave. You can definitely see why this waveshape bears the name “sawtooth.” Press and hold a key and slowly turn the pot clockwise.
36 CHAPTER 4 Introduction You can continue modifying the sound by reducing the symmetrical width of the pulse wave. In the Virus, you can execute this soundshaping measure via the WAVE SEL/PW (PW = pulse width) pot, PROVIDED THE SHAPE POT IS SET TO A POSITION IN THE RIGHT HALF OF ITS CONTROL RANGE (LATER THAN 12 O’CLOCK). Rotate the WAVE SEL/ PW pot slowly from the left to the right and leave the SHAPE pot at the far right position.
ACCESS VIRUS OS4 37 The Second Oscillator THE SECOND OSCILLATOR As we mentioned previously, in addition to the other sound sources, the Virus is equipped with a second oscillator. Judging from the amount of control features on this oscillator’s section of the control panel, you have probably already gathered that it has more sound-shaping options than Oscillator 1. Dial in the basic sound program that you had at the very beginning; change the amplifier envelope to suit your taste.
38 CHAPTER 4 Introduction Locate the pot labeled DETUNE and slowly rotate it to the right from the far left position (which is preset in the sound program). You can hear the tone start to waver and as you turn the pot further to the right, how this vibrato effect increases until Oscillator 2 sounds distinctly out of tune with Oscillator 1. This wavering or vibrato-type effect has a popular traditional in synthesizers.
ACCESS VIRUS OS4 39 The MIXER Section featuring a frequency within the range of human hearing. This signal is not actually audible as a vibrato effect. Instead, you’ll hear a sound modulation, in some cases, a very drastic one at that. Choose the pure sine waveshape for Oscillator 2. In conjunction with the sine wave, the frequency modulation generates very clear, in some cases bell-like, spectra.
40 CHAPTER 4 Introduction of selecting a triangle or pulse waveshape (SUB OSCILLATOR WAVE SQUARE/TRIANGLE). Another voice-internal signal source of the Virus has no visible control features on the control panel: the Noise Generator. The dedicated sound parameters are its volume and coloration (NOISE Volume and Color in the OSCILLATOR EDIT menu). On the middle position of NOISE Color the Noise Generator produces white noise.
ACCESS VIRUS OS4 41 The LFOs 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 Filter-1, whereas Oscillator 2 and the Noise Generator are routed to Filter-2. Although the sound sources are split into two signal paths, you can still control the volume levels of the different elements as well as OSC VOL in the usual manner.
42 CHAPTER 4 Introduction control). Another option you might like to have at your disposal is random parameter control. In the Virus, both of these tasks are executed by a so-called LFO (low frequency oscillator) that oscillates at frequencies below the audible range. An LFO is similar to the oscillators you have encountered thus far, but it oscillates significantly slower so that its output signal is too low for human hearing.
ACCESS VIRUS OS4 43 The LFOs modulation targets via the PARAMETER button after you have pressed the AMOUNT button once.) Once you have dialed in a value other than 0 for a modulation target, the corresponding LED illuminates continually. This feature tells you at a glance that a modulation is underway even when the display indicates some other type of operation.
44 CHAPTER 4 Introduction the sound, for instance if you modulate the frequency of Oscillator 2 although it is dialed out of the oscillator mix. When you run into this type of problem, check out the signal routing, if any 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.
ACCESS VIRUS OS4 45 The LFOs lend it a certain vitality. The key to many great sounds are these types of minimal modulations. You may have gathered that the LFOs of the Virus are polyphonic: If several notes are played simultaneously, these are controlled by dedicated LFOs, each with a slightly varied rate. This effect livens up the sound of chords, especially when they are sustained. To enhance this effect, activate the LFO 1 KEY FOLLOW in the LFO-EDITMenu.
46 CHAPTER 4 Introduction You can also use S&H and S&G in ENV MODE to come up with some attractive results: S&H generates a single random value at the start of a note (in this case, the RATE pot has no effect); S&G works in the same manner although in this case the RATE value is crucial. It determines the amount of time it takes to glide from the previous to the new random value.
ACCESS VIRUS OS4 47 LFO 2 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.
48 CHAPTER 4 Introduction RESONANCE 2 VELOCITY VOLUME Velocity is one of the preferred modulation sources of keyboard players: A light key attack generates a low velocity value for the given note, a heavy touch generates a high velocity value. In the Virus you have ten modulation targets available for Velocity. Locate the VELOCITY section in the EDIT menu.
ACCESS VIRUS OS4 49 Unison Mode UNISON MODE 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. It enables you to initiate two or more voices for each note played, which in turn lets you detune many oscillators.
50 CHAPTER 4 Introduction THE CHORUS/FLANGER EFFECT Another function that delivers great effects based on pitch fluctuation is the so-called chorus effect. Chorus actually consists of a brief delay (generally up to approx. 50 ms) which is varied periodically. By modulating the delay, the delayed signal is slightly detuned to the input signal (the so-called Doppler effect). This inconsistency in pitch between the original and effects signal is the source of the chorus effect.
ACCESS VIRUS OS4 51 The Delay Effect THE DELAY EFFECT A delay effect is traditionally used to generated an echo of the input signal. Locate the parameter group DELAY in the EDIT menu. 01111111111111111112 1 DELAY EffectSend 0≤ 61111111111111111154 Here you fill find parameters that are virtually identical to the parameters of the CHORUS group.
52 CHAPTER 4 Introduction MORE TO COME We have come to the end of these detailed instructions for novices. We hope we were able to help you become a bit more familiar with your new synthesizer and gain some confidence in how to handle it. As we mentioned earlier, this is just an introduction and does not cover all the functions and features of the Virus, only the basic components and how they affect the sound of the Virus.
Concept and Operation
54 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 24 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 OS4 55 The Multi-Single Mode SINGLE program. If the LED on the MULTI button lights up, the CTRL and EDIT menus will contain the appropriate ”administrative” parameters for the current MULTI program. For example, here you have the option of selecting the SINGLE program for each of the 16 MULTI PARTs. THE MULTI-SINGLE MODE In MULTI mode, the EDIT and CTRL menus are responsible for administering the 16 PARTs. Consequently, you can’t access SINGLE program parameters directly here.
56 CHAPTER 5 Concept and Operation features. The CTRL and EDIT menus let you access the usual SINGLE parameters. In this operating mode, you’ll find that the CTRL menu has been expanded to include some organizational parameters, for instance, the PART’s volume level, panorama and output assignments. You’ll always see the number of the selected PART on the upper left in the display. The PART buttons don’t actually change sounds, they simply set the user interface of the Virus to the desired PART.
ACCESS VIRUS OS4 57 Edit Buffers In addition, you can activate another complete MULTI program in MULTI mode only. EDIT BUFFERS Whenever you play or edit a SINGLE program, its current data is stored in an edit buffer. This is an individual memory slot for SINGLE programs that has nothing to do with the memory slots in the sound banks. When you activate a new SINGLE, its data is copied to the edit buffer. There you can edit it as you see fit while the original remains unchanged in the bank.
58 CHAPTER 5 Concept and Operation When you store a MULTI program, only the addresses of the SINGLE programs’ original slots are saved, but not, however, the sound data in the 16 SINGLE edit buffers. These must be stored separately in the SINGLE program banks. This type of edit buffer is used in most synthesizers; its advantages are many: It lets you edit copies of sounds without sacrificing the original sounds.
Handling
60 CHAPTER 6 Handling PARAMETER SELECTION AND DATA ENTRY In the Virus, we distinguished between two types of parameters. On the one hand, it features parameters that are essential in generating or synthesizing sounds, on the other hand it has sound parameters and organizational parameters that are more of a peripheral nature.
ACCESS VIRUS OS4 61 Parameter Selection and Data Entry TEM and so forth and are not stored with a SINGLE or a MULTI program. Located next to some of these parameters, you’ll see the abbreviations ”ENA” and ”DIS”. The option ENA means enable and DIS means disable. Call up a menu by simply pressing the corresponding button.
62 CHAPTER 6 Handling The menus, particularly the EFFECTS menu, contain parameter groups that are related by virtue of their function, for instance, all parameters that are used to control the phaser. When you switch the phaser off (PHASER Dry/Eff = OFF), all Phaser parameters are of course irrelevant and will no longer appear in the menu. In other words, when the phaser is disabled, you can’t view its parameters. The reason for this is to make menus clearer and less cluttered.
ACCESS VIRUS OS4 63 Knob Modes SNAP When you adjust a knob KNOB MODES For all knobs with the exception of MASTER VOLUME, you can select from four operating modes in the CTRL menu. These are located under the menu item KNOB MODE: OFF The knobs are inactive. JUMP In Jump Mode, the parameter jumps directly and absolutely to the value determined by the current position of the knob.
64 CHAPTER 6 Handling the full control range of the knob at your disposal. To counteract this situation, you have to turn the knob in the opposite direction to adjust the physical knob position so that it is equivalent to the actual parameter value. In RELATIVE Mode, the triangle to the right of the number indicates if the VALUE knob coincides with the parameter value (≤) or not (Ω).
ACCESS VIRUS OS4 65 Display of values ON The contents of the display are overwritten when you turn a knob; the original menu does not reappear in the display.
66 CHAPTER 6 Handling
All about the memory
68 CHAPTER 7 All about the memory STORE The mode structure of SINGLE, MULTI and MULTI SINGLE MODE is mirrored in the STORE functions: In SINGLE MODE, STORE saves the current SINGLE PROGRAM; in MULTI MODE, STORE saves the current MULTI PROGRAM; and in MULTI SINGLE MODE, the SINGLE PROGRAM of the current PART is stored. The STORE process is always the same regardless of the operating mode: Press STORE. You then gain access to the STORE menu.
ACCESS VIRUS OS4 69 Compare If you want to store the SINGLE programs in the PARTs to their original slots in the SINGLE banks all at the same time, simply press STORE and 1 C126 - Init 01111111111111111112 1 C126 - Init [STORE] TO... 61111111111111111154 sound and, at the same time, hear the sound that you will overwrite. The edited sound is not modified or overwritten during this process. Press STORE to do just that to the edited sound – store it.
70 CHAPTER 7 All about the memory
Master Clock and Midi-Clock
72 CHAPTER 8 Master Clock and Midi-Clock MASTER CLOCK AND MIDI-CLOCK The Virus is equipped with a global clock generator that lets you sync the LFOs, arpeggiators and delay up to a common song tempo and rhythm. The clock generator works either internally with a freely variable speed or it can, in turn, by synced up to the MIDI clock of an external sequencer. This synchronization occurs automatically when the device receives a MIDI clock signal via its MIDI In.
ACCESS VIRUS OS4 73 Master Clock and Midi-Clock This feature lets you control the LFOs and arpeggiators of several MULTI PARTS in a common rhythmic context. A small ¶ will appear in the display when the Virus is receiving MIDI Clock data. If you’re sure you do NOT want the device to be synchronized automatically to MIDI clock, set MIDI CLOCK RX to Off (in the CTRL menu).) To avoid confusion, please keep in mind that MIDI Clock is not the same thing as MIDI Time Code.
74 CHAPTER 8 Master Clock and Midi-Clock
The Modulation Matrix and Definable Knob
76 CHAPTER 9 The Modulation Matrix and Definable Knob CREATING MODULATION CONFIGURATIONS VIA ASSIGN As a rule, it is of course desirable to be able to create modulation routing configurations on a synthesizer. In other words, you want to enjoy the freedom to combine different modulation sources and destinations as you see fit. Sometimes you may come up with ideas for standard modulations that the ”hard-wired” factory modulation routing options simply can’t satisfy.
ACCESS VIRUS OS4 77 Creating Modulation Configurations via Assign a single parameter by using up to three modulation sources simultaneously. For this purpose, the control signals of the modulation sources are added up or overlapped. Conversely, you can also modulate up to six parameters with just one controller, which gives you all kinds of sophisticated sound morphing options. For this purpose, select the same source for all three ASSIGN options so that it modulates all six possible destinations.
78 CHAPTER 9 The Modulation Matrix and Definable Knob THE DEFINABLE KNOBS The Virus is equipped with two knobs that, rather than being dedicated to predefined tasks, may be assigned to different parameters by you, the user. This option is quite handy, for it lets you control directly the many menu parameters that do not feature a dedicated knob.
ACCESS VIRUS OS4 79 The Definable Knobs The setting for the actual DEFINABLE mode is global. Under normal circumstances, you should set DEFINABLE mode to ”Single” because this is the most versatile mode. When you select a SINGLE sound whose DEFINABLE mode is set to ”Single”, this setting is of course enabled. If not, Global DEFINABLE mode is enabled.
80 CHAPTER 9 The Modulation Matrix and Definable Knob
The Effects Section
82 CHAPTER 10 The Effects Section THE EFFECT SECTION For every SINGLE program and every PART, you can access up to five different stereo effects individually. You’ll find these effects – ring modulator, distortion, analog boost, phaser and chorus – in the aptly named EFFECTS menu. In MULTI mode, you thus have a total of 80 simultaneously available effects. The vocoder and the delay/reverb section are each available just once, but you can address them individually via the PARTs’ Effect Send parameter.
Audio Inputs
84 CHAPTER 11 Audio Inputs DYNAMIC To make external AUDIO INPUTS You can also opt to use external audio signals in place of the onboard 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.
ACCESS VIRUS OS4 85 OSC Volume / Input STATIC In Input Static mode, TOEFFECTS An alternative to the external audio signals are audible via the output without having to trigger a note. Bear in mind that the oscillators as well as all functions that have to do with trigger and pitch are disabled (envelopes, LFO Env mode, keyfollow...) In INPUT Static mode. When you set the device to this mode, one voice of the Virus is activated automatically.
86 CHAPTER 11 Audio Inputs correlated because they are receiving an identical input signal. In the event that the Virus generates distortion when you’re dealing with this type of signal routing set-up, be sure to back off the input level a tad via the OSC VOL knob. INPUT LEVEL INDICATOR Alternatively, the RATE LEDs of LFO 1 and 2 can also serve as level indicators for the left and right external audio inputs.
Internal Audio Routing
88 CHAPTER 12 Internal Audio Routing AUX BUSES The Virus is equipped with several analog outputs and inputs. We figured that you might want to connect an input with an output via a patch cord so that you can process a part routed to this output via another part that is addressed by this input, for example, to have on part filter the other part.
ACCESS VIRUS OS4 89 The Audio Outputs THE AUDIO OUTPUTS In MULTI mode, you can choose a mono or stereo audio output in the OUTPUT Select menu independently for every PART. The signal can also be routed to the aux buses that were discussed earlier. When you opt to use one of the aux buses as a second output, the aux bus can also serve as an FX loop. You can route the aux signal to a PART and have the PART process this signal (via filters, effects etc.) further.
90 CHAPTER 12 Internal Audio Routing In MULTI mode, the delay/reverb section feature its own OUTPUT Select that is independent of the PARTs.
Additional functions
92 CHAPTER 13 Additional functions PANIC FUNCTION AUDITION FUNCTION The Virus features a Panic function to remedy stuck notes caused by MIDI transmission parity errors and the like. When you press the two TRANSPOSE buttons simultaneously, then all voices of the Virus that are still sounding will be released. On the Virus panel, you can trigger notes without using a keyboard. When you press the OSCILLATOR EDIT and SYNC buttons simultaneously, the Virus will play the note C3.
The Parameters
94 CHAPTER 14 The Parameters The following section lists all parameters in the Virus, each with a brief definition or explanation. For the purpose of clarity, we ordered the parameters with a dedicated control element according to the module you will find it in. SOUND PARAMETERS WITH A DEDICATED CONTROL ELEMENT MASTER VOLUME Controls the overall volume of the Virus. This control determines the volume of the signal pair piped through Output 1 before it is converted into an analog signal.
ACCESS VIRUS OS4 95 LFO 1 – Panel TRANSPOSE Transposes the entire SINGLE program by octaves. If your Virus is equipped with a built-in keyboard, the selected SINGLE program is not transposed. Instead, the keyboard is transposed globally. (see “The Virus kb and the Virus Indigo” on page 190). LFO 1 – PANEL RATE Determines the speed or rate of the LFO.
96 CHAPTER 14 The Parameters ENV MODE Activates an operating mode in which the LFO oscillates like an envelope: The LFO cycles once only following the start of the note; the response of the LFO shifts from bipolar to unipolar. If the LFO waveshape S&H (Sample & Hold) is active, then the LFO is assigned a new random value with each new note. This new value is valid for the entire duration of the note. AMOUNT This button does not actually control a parameter, it opens a local menu.
ACCESS VIRUS OS4 97 LFO 1 – EDIT Menu LFO 1 – EDIT MENU LFO contour By LFO Contour you can now bend or ”morph” (almost) all the LFO waveforms. A brief survey of the LFO Contour options for the different LFO modes follows: 01111111111111111112 1 LFO 1 Contour +0≤ Sawtooth Contour morphs from a linear declining sawtooth or decay to any exponentially declining decay(Contour to the left) or to a square (Contour to the right). Square Contour modulates the pulse width of the square wave.
98 CHAPTER 14 The Parameters master clock, you can also select the desired note value via the LFO RATE knob. 01111111111111111112 1 LFO1 Clock 1/24≤ 61111111111111111154 Mode POLY In polyphonic mode, each of the voices involved is assigned a dedicated LFO. The LFOs oscillate in different phase positions for each voice. This livens up the LFO modulation. MONO In polyphonic mode, all voices are assigned the same LFO. This accentuates the LFO modulation, making it more pronounced.
ACCESS VIRUS OS4 99 LFO 1 – EDIT Menu FOLLOW is deactivated. At a value of 127, the rate doubles with each octave. 01111111111111111112 1 LFO1 Keyfollow frequencies of the filters. The filters will fade out freely since their output signal is not affected by the FILT GAIN volume modulation. 01111111111111111112 Off≤ 61111111111111111154 1 LFO1 AMOUNT FilterGain +0≤ 61111111111111111154 Filter Gain An additional modulation destination of LFO 1.
100 CHAPTER 14 The Parameters LFO 2 - PANEL FILTER -2 The frequency of the second filter RATE Same as LFO 1 PAN Panorama position SHAPE Same as LFO 1 ASSIGN (Dest) A freely selectable sound parameter for LFO modulation ENV MODE Same as LFO 1 Amount This button does not actually control a parameter, it opens a local menu.
ACCESS VIRUS OS4 101 LFO 2 Edit-Menu intensities of both oscillators. In this position, the Filter-1 and Filter-2 LEDs flash. LFO 2 EDIT-MENU The parameters CONTOUR, CLOCK, MODE, TRIG PHASE and KEYFOLLOW correspond with LFO-1 (see above). AMOUNT FM Amount. An additional modulation destination of LFO-2. The intensity of the frequency modulation of Oscillator 2 is modulated.
102 CHAPTER 14 The Parameters Oscillator2 LFO 3 SYNCPHASE Determines the RATE Determines the speed of the LFO. 01111111111111111112 1 LFO3 Rate +92≤ 61111111111111111154 DESTINATION phase position of Oscillator 2 when it is synced up to Oscillator 1 via the SYNC function. 01111111111111111112 1 LFO3 Dest Osc1+2≤ 61111111111111111154 OSC AMOUNT Controls the modulation intensity of the LFO. Determines the modulation destination of the LFO.
ACCESS VIRUS OS4 103 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≤ MODE Switches back and forth between two LFO operating modes: POLY In polyphonic mode, each of the voices involved is assigned a dedicated LFO. SINGLE In polyphonic mode, all voices are assigned the same LFO.
104 CHAPTER 14 The Parameters OSCILLATOR 1- FRONT PANEL SHAPE This control feature lets you determine the waveshape for the WAVE section (one of 64 variable spectral waveshapes). The waveshape is infinitely variable from sawtooth through to pulse waves.
ACCESS VIRUS OS4 105 Oscillator 2 – front Panel OSCILLATOR 2 – FRONT PANEL SHAPE Same as OSCILLATOR 1; see paragraph above. WAVE SEL/PW Same as OSCILLATOR 1; see paragraph above. SEMITONE Determines the interval between the second oscillator and the first oscillator: Control range +/-48 semitones, assigned in semitone steps. DETUNE Detunes the second oscillator relatively to the first.
106 CHAPTER 14 The Parameters 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.
ACCESS VIRUS OS4 107 Menu parameters for Oscillator-2 KEY FOLLOW Determines the intensity of the pitch control via the keyboard: At the value +32 (standard setting) the oscillator is controlled normally, i.e.
108 CHAPTER 14 The Parameters TRI Linear FM with a bipolar triangle generated by Osc1. WAVE The selected Osc1 wave is the FM source. This lets you in some cases create typical DX7-FM sounds (here OSCILLATOR 1 SHAPE should be set to WAVE). NOISE The noise generator is the FM source (see also NOISE Color). Excellent for drum sounds. INPUT Here the mono or stereo signal from external analog inputs or from an internal aux bus may be routed to the frequency modulation.
ACCESS VIRUS OS4 109 Menu-Parameter for Oscillator-3 MENU-PARAMETER FOR OSCILLATOR-3 MODE The Virus offers a third master oscillator per voice that you can activate whenever you need it. It lets you come up with even more complex sounds by adding more oscillations and spectra to the signal. When Oscillator 3 is switched on, (i.e. OSCILLATOR 3 mode is not set to the OFF position), the polyphony of the Virus decreases by up to six voices, depending on how many voices use the third oscillator in MULTI mode.
110 CHAPTER 14 The Parameters VOLUME The individual volume level of oscillator 3. Additionally the level is controlled by OSC VOL. (Not available if OSCILLATOR 3 MODE = “OFF” or “SLAVE”.) 01111111111111111112 1 OSCILLATOR 3 Volume 64≤ 61111111111111111154 DETUNE Detunes the third oscillator relatively to the first. With this parameter, you can dial in everything from slight deviations in pitch to major fluctuations relatively to the other oscillators.
ACCESS VIRUS OS4 111 Menu-Parameters of the Suboscillator OSCILLATORS PHASE INIT This feature lets you select the oscillator phase position at the start of a note. At a value of 0, all oscillators oscillate freely much like in a traditional analog synthesizer. At values of 1 and higher, Oscillator 1 starts the note with a phase angle of 0, whereas the phase position of the second oscillator is shifted increasingly at ascending values. The Phase position of oscillator 3 is shifted to the opposite direction.
112 CHAPTER 14 The Parameters MIXER-PARAMETERS WITHIN THEN OSCILLATOR-EDIT-MENU You’ll find another ring modulator in the effects section of the Virus. It, however, processes entirely different input signals. 01111111111111111112 RINGMODULATOR VOLUME The ring modulator multiplies the output of both oscillator 1 and 2 to create interesting sounds with rich enharmonic overtones. These overtones are highly dependent on the frequency coherence of both oscillators and it’s waveforms.
ACCESS VIRUS OS4 113 Mixer MIXER OSC BAL Determines the balance between the Oscillators 1 and 2 volume level. SUB OSC Determines the volume level of the SubOscillator. OSC VOL This knob has two functions: In the left half of its control range up to the center position (MIDI value 64), OSC VOL determines the master volume of the three oscillators prior to the filter section input. The Noise Generator and the Ringmodulator are not affected by the master volume knob OSC VOL.
114 CHAPTER 14 The Parameters FILTERS – PANEL CUTOFF Determines the cutoff frequency of Filter-1 and 2 (with exceptions; see CUTOFF 2). RESONANCE Controls the resonance (also called filter feedback or Q factor). Depending on the FILT SELECT setting, RESONANCE affects the first filter, the second filter or both filters. ENV AMOUNT Determines the modulation intensity of the cutoff frequency filter envelope.
ACCESS VIRUS OS4 115 Filters – Panel 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 Filter2 is blended into the mix as you rotate the knob towards the center position.
116 CHAPTER 14 The Parameters HP The high pass filter works SER-6 The filters are switched in the opposite manner of the low pass filter: It suppresses the lower frequencies in a signal and lets the higher frequencies pass. in series; Filter-1 has four poles (24dB), Filter-2 has two poles (12dB) so the overall slope is equivalent to six poles (36dB).
ACCESS VIRUS OS4 117 Filters – Panel FILT 1 SELECT & FILT 2 SELECT This control feature is used to allocate the three knobs RESONANCE, ENV AMOUNT and KEY FOLLOW to the first filter, second filter or both filters. The currently active assignments are indicated by the integrated LEDs. To control both filters simultaneously via the knobs, you must first press both buttons simultaneously. SELECT pertains to the corresponding knob located on the Virus only, but not to the sound parameters it controls.
118 CHAPTER 14 The Parameters TIME Sets the bipolar time parameter for the filter envelope.
ACCESS VIRUS OS4 119 Filter-Edit-Menu lator signal conventionally with the first filter, distort the signal, and process the distorted signal via the second filter as you see fit. The Effects section of the Virus features a further distortion module called DISTORTION. Its design is largely identical to that of the SATURATION, except for one major difference: whereas SATURATION affects each voice separately, DISTORTION processes all voices collectively in the effects section.
120 CHAPTER 14 The Parameters HIGH+FLW The high-pass filter with keyfollow; the cutoff frequency follows the played pitch. To reiterate the point, the amount of distortion, intensity of the DSP effects, and the cutoff frequencies of the 1- pole filter are controlled via the OSC VOL knob. 01111111111111111112 1 SATURATION Curve Off≤ 61111111111111111154 Filter-1 ENV POLARITY Switches back and forth between positive (POS) and negative (NEG) ENV AMOUNTs for Filter-1 (see appropriate section).
ACCESS VIRUS OS4 121 Filter-Edit-Menu OFF Now,the CUTOFF and CUTOFF 2 knobs are no longer linked and CUTOFF 2 operates absolutely in a control range of 0 to 127. In this case the CUTOFF and CUTOFF 2 knobs are two independent control features that determine the respective cutoff frequencies for Filter-1 and 2. CUTOFF LINK pertains exclusively to the CUTOFF 2 knob and the corresponding parameter. CUTOFF 2 has no influence on the other parameters of the second filter.
122 CHAPTER 14 The Parameters AMPLIFIER ATTACK Determines the amount of time it takes for the amplifier envelope to rise to its maximum level. The higher the ATTACK value, the longer it takes for the envelope to rise to maximum volume after the start of a note. DECAY Determines the amount of time it takes for the amplifier envelope to fade out. The higher the DECAY value, the longer it takes for the envelope to fall from its peak level to the SUSTAIN value.
ACCESS VIRUS OS4 123 Main Edit Menu (Common) MAIN EDIT MENU (COMMON) PATCH VOLUME Storable master volume for the SINGLE program. Its nominal value is set to 100 so that you have a reserve of 27 volume increments when you are dealing with exceptionally low-level sound settings. In addition to using PATCH VOLUME, you can also control the level via MIDI using the controllers #7 (Channel Volume) and #11 (Expression). However, these are not stored with the SINGLE program..
124 CHAPTER 14 The Parameters also serves as a back/front knob when you want to create a quadraphonic signal. 01111111111111111112 1 SECOND OUTPUT SELECT OFF≤ 61111111111111111154 BALANCE With this parameter, you can mix the output signals of the PARTs individually to the second output that you chose by means of the SELECT option. When it is set to the OFF position, you will only hear only the conventional output; when it is set to 127, the signal is routed exclusively to the second output.
ACCESS VIRUS OS4 125 Main Edit Menu (Common) Key Mode is always active. Determines how a sound responds to the notes being played. You can chose from: MONO 4 (Single-Trigger; POLY The sound is played polyphonically. MONO 1 (Multi-Trigger): The sound is played monophonically. When you play in a smooth, even style (legato) the envelopes are restarted every time you play a note (Multi Trigger mode); Portamento is always active.
126 CHAPTER 14 The Parameters PORTAMENTO Determines the amount of time it takes for the pitch to glide from the current note to the next note played. PORTAMENTO is a significant feature of KEY MODE (see paragraph above); the two are closely related. 01111111111111111112 1 COMMON portamento 0≤ BEND DOWN Determines the interval of the bend when the Pitch Bender is moved downwards to the full extent of its range. Control range: -64 semitones to +63 semitones.
ACCESS VIRUS OS4 127 Main Edit Menu (Common) pitch is bent ever more radically. In this mode you can achieve slight fluctuations in pitch, for instance a manual vibrato, provided you can maintain a soft touch, yet still have the option of generating greater intervals because of the exponential increase in range.
128 CHAPTER 14 The Parameters voices are played for every note. In the OFF position, one voice per note is played. mode is active. This feature allows you to create a stereo sound with just a single voice. 01111111111111111112 01111111111111111112 1 UNISON Mode Twin≤ 1 UNISON PanSpread 127≤ 61111111111111111154 61111111111111111154 DETUNE Slightly detunes the voices involved in UNISON mode. UNISON LFO PHASE Shifts the phases of the two TWIN MODE voices’ LFOs relatively.
ACCESS VIRUS OS4 129 Assign PUNCH INTENSITY Here you can influence the attack of the amplifier envelope to enhance the sound with a more percussive, snappy kind of feel. You may have guessed that PUNCH INTENSITY determines the intensity of this effect. PUNCH is only effective when you have dialed in fairly short ATTACK rates for the amplifier envelope.
130 CHAPTER 14 The Parameters indigo are also considered to be external MIDI controllers since they are not actually component parts of the sound generation system). The second type comprises the sound generation system’s internal modulators, for example, LFOs and envelopes. These also have fixed modulation assignments (LFO AMOUNT, ENV AMOUNT), but are freely available along with the Modulation Matrix.
ACCESS VIRUS OS4 131 Assign In addition to the three ASSIGN options, the user interface features – as discussed earlier – a freely definable modulation destination for LFO 1 and 2 called ASSIGN. Controls the intensity of the first modulation allocation. 01111111111111111112 1 ASSIGN 1 Amount +10≤ 61111111111111111154 You’ll find a list of available SOURCEs and DESTINATIONs in “Appendix” on page 251. ASSIGN 1 SOURCE Selects the modulation source for the first modulation assignment.
132 CHAPTER 14 The Parameters ASSIGN 2 AMOUNT 2 Controls the intensity of the second modulation assignment for the second modulation destination. ASSIGN 3 DESTINATION 3 Selects the third modulation destination for the third modulation assignment. ASSIGN 3 SOURCE Selects the modulation source for the third modulation assignment. ASSIGN 3 AMOUNT 3 Controls the intensity of the third modulation assignment for the third modulation destination.
ACCESS VIRUS OS4 133 Velocity VELOCITY In addition to the following fixed destinations, any parameter can be controlled via velocity by way of the Modulation Matrix (ASSIGN). VELOCITY OSC 1 SHAPE Determines the intensity of the VELOCITY control for the first oscillator’s SHAPE parameter (see appropriate section).
134 CHAPTER 14 The Parameters VELOCITY FILT 2 ENV AMT Determines the intensity of the VELOCITY control for the modulation of Filter-2’s cutoff frequency by the filter envelope. 01111111111111111112 1 VELOCITY Osc2Shape -20≤ VELOCITY VOLUME Determines the intensity of the VELOCITY control for the volume. 01111111111111111112 1 VELOCITY Volume +20≤ 61111111111111111154 61111111111111111154 VELOCITY RESONANCE 1 Determines the intensity of the VELOCITY control for the resonance of Filter-1.
Within the CTRL-Menu
136 CHAPTER 15 Within the CTRL-Menu COMMON CLOCK TEMPO The Virus is equipped with a global clock generator that lets you sync LFOs, arpeggiators and delay effects up to a common song tempo and rhythm. The clock generator works either internally with a freely variable speed or it can in turn by synced up to the MIDI clock of an external sequencer. This synchronization occurs automatically when the device receives a MIDI clock signal via its MIDI In.
ACCESS VIRUS OS4 137 ARPEGGIATOR To avoid confusion, please keep in mind that MIDI Clock is not the same thing as MIDI Time Code. The latter doesn’t deal with tempo at all but with time-related information structured in hours, minutes, seconds, etc. which is of no benefit to you in this context. ARPEGGIATOR ARPEGGIATOR MODE Selects the Arpeggiator mode. You can chose from: OFF Self-explanatory. The Arpeggiator is inactive. UP Sustained notes are arpeggiated in an ascending manner.
138 CHAPTER 15 Within the CTRL-Menu rather than arpeggios. 01111111111111111112 1 ARPEGGIATOR Mode AsPlayed≤ 61111111111111111154 ARPEGGIATOR OCTAVES Controls the ascending transposition of arpeggios by octaves. Control range: 1 to 4 octaves. 01111111111111111112 1 ARPEGGIATOR Octaves 2≤ ARPEGGIATOR CLOCK This parameter determines the basic tempo of the Arpeggiator in reference to the clock generator. The standard setting is 1/8 and normally doesn’t need to be changed.
ACCESS VIRUS OS4 139 ARPEGGIATOR ARPEGGIATOR NOTE LENGTH This parameter changes the lengths of the rhythm patterns’ notes. The center position leaves the notes at their original length. Positive values lengthen the notes; negative values shorten them relatively to their original lengths. 01111111111111111112 1 ARPEGGIATOR NoteLength +10≤ At the highest value, 75%, the eighth note is divided by a factor of 3:1.
140 CHAPTER 15 Within the CTRL-Menu DEFINABLE 1 / DEFINABLE 2 The Virus is equipped with two knobs that, rather than being dedicated to predefined tasks, may be assigned to different parameters by you, the user. This option is quite handy, for it lets you control directly the many menu parameters that do not feature a dedicated knob.
ACCESS VIRUS OS4 141 DEFINABLE 1 / DEFINABLE 2 DEFINABLE 1 SINGLE This is where you enter the parameter assignment for the DEFINABLE 1 knob. The entry is an element of the current SINGLE PROGRAM and is stored along with it. The entry is only active when DEFINABLE 1 MODE is set to SINGLE. When DEFINABLE 1 SINGLE is set to OFF, the Display page setting DEFINABLE 1 GLOBAL is activated.
142 CHAPTER 15 Within the CTRL-Menu DEFINABLE 2 MIDI Same as DEFINABLE 1; see paragraph above. MULTI MODE PARAMETERS The following parameters featured in the CTRL menu are described in greater detail below in the section Global Parameters / Midi Parameters / System Parameters. These operate globally and are accessible in the CTRL menu at any time irrespective of the given operating mode.
ACCESS VIRUS OS4 143 MULTI MODE parameters PART TRANSPOSE Transposes the PART in semitone steps. 01111111111111111112 1 B36 101BASS RP PartTransp +0≤ 61111111111111111154 PART DETUNE Fine-tunes the PART. 01111111111111111112 1 B36 101BASS RP PartDetune +10≤ 61111111111111111154 PART VOLUME Controls the volume level of the PART.
144 CHAPTER 15 Within the CTRL-Menu OUT 1 L The left jack of dual Output 1 (mono) OUT 1 L+R Both jacks of dual Output 1 (stereo) OUT 1 R The right jack of dual Output 1 (mono) OUT 2 L The left jack of dual Output 2 (mono) OUT 2 L+R Both jacks of dual Output 2 (stereo) OUT 2 R The right jack of dual Output 2 (mono) OUT 3 L The left jack of dual Output 3 (mono) OUT 3 L+R Both jacks of dual Output 3 (stereo) OUT 3 R The right jack of dual Output 3 (mono) AUX 1 L The left channel of internal
ACCESS VIRUS OS4 145 MULTI MODE parameters OUTPUT SELECT When you select an internal aux path as a signal output, you of course must route the signal of another PART to this aux path via INPUT SELECT before you can establish a signal connection between the two PARTS. Several PARTs can simultaneously access the external input or the internal aux paths via OUTPUT SELECT. In SINGLE MODE, OUTPUT SELECT does not appear in the menu; in this case Output 1 (stereo) is preset.
146 CHAPTER 15 Within the CTRL-Menu parameter. In this case, it wouldn’t have any effect since the priority of all voices is the same. LOW KEY Determines the lowest MIDI note that the PART responds to. 01111111111111111112 01111111111111111112 1 B36 101BASS RP Priority Low≤ 1 B36 101BASS RP LowKey C-2≤ 61111111111111111154 KEYRANG In MULTI mode, you can limit the note range of individual PARTs.
ACCESS VIRUS OS4 147 MULTI MODE parameters HOLD PEDAL ENABLE Switches a given PART’s MIDI receive mode for the hold pedal (MIDI Controller #64) ON and OFF. 01111111111111111112 1 B36 101BASS RP HoldPedal Ena≤ 61111111111111111154 PRG CHG ENABLE Switches a given PART’s MIDI receive mode for MIDI Program Change messages ON and OFF.
148 CHAPTER 15 Within the CTRL-Menu
Parameter of the effects menu
150 CHAPTER 16 Parameter of the effects menu THE INTERNAL EFFECTS The Effects menu contains the parameters of the effects section and audio inputs (INPUT). The following effects are available individually per PART – i.e. you have 16 versions available, all in stereo: RINGMODULATOR DISTORTION ANALOG BOOST PHASER CHORUS The vocoder and the delay/reverb section are each available just once, but they can be addressed individually by the PARTs.
ACCESS VIRUS OS4 151 Input the Virus, so the noise level of the analog-digital converter increases automatically. Consequently you should dial in the cleanest, loudest possible signal at the external sound generator. The Virus features a signal level indicator that allows you to monitor the signal level visually: see LED MODE in the CTRL menu. (see “LED MODE” on page 181).) You should only turn up the INPUT BOOST when you are unable to dial in a sufficient signal level prior to the external inputs.
152 CHAPTER 16 Parameter of the effects menu 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.
ACCESS VIRUS OS4 153 Input AUX 1 L+R Both channels of internal Aux 1 (stereo). AUX 1 R The right channel of internal Aux 1. AUX 2 L The left channel of internal Aux 2. AUX 2 L+R Both channels of internal Aux 2 (stereo). AUX 2 R The right channel of internal Aux 2. 01111111111111111112 1 INPUT Select In L+R≤ 61111111111111111154 If the selected signal source is a stereo source - i.e.
154 CHAPTER 16 Parameter of the effects menu FOLLOWER (ENVELOPEFOLLOWER) The envelope follower generates a modulation signal from an audio signal. This modulation signal can be used to control sound parameters. When the envelope follower is activated, it takes the place of the filter envelope. This means that you can modulate the filters using the ENV AMOUNT knob in the filter section.
ACCESS VIRUS OS4 155 Ringmodulator Envelope Follower Gain (Knob: FILTER SUSTAIN) It controls the input level of the envelope follower directly. The nominal value is the center position (64). 01111111111111111112 1 INPUT FOLLOWER Mode Off≤ 61111111111111111154 RINGMODULATOR This allows you to ring-modulate the residual signal of the SINGLE or PART with an external audio signal. The effect multiplies the amplitudes of both signals, which provides the frequencies’ sums and differences.
156 CHAPTER 16 Parameter of the effects menu You’ll find a further ring modulator in the Oscillator section of the Virus. It operates individually for each voice using the signals of Oscillators 1 and 2. 01111111111111111112 1 INPUT RINGMOD Dir/Eff Off≤ 61111111111111111154 VOCODER Vocoder Mode This is where you switch the Vocoder on and select the signal source for the Carrier Bank.
ACCESS VIRUS OS4 157 Distortion tion noise. DISTORTION RATEREDUCER Continuous Curve Here’s a rundown on the various DISTORTION modes: OFF The signal is not processed. LIGHT, SOFT, MIDDLE, HARD Different analog distortion curves with different characteristics and intensities. DIGITAL Digital distortion with hard clipping. SHAPER Sine characteristic curve with several wave cycles. With the Shaper, you can drastically warp signals.
158 CHAPTER 16 Parameter of the effects menu 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.
ACCESS VIRUS OS4 159 Phaser RATE Determines the speed of the Phaser LFO. PHASER 01111111111111111112 DIR/EFF Controls the balance of volume levels between the direct signal and the Phaser signal: At a value of 0, only the direct signal is audible, at a value of 127, only the Phaser output signal is audible. The values between these two extremes determine the mix of the two signals.
160 CHAPTER 16 Parameter of the effects menu FEEDBACK Controls the amount of feedback in the Phaser. On the phaser, FEEDBACK lets you boost specific frequencies in the phaseshifted signal. The FEEDBACK parameter is bipolar; positive or negative feedback values let you dial in different phaser characteristics. 01111111111111111112 1 PHASER Feedback +0≤ 61111111111111111154 STAGES Use STAGES (1-6) to select the number of phaser stages or filter poles.
ACCESS VIRUS OS4 161 Chorus RATE Determines the speed of the Chorus LFO. CHORUS 01111111111111111112 DIR/EFF Controls the balance of volume levels between the direct signal and the Chorus signal: At a value of 0, only the direct signal is audible, at a value of 127, only the Chorus output signal is audible. The values between these two extremes determine the mix of the two signals.
162 CHAPTER 16 Parameter of the effects menu FEEDBACK Controls the amount of feedback in the Chorus. On the chorus, FEEDBACK lets you boost specific frequencies in the delayed signal to create a flanger effect. The FEEDBACK parameter is bipolar; positive or negative feedback values let you dial in different flanger characteristics. 01111111111111111112 1 CHORUS Feedback +0≤ 61111111111111111154 SHAPE Determines the waveshape of the chorus LFO. You can select from among 6 waveshapes.
ACCESS VIRUS OS4 163 Delay/Reverb above to dial in the desired predelay for room simulations. The DELAY effect is located prior 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.
164 CHAPTER 16 Parameter of the effects menu MODE Here’s where you select the algorithm for the DELAY/REVERB section. Let’s take a tour of the different algorithms: OFF Not surprisingly, this setting deactivates the DELAY/REVERB section. DELAY Mono echo. Same delay time on the left and right sides. REVERB Room simulation. REV+FEEDB1 This the Virus' trademark room simulation. Here you can use the FEEDBACK control to generate pre-delay feedback.
ACCESS VIRUS OS4 165 Delay/Reverb ter clock. For this reason, you won’t find DELAY Time or DELAY Clock parameters here. Consequently, the absolute delay times are determined by the tempo of the global clock generator (CLOCK SPEED) or by the song tempo dictated by a connected sequencer that is sending a clock signal. The two numbers represent sixteenth note increments and indicate the delay for the left and right side on the basis of sixteenth notes.
166 CHAPTER 16 Parameter of the effects menu parameters are visible; in this case, the delay times are always synced up to the global clock generator. the delay time is automatically set to a value equivalent to half of the entered value. 01111111111111111112 1 DELAY Time (ms) 349.5≤ 61111111111111111154 DELAY FEEDBACK Controls the amount of feedback of the Delay. 01111111111111111112 DELAY CLOCK When you set it to OFF, the absolute delay time is determined in milliseconds.
ACCESS VIRUS OS4 167 Delay/Reverb for a nice unnatural effect, to become thinner with increased harmonics (Hipass). 01111111111111111112 1 DELAY Color ing eingestellt werden oder auf Null gestellt werden, da die LFOModulation das Timing des Delays beeinflusst 01111111111111111112 +10≤ 61111111111111111154 1 DELAY Depht 15≤ 61111111111111111154 DELAY RATE Determines the speed of the Delay LFO.
168 CHAPTER 16 Parameter of the effects menu you route the Delay signal to the internal aux paths for further processing. 01111111111111111112 1 DELAY OutSel Out 1+2≤ On the other hand, you can determine the decay time of the room simulation independently for the room size of your choice. You can select from among: 01111111111111111112 61111111111111111154 1 REVERB Type Ambience≤ The following parameters will only appear in the display when you’re working with DELAY algorithms.
ACCESS VIRUS OS4 169 Delay/Reverb dial in the minimum value, the decay time is extremely short so you’ll hear just the early reflections. At the peak value, no energy is lost so the decay time is infinite, which is of course physically impossible in the real world.
170 CHAPTER 16 Parameter of the effects menu REVERB COLOR This parameters influences the room’s static frequency response. Natural reverb will always have some high-frequency attenuation since the sound bounces off at least one wall. REVERB COLOR is identical to DELAY COLOR; here you’re dealing with a variable filter that can act as a low-pass filter (negative control range) as well as a high-pass filter (positive control range).
ACCESS VIRUS OS4 171 Delay/Reverb 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. Pre-delay has a formative effect on room simulation, particularly since - like with the pure DELAY algorithms - you can use it to match the reverb effect to the rhythmic context.
172 CHAPTER 16 Parameter of the effects menu REVERB FEEDBACK REVERB OUTPUT SELECT Available exclusively for the Rev+Feedb1 and Rev+Feedb2 algorithms, this parameter controls the amount of pre-delay feedback. Here the room signal is repeated at intervals that are determined by the pre-delay time. Note that the signal level fades gradually. REVERB COLOR also has an influence on feedback. The intensity of the filtering effect generated by the low-pass or high-pass filter increases with every repetition.
Global-, MIDI- and System Parameters
174 CHAPTER 17 Global-, MIDI- and System Parameters GLOBAL Here you can transfer GLOBAL PARAMETERS The following parameters are global parameters and are accessible at any time in the CTRL 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 OS4 175 Global Parameters SINGLE BANK A All 128 sound programs of Bank A are sent. SINGLE BANK B All 128 sound programs of Bank B are sent. MULTI BUFFER This option dumps the data of the MULTI program that you are currently processing (the MULTI’s Edit buffer). Please bear in mind that, with this option, merely the MULTI parameters and not the associated SINGLE sounds are transmitted.
176 CHAPTER 17 Global-, MIDI- and System Parameters FORCE TO BANK A Bank data is loaded to Bank A exclusively. FORCE TO BANK B Bank data is loaded to Bank B exclusively 01111111111111111112 1 MIDI DUMP RX ForceToBankA≤ 61111111111111111154 FORCE TO EDIT Loads the single programs of the bank to the Edit buffer one by one, whereby the each preceding single sound is deleted by the one following it.
ACCESS VIRUS OS4 177 Global Parameters Virus sound generation components and not to the MIDI Out. INT+MIDI All types of control operations are sent directly to the Virus sound generation components and simultaneously to MIDI Out. MIDI All types of control operations are sent exclusively to MIDIOut, the internal signal path is severed. This position is equivalent to the classic Local Off function for the user interface.
178 CHAPTER 17 Global-, MIDI- and System Parameters on, but to switch it off if you should feel that this is necessary (Off). 01111111111111111112 1 MIDI ClockRx Auto≤ 61111111111111111154 Midi Volume Enable Globally switches the reception of Volume data (Controller #7) on (ENA) or off (DIS). 01111111111111111112 1 MIDI MidiVolume Multi Program Change Enable This function controls if the VIRUS receives program changes of multi-setups.
ACCESS VIRUS OS4 179 Global Parameters i.e. to exchange system exclusive data - you must assign the same MIDI DEVICE ID to both units. 01111111111111111112 1 MIDI DeviceId Omni≤ 61111111111111111154 exclusive data (SysEx) or as MIDI PolyPressure data (PolyPrs). When you set it to ”SysEx”, polypressure data is disabled on the receive side; if you set it to ”Contr”, both polypressure and SysEx data are received.
180 CHAPTER 17 Global-, MIDI- and System Parameters LCD Contrast SYSTEM Lets you adjust the contrast of the LC display to different light conditions and viewing angles. Master Tune Determines the overall pitch of the Virus. 0 = A 440 Hz. You can detune the device a half-note up or down at the most.
ACCESS VIRUS OS4 181 System to the value as in JUMP Mode. RELATIVE (≤)When you adjust a knob in RELATIVE Mode, the parameter is affected immediately but not absolutely. The value change from the original value to the new value reflects precisely the amount you adjusted via a given control. 01111111111111111112 1 SYSTEM KnobMode Jump≤ 61111111111111111154 completed, the original contents reappear in the lower display line.
182 CHAPTER 17 Global-, MIDI- and System Parameters by rapidly flashing LEDs. To achieve maximum sound quality for the system, you should set the input signal to a level that is as close as possible to the saturation threshold. However you should avoid setting the level beyond the saturation threshold, otherwise you will hear undesirable distortion in the signal. You can also use the level indicators to see if an input signal is actually patched in.
Random Patch Generator
184 CHAPTER 18 Random Patch Generator RANDOM PATCHES The RANDOM PATCH GENERATOR can be used to generate a new sound automatically or a modify an existing sound at random. The PAR DEPTH and AMOUNT parameters let you determine how radically the sound is changed. Depending on the values that you set here, the RANDOM PATCH GENERATOR will do anything from modifying sound parameters subtly to morphing one sound into an entirely different sound.
ACCESS VIRUS OS4 185 Random Patches higher values, the RANDOM PATCH GENERATOR tends to generate noise-like sounds or special effects. STORE button. Higher values introduce fundamental changes to the sound. 01111111111111111112 01111111111111111112 1 RANDOM [STORE] ParaDepth 0≤ 1 RANDOM [STORE] Amount 0≤ 61111111111111111154 61111111111111111154 AMOUNT This parameter determines the intensity of the RANDOM PATCH GENERATOR’s effect on the sound parameters.
186 CHAPTER 18 Random Patch Generator
Categories
188 CHAPTER 19 Categories SOUND 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.
The keyboard versions of the Virus
190 CHAPTER 20 The keyboard versions of the Virus THE VIRUS KB AND THE VIRUS INDIGO LOCAL OFF AND “THREE IN ONE” Although the Virus kb or the Virus Indigo is merely a Virus with a keyboard, there are a few characteristics to be considered, which is what the following section deals with. To be able to get the most out of your Virus kb / Indigo, and to use it sensibly, it is worthwhile to theoretically dissect the machine into its components: Keyboard, panel and sound generator.
ACCESS VIRUS OS4 191 Local off and “Three in One” other synthesizers: when activated the keyboard sends data to the MIDI-Out, but not directly to the sound generator. This makes sense when you use a synthesizer along with a sequencer, and want to use the synthesizer as a Masterkeyboard in your setup. In this case the sequencer decides which machine receives the keyboard data, and it could be very undesirable for the keyboard to send data directly to the internal sound generator.
192 CHAPTER 20 The keyboard versions of the Virus were not at all intended - after all there is no standard allocation for control data to parameters. To make it short: It can be very practical and easier on the nerves, to be able to activate the Local-OffMode for the keyboard, while the pots still control only the Virus and nothing else.
ACCESS VIRUS OS4 193 Keyboard & Company tion for the Modulation Wheel is to blend in vibrato for a sound. As a standard it is usually assigned to MIDI-Controller Nr. 1 (“Modulation”). Of course the Modulation Wheel can control other things instead of vibrato, e.g. the opening of a filter.
194 CHAPTER 20 The keyboard versions of the Virus pedals can be used to control different parameters via the modulation matrix (ASSIGN). 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.
ACCESS VIRUS OS4 195 The Keyboard-Modes user panel as well. By parameter KEYB TRANSPOSE Button you can choose if the TRANSPOSE buttons will switch the transpose of the SINGLE program (receiver position) or the Keyboard (transmitter position). THE KEYBOARDMODES You will be especially interested in the Virus’ Keyboard-Mode-Function if you intend to use the Virus kb / Indigo as a Masterkeyboard in order to manage further connected MIDI sound generators.
196 CHAPTER 20 The keyboard versions of the Virus data, and the various notes are distributed to the correlating parts in the sound generator. organizing and assigning functions only apply to the internal sound generators. With the help of the KeyboardMode-Parameter, we can turn the entire thing around. It can relocate the Multi’s note assignment back to the transmitter side, i.e. the keyboard. The notes are checked and assigned in the keyboard and not in the sound generator.
ACCESS VIRUS OS4 197 The Keyboard-Modes the part has (LowKey, HighKey), and each individual part-transposition (PartTranspose). The current bank and program numbers and the parts’ volume settings are also transmitted via MIDI-Out. The parameter formerly activated on the receiving side can now be used on the transmitter side; the 16 Multi-Parts now at your disposal allow for very extensive control of external sound generators.
198 CHAPTER 20 The keyboard versions of the Virus The internal + external keyboard zone PartEnable =Off KeybToMidi =On: The keyboard sends its signals to the sound generator and to MIDIOut. In a single keyboard zone you can combine a Virus part and an external sound generator on the same MIDI channel.
ACCESS VIRUS OS4 199 The Keyboard-Modes Here an overview of the keyboard version’s special parameters: KeybToMidi (per PART) (Off, On) KEYBOARD Local (Off, On) KEYBOARD MODE (OneChannel, MultiChannels) KEYBOARD Transpose (-64...+63) KEYB TRANPOSE Buttons (Single, Keyb) KEYB MODWHEEL Destination Controller KEYB PEDAL 1 Destination Controller KEYB PEDAL 2 Destination Controller KEYB PRESSURE Sensitivity (Off, 1...127, Default #64) All these parameters exept KeybToMidi are global parameters.
200 CHAPTER 20 The keyboard versions of the Virus
The Vocoder of the VIRUS
202 CHAPTER 21 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 B (grammalogue ”VOC”). These SINGLEs require an audio signal being fed to the external inputs. The keyboard also needs to be played on most of the presets. The Virus Vocoder is not necessarily easy to handle.
ACCESS VIRUS OS4 203 Vocoder lowers of the modulator banks. This part of the vocoder is called the carrier bank or synthesis part. As soon as the modulator detects a signal in a certain frequency range, its envelope follower levels the corresponding band in the synthesis part. In other words: Just the frequency band of the carrier signal (the steady tone), which is a part of the modulator signal (the spoken voice) in this second, is being passed to the output. This is why the steady tone starts to speak.
204 CHAPTER 21 The Vocoder of the VIRUS The Carrier Bank The signal is treated in a similar way to the signal which passes the modulator bank. In this case, the carrier signal is split by the bandpass filters. Each bandpass of the carrier bank corresponds to one of the modulator bank. Usually, both bandpasses use the same frequency slice. Similar to a synthesizer’s envelope, the signal level being measured by the envelope followers of the modulator, is used to control the level of the carrier’s filter.
ACCESS VIRUS OS4 205 The parameters of the VIRUS vocoder OSC-HOLD This setting is identical to ”OSC” although the holdmode (which also is available at COMMON/KeyMode) is activated. NOISE White noise is used as the carrier. The oscillator section is disabled. IN (L / In L+R / In R / Aux L ...) The analog inputs or the aux-sends are the carrier signal. If a stereo source, like L+R, is chosen, the left and right signal is mixed to create a mono signal.
206 CHAPTER 21 The Vocoder of the VIRUS Center Frequency (Knob: CUTOFF, Default: 64 (middle)) The central frequency of the bandpass filters in the modulator- and carrier bank. Using a high Q (filter quality parameter, which is controlled using KEYFOLLOW) you can adjust the central frequency of the spectrum you edit. 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.
ACCESS VIRUS OS4 207 The parameters of the VIRUS vocoder This picture shows the filter section in vocoder mode. Modulator Frequency Offset (Knob: CUTOFF 2, Default: 0 (middle)) A linear shift of the modulator bank’s central frequencies against the carrier bank, results in pitch-shifting and ”mickey mouse” effects. CUTOFF2 creates an offset of the modulator to the carrier bank.
208 CHAPTER 21 The Vocoder of the VIRUS ”gab,” it could lead to interesting changes, although in most cases this will result in a rather subliminal change. although it is possible to create a really nice sounding synthesizer pads with. Vocoder Attack (Knob: FILTER ATTACK, Default: 0 (left) The attack time of the envelope follower. This parameter controls how fast the carrier bands react on a change of the modulator signal’s frequency energy.
ACCESS VIRUS OS4 209 The parameters of the VIRUS vocoder rier signal to the vocoder signal. A turn to the right adds the modulator signal. Turning the FILTER BALANCE hard left or right can be used to monitor the vocoder’s input signals only. Vocoder Spectral Balance (Knob: FILTER SUSTAIN TIME, Default: 64 (middle)) Spectral balance between the higher and lower frequencies of the vocoder signal. This parameter works similar to a simple equalizer, which is e.g. capable to increase the quality of speech.
210 CHAPTER 21 The Vocoder of the VIRUS NOTES ABOUT THE VOCODER: The vocoder can also be controlled by any part of the multimode. If more than one part of the multimode contains an activated vocoder, only the vocoder of the part with the lowest part number is active. The vocoder takes a lot of computing power. This reduces the maximum number of voices dependent on the number of vocoder bands used.
ACCESS VIRUS OS4 211 Notes about the vocoder: The vocoder is only active when an external signal is detected and switches itself off 10 seconds after the last input signal has ended. This assures that the Virus has all of its polyphony available while the vocoder is switched on but no input signal is applied.
212 CHAPTER 21 The Vocoder of the VIRUS
The Virus and Sequencers
214 CHAPTER 22 The Virus and Sequencers PARAMETER CONTROL VIA MIDI ORGANIZATIONAL INFORMATION Virtually all parameters of the Virus are accessible via MIDI so that, for example, you can manipulate knobs and buttons and record these movements to a sequencer. You may then route these commands back to the Virus, which will respond to these automated instructions automatically.
ACCESS VIRUS OS4 215 Organizational Information nal sound generation system. When this setting is enabled, data generated by knobs and buttons is only acknowledged by the Virus when it is routed back in a roundabout way via the computer/ sequencer (the Virus must be selected as a track instrument in the sequencer and the ”Thru” function of the sequencer must be activated).
216 CHAPTER 22 The Virus and Sequencers As an alternative to parameter control via controller and polypressure data, you have the conventional system exclusive control option available (see ”MIDI Implementation” in the appendix, “The Virus and Sequencers” on page 213).
ACCESS VIRUS OS4 217 Notes on Adaptive Parameter Smoothing If you wanted to take this an extreme, you could record the movements of every knob and button to a separate track. Although this sounds like a classic case of overkill, it can facilitate the process of editing the recorded sequences: Bear in mind that the sequencer doesn’t indicate the parameters addressed via the control features of the Virus by their names; instead, it indicates merely the controller and/or polypressure numbers.
218 CHAPTER 22 The Virus and Sequencers defeat the purpose of effects generated by a step sequencer’s controller messages as well as gater effects that you programmed in your sequencer. You can adjust Adaptive Parameter Smoothing via a function called Control Smooth mode (in the EDIT menu; COMMON: SmoothMode) to accommodate different sonic situations: OFF Adaptive Control Smoothing (parameter smoothing) is disabled. Application: Parameter jumps are carried out without glitches.
ACCESS VIRUS OS4 219 Notes on Adaptive Parameter Smoothing 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.
220 CHAPTER 22 The Virus and Sequencers 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. To this end, all you have to do is program a cutoff controller in the sequencer for every note in the arrangement.
ACCESS VIRUS OS4 221 Problems Related to Parameter Control PROBLEMS RELATED TO PARAMETER CONTROL If you enjoy experimenting with recording parameter changes, sooner or later, you will run into the following problem: When controller sequences are recorded to a sequencer, the last recorded value remains valid until another value is sent for this controller.
222 CHAPTER 22 The Virus and Sequencers beginning the song, and you’d prevent hiccups such as the wrong sounds, ”stuck” values and jumps from the get-go. In the next section, you’ll find out just how you can do this. DUMP: THE SOUND IN THE SONG Archiving all of the sounds used in a song is not only a good idea to prevent potential problems that may occur when parameters are controlled in real time. It also makes it easy for you to recall your work at some later point.
ACCESS VIRUS OS4 223 DUMP: The Sound in the Song sisting of notes. For example, you can move a bulk dump to any position in the arrangement. To assure that the Virus plays the song back using the right sounds, we recommend that you position stored data prior to the song. Move all components of the actual song back so that you’re left with enough room to accommodate the dump prior to the song’s start position.
224 CHAPTER 22 The Virus and Sequencers very extensive and takes quite some time. Alternatively, you can also send just individual sounds, MULTIs or so-called ”arrangements”. The other truly reliable option for archiving sounds is dumping an arrangement (MIDI DUMP RX: Arrangement). In this case, the current MULTI is transmitted.
ACCESS VIRUS OS4 225 DUMP: The Sound in the Song the Virus in SINGLE mode and have opted not to use program change messages in the song.
226 CHAPTER 22 The Virus and Sequencers
Tips, tricks and other Words of Wisdom
228 CHAPTER 23 Tips, tricks and other Words of Wisdom MULTI SINGLE MODE In MULTI mode, the EDIT and CTRL menus are responsible for 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 OS4 229 Value Buttons VALUE BUTTONS When you press the two VALUE buttons simultaneously, the parameter is reset to its original value. You can increase the rate at which parameter values change by pressing and holding one VALUE button and simultaneously pressing the other VALUE button. If you release the first VALUE button while holding the other down, the parameter is set to its maximum or minimum value.
230 CHAPTER 23 Tips, tricks and other Words of Wisdom dealing with this type of signal routing set-up, be sure to back off the input level a tad via the OSC VOL knob. Input Level Indicator Alternatively, the RATE LEDs of LFO 1 and 2 can also serve as level indicators for the left and right external audio inputs. To this end, go to the CTRL menu, select the menu item SYSTEM, and set the Parameter LED mode to Input.
ACCESS VIRUS OS4 231 About the Delay/Reverb ABOUT THE DELAY/ REVERB DELAY/REVERB Effect Send The Effect Send parameter works like a classic aux send knob on a mixer (post-fader), i.e. it adjusts the level of the global DELAY/ REVERB effect signal without influencing the dry signal. However, the dry signal is faded out in the final third of the control range so that you can also patch just the pure effect signal of a MULTI Part through as you would it you were using a conventional dry/wet effect knob.
232 CHAPTER 23 Tips, tricks and other Words of Wisdom THE VIRUS AS AN EFFECT DEVICE You’re free to install the Virus into your studio environment and use it as an effect device or signal processor. For example, simply connect 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 OS4 233 Envelope Follower ENVELOPE FOLLOWER This function of the Virus is a special delicacy. It really upgrades the process of filtering (or any other processing) of an external audio signal. What we have here is a so called Envelope Follower that can evaluate the volume envelope of an external audio signal with a selectable speed or inertia and then creates an appropriate modulation signal. This signal can be used to control any Virus parameter via the Modulation Matrix.
234 CHAPTER 23 Tips, tricks and other Words of Wisdom Envelope Follower Release: OSCILLATORS Knob: FILTER DECAY It controls the decay time of the envelope follower. With this parameter, you can determine how swiftly the envelope follower will respond to a decrease in signal level. Higher values let the Follower linger. Envelope Follower Gain: Knob: FILTER SUSTAIN It controls the input level of the envelope follower directly. The nominal value is the center position (64).
ACCESS VIRUS OS4 235 Oscillators quency sounds than it is with higher-frequency sounds. This is due to the fact that the LFO frequency does not follow the pitch. You can compensate for this effect by activating and adjusting the function LFO1 KEYFOLLOW. When you set LFO1 KEYFOLLOW to a value of 127, the LFO rate will follow whatever pitch you play precisely (in octaves). center position) and use DETUNE to do just that to its pitch (relative to the first oscillator).
236 CHAPTER 23 Tips, tricks and other Words of Wisdom synchronization. An infinite number of new harmonic spectra can be thus generated with the parameters FM AMOUNT and OSC2 SEMITONE. Moreover, these spectra can be modulated continuously via envelopes and LFOs. FM and SYNC will of course also work with the 64 digital waveforms. polyphony of the Virus decreases by up to six voices, depending on how many voices use the third oscillator in MULTI mode.
ACCESS VIRUS OS4 237 Filters below. All other parameters as well as the settings for the oscillator modulations (LFO pulse width modulation and so forth) are dictated by Oscillator 2. This doesn’t limit the functionality of the third oscillator by much (if at all), but it certainly facilitates intuitive handling. The FM, Sync and Ring Modulator functions are not available for the third oscillator. Like all other oscillators, the level of Oscillator 3 is controlled via OSC VOL.
238 CHAPTER 23 Tips, tricks and other Words of Wisdom Filter Balance The filter section of the Virus puts slopes of 12, 24 and 36 dB/oct. at your disposal. In addition, the FILT BALANCE knob lets you morph smoothly from slope to another, which effectively makes it infinitely variable. Set the filter routing option to SER 6 and both filters to low-pass (LP). This gives you a serial setup comprised of a 24-dB and a 12-dB filter.
ACCESS VIRUS OS4 239 SATURATION for Added Grit and Dirt SATURATION Curve: Shaper SATURATION FOR ADDED GRIT AND DIRT SATURATION and OSC VOL In serial filter modes, the SATURATION unit is located between the filters. This configuration gives you the option of first filtering the oscillator signal in the conventional manner, then distorting it, and finally sending the distorted signal to a second filter, where it can be processed again as you see fit.
240 CHAPTER 23 Tips, tricks and other Words of Wisdom LFOS absolute rate of the envelope is determined with the LFO RATE knob. LFO Env Mode In addition to their standard function as low frequency oscillators, LFO 1 and 2 can also serve as additional, albeit simple, envelopes. When you activate ENV mode, the selected LFO waveform will cycle through just once when you play a note.
ACCESS VIRUS OS4 241 LFOs mode, one LFO controls several voices so that the modulation will affect several voices in the same way. This which will make the effect stand out in the mix. 01111111111111111112 1 LFO1 Mode Poly≤ 61111111111111111154 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.
242 CHAPTER 23 Tips, tricks and other Words of Wisdom FILT GAIN LFO1 lets you modulate the volume of a voice. You’ll find this function under LFO1 Amount FILT GAIN in the LFO 1 menu. We deliberately positioned the point of modulation prior to the filter section, so that the degree of distortion can be modulated at the same time when you have activated the SATURATION unit.
ACCESS VIRUS OS4 243 ASSIGN and the DEFINABLE Knobs performance controllers, these are not stored with the sound program. The unit value is 127. A double-click on the two Transpose buttons (Panic function) resets Channel Volume and Expression to this unit value. ASSIGN AND THE DEFINABLE KNOBS The ASSIGN section in the EDIT menu lets you control up to six freely selectable parameters via up to three modulation sources.
244 CHAPTER 23 Tips, tricks and other Words of Wisdom Instead, you are free to select one of the possible controllers as an ASSIGN source (e.g. the modulation wheel or Controller #12). All you have to do is enter this controller as the parameter for the DEFINABLE knob. This configuration is identical to that of a conventional parameter that has a dedicated controller number and knob.
ACCESS VIRUS OS4 245 MIDI MIDI MIDI DUMP RX The Virus lets you audition sound banks that are available as MIDI dumps on a sequencer individually rather than loading them directly to the banks of the Virus, where they would delete that the sounds that you have stored there. Set the MIDI DUMP RX parameter to Force To Edit Buffer. With this option, sounds that would otherwise be loaded directly to a sound bank via MIDI are instead loaded to the Edit buffer.
246 CHAPTER 23 Tips, tricks and other Words of Wisdom controller similar to Channel Volume that can be used independently as a volume control or to create gate effects (Controller #7). It is also reset by Controller Reset (double click on PANIC). The default setting is 127. 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.
ACCESS VIRUS OS4 247 PRIORITY PRIORITY This parameter lets you control how the Virus“steals notes when its polyphonic performance is maxed out. In the first position, "LOW", the voices of all PARTs have the same priority when one voice is switched off to accommodate a new voice. When you set the Priority of a PART to "High", the Virus will not “steal” any notes from the voices of this PART. Use this parameter sparingly.
248 CHAPTER 23 Tips, tricks and other Words of Wisdom ceed, press any key followed by STORE which will again enable the receive mode. In case that the load procedure simply stops at a certain position, the sequencer you use is not able to playback the file correctly. In this case, you need to use another sequencer. After a successful upload, press STORE to burn the new operating system into the flash-ROM.
ACCESS VIRUS OS4 249 Loading the Operating System from One Virus to Another LOADING THE OPERATING SYSTEM FROM ONE VIRUS TO ANOTHER 1 Connect the sending Virus’ (Virus 1) MIDI Out port to the receiving Virus’ (Virus 2) MIDI In port. 2 Switch on Virus 1 while you’re holding the [Store] button pressed. The display will read SYSTEM UPDATE. 01111111111111111112 SYSTEM UPDATE [STORE] Receive≤ 61111111111111111154 3 Then press the [Value +], [Store], [Store] buttons in this sequence.
250 CHAPTER 23 Tips, tricks and other Words of Wisdom SOFTWARE UPDATES Access is known for their policy of free software updates. Simply download the latest Virus 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
252 CHAPTER 24 Appendix SYSTEM EXCLUSIVE DATA VIRUS MIDI SYSTEM EXCLUSIVE IMPLEMENTATION enabled (LowPage=Contr), the VIRUS sends MIDI Control Change on parameter movement, and receives both MIDI Control Change and SysEx-Parameterchange on Page A. 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.
ACCESS VIRUS OS4 253 System Exclusive Data Page C contains Multi parameters and Global parameters. These parameters are sent and received only by SysEx Parameter Change. Control Change message (only Page A) In the following, all bytes are shown in hexadecimal representation. nn Bc vv Status byte, c=MIDI channel Parameter Number 0..127 (see parameter list Page A) Parameter Value 0..127 see parameter list Page A) The Control Change messages are defined as Performance Controller (e.g.
254 CHAPTER 24 Appendix Polyphonic Pressure message (only Page B) Ac nn vv Status byte, c=MIDI channel Parameter Number 0..127 (see parameter list Page B) :Parameter Value 0..127 see parameter list Page B) Example: A2,07,25 Control LFO3 Rate on MIDI channel 3 (!). System-Exclusive-Message F0 00 Start of System Exclusive Manufacturer ID 1 Access Music Electronics 20 Manufacturer ID 2 Access Music Electronics 33 Manufacturer ID 3 Access Music Electronics 01 Product ID (Virus) dd Device ID 00..
ACCESS VIRUS OS4 255 System Exclusive Data value 95. (10: device ID omni; 70: page A, 05: part 6; 28: parameter Cutoff, 5F: decimal value 95) Checksum is the sum (DeviceID + 10 + BankNumber + ProgramNumber + [256 single bytes]) AND 7F. A dump with a wrong checksum will be received, but an error message will appear on the display. Single Dump [message]= 10 Single Dump bb Bank Number 00 Single Edit buffer 01..04: Single Bank A..D ss Program Number 0..
256 CHAPTER 24 Appendix [256 multi bytes] contains the Multi parameters in a special succession. See Multi Dump Table. Checksum is the sum (DeviceID + 11 + BankNumber + ProgramNumber + [256 multi bytes]) AND 7F. A dump with a wrong checksum will be received, but an error message will appear on the display. Single Request [message]= 30 Single Request bb Bank Number 00: Single Edit buffer 01..04: Single Bank A..D ss Program Number 0..
ACCESS VIRUS OS4 257 System Exclusive Data Multi Bank Request Controller Dump Request [message]= 33 Multi Bank Request bb Bank Number 01:Multi Bank [message]= {F0,00,20,33,01,dd,33,bb,F7} ss 37 00 Controller Dump Request Bank Number (always zero) Part Number {F0,00,20,33,01,dd,37,00,ss,F7} Arrangement Request [message]= 34 Arrangement Request {F0,00,20,33,01,dd,34,F7} Global Request [message]= 35 Global Request {F0,00,20,33,01,dd,35,F7} Total Request [message]= 36 Total Request {F0,00,20,33,01,d
258 CHAPTER 24 Appendix PARAMETERS DESCRIBTION No. Class Name Range 0..3 Value Text PAGE A A 0 p Bank Select 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 OS4 259 Parameters Describtion No. Class Name Range Value Text A 19 a Osc1 Wave Select 0..64 A 20 a Osc1 Semitone 0..127 -64..+63 A 21 a Osc1 Keyfollow 0..127 -64..+63, Default: 32 A 22 a Osc2 Shape 0..127 -64..0..+63: Wave..Saw..Pulse A 23 a Osc2 Pulsewidth 0..127 A 24 a Osc2 Wave Select 0..64 A 25 a Osc2 Semitone 0..127 A 26 a Osc2 Detune 0..127 A 27 a Osc2 FM Amount 0..127 A 28 a Osc2 Sync 0..1 A 29 a Osc2 Filt Env Amt 0..127 -64..
260 CHAPTER 24 Appendix No. Class Name Range Value Text A 41 a Cutoff2 0..127 -64..+63 A 42 a Filter1 Resonance 0..127 A 43 a Filter2 Resonance 0..127 A 44 a Filter1 Env Amt 0..127 A 45 a Filter2 Env Amt 0..127 A 46 a Filter1 Keyfollow 0..127 -64..+63 A 47 a Filter2 Keyfollow 0..127 -64..+63 A 48 a Filter Balance 0..127 -64..+63 A 49 a Saturation Curve 0..6 0:Off 1:Light 2:Soft 3:Middle 4:Hard 5:Digital .. A 51 a Filter1 Mode 0..
ACCESS VIRUS OS4 261 Parameters Describtion No. Class Name Range Value Text 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..1 0:Poly 1:Mono A 71 a Lfo1 Symmetry 0..127 A 72 a Lfo1 Keyfollow 0..127 A 73 a Lfo1 Keytrigger 0..127 A 74 a Osc1 Lfo1 Amount 0..127 -64.
262 CHAPTER 24 Appendix No. Class Name Range Value Text A 84 a Lfo2 Keyfollow 0..127 A 85 a Lfo2 Keytrigger 0..127 A 86 a OscShape Lfo2 Amount 0..127 -64..+63 A 87 a FmAmount Lfo2 Amount 0..127 -64..+63 A 88 a Cutoff1 Lfo2 Amount 0..127 -64..+63 A 89 a Cutoff2 Lfo2 Amount 0..127 -64..+63 A 90 a Panorama Lfo2 Amount 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..
ACCESS VIRUS OS4 263 Parameters Describtion No. Class Name Range A108 a Chorus Delay 0..127 A109 a Chorus Feedback 0..127 A110 a Chorus Lfo Shape 0..5 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G .. A112 a Delay/Reverb Mode 0..1 0:Off 1:Delay 2:Reverb 3:Rev+Feedb1 A113 a,ms Effect Send 0..127 A114 a,ms, np Delay Time 0..127 A115 a,ms, np Delay Feedback 0..127 A116 a,ms, np Delay Rate 0..127 Reverb Decay Time 0..127 Delay Depth 0..127 Reverb Room Size 0..
264 CHAPTER 24 Appendix No. Class Name Range Value Text PAGE B B 1 b Arp Mode 0..6 0:Off 1:Up 2:Down 3:Up&Down 4:AsPlayed 5:Random 6:Chord 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..
ACCESS VIRUS OS4 265 Parameters Describtion No. Class Name Range Value Text B 25 b Control Smooth Mode 0..3 B 26 b Bender Range Up 0..127 -64..+63 B 27 b Bender Range Down 0..127 -64..+63 B 28 b Bender Scale 0..1 0:Linear 1:Exponential B 30 b Filter1 Env Polarity 0..1 0:Negative 1:Positive B 31 b Filter2 Env Polarity 0..1 0:Negative 1:Positive B 32 b Filter2 Cutoff Link 0..1 0:Off 1:On B 33 b Filter Keytrack Base 0..127 C-1..G9 B 34 b,Vb Osc FM Mode 0..
266 CHAPTER 24 Appendix No. Class Name Range Value B 49 b PulseWidth Velocity 0..127 -64..+63 B 50 b Fm Amount Velocity 0..127 -64..+63 B 54 b Filter1 EnvAmt Velocity 0..127 -64..+63 B 55 b Filter1 EnvAmt Velocity 0..127 -64..+63 B 56 b Resonance1 Velocity 0..127 -64..+63 B 57 b Resonance2 Velocity 0..127 -64..+63 B 58 b Second Output Balance 0..127 B 60 b Amp Velocity 0..127 -64..+63 B 61 b Panorama Velocity 0..127 -64..
ACCESS VIRUS OS4 267 Parameters Describtion No. Class Name Range Value B 71 b Assign2 Amount2 0..127 -64..+63 B 72 b Assign3 Source see Assign Sources List B 73 b Assign3 Destination1 see Assign Destinations List B 74 b Assign3 Amount1 B 75 b Assign3 Destination2 B 76 b Assign3 Amount2 B 77 b Assign3 Destination3 B 78 b Assign3 Amount3 B 79 b LFO1 Assign Dest B 80 b LFO1 Assign Amount B 81 b LFO2 Assign Dest B 82 b LFO2 Assign Amount 0..
268 CHAPTER 24 Appendix No. Class Name Range Value Text B 97 b,Vb Bass Intensity 0..127 B 98 b,Vb Bass Tune 0..127 B 99 b,Vb Input Ringmodulator 0..127 0:Off 1..127: Direct..Ringmodulator..Input B100 b,Vb Distortion Curve 0..6 0:Off 1:Light 2:Soft 3:Middle 4:Hard 5:Digital .. B101 b,Vb Distortion Intensity 0..127 B112 b Single Name Char1 32..127 ASCII B113 b Single Name Char2 32..127 ASCII B114 b Single Name Char3 32..127 ASCII B115 b Single Name Char4 32..
ACCESS VIRUS OS4 269 Parameters Describtion No. Class Name Range Value Text Page C 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..
270 CHAPTER 24 Appendix No. Class Name Range Value Text C 39 m Part Volume 0..127 -64..+63 0=Unity Gain C 40 m Part Midi Volume Init 0..127 Off, 1..127 C 41 m Part Output Select 0..14 0:Out1L 1:Out1L+R 2:Out1R .. C 45 g Second Output Select 0..15 0:Off 1:Out1L 2:Out1L+R 3:Out1R .. C 63 g Keyb Transpose Buttons 0..1 0:Patch 1:Keyb C 64 g Keyb Local 0..1 0:Off 1:On C 65 g Keyb Mode 0..1 0:OneChannel 1:MultiChannels C 66 g Keyb Transpose 0..
ACCESS VIRUS OS4 271 Parameters Describtion No. Class Name Range Value Text C 85 g Glob Prog Change Enable 0..1 0:Off 1:On C 86 g MultiProg Change Enable 0..1 0:Off 1:On C 87 g Glob Midi Volume Enable 0..1 0:Off 1:On C 90 g Input Thru Level 0..127 C 91 g Input Boost 0..127 C 92 g Master Tune 0..127 -64..+63 C 93 g Device ID 0..16 1..16, Omni C 94 g Midi Control Low Page 0..1 0:SysEx 1:Contr C 95 g Midi Control High Page 0..
272 CHAPTER 24 Appendix No. Class Name Range Value Text C112 g Definable1 Global see Definable List C113 g Definable2 Global see Definable List C114 g Definable1 Midi 0..127 C115 g Definable2 Midi 0..127 C116 g Expert Mode 0..1 0:0ff 1:On C117 g Knob Mode 0..3 0:Off 1:Jump 2:Snap 3:Relative C118 g Memory Protect 0..1 0:0ff 1:On 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..
ACCESS VIRUS OS4 273 Multi Dump Table MULTI DUMP TABLE NO REF NAME RANGE VALUE 32..127 ASCII TEXT 0..3 Internal 4..13 Multi Name Characters 1..10 14 Internal 15 Multi Clock Tempo 0..127 63..190 BPM 16 Multi Delay Mode 0..1 0:Off 1:On 17 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..
274 CHAPTER 24 Appendix NO REF NAME RANGE 32..47 Part 1..16 Bank Number 0..1 48..63 Part 1..16 Program Number 0..127 64..79 Part 1..16 Midi Channel 0..15 1..16 80..95 Part 1..16 Low Key 0..127 C-1..G9 96..111 Part 1..16 High Key 0..127 C-1..G9 112..12 7 Part 1..16 Transpose 0..127 -64..+63 128..14 3 Part 1..16 Detune 0..127 -64..+63 144..15 9 Part 1..16 Part Volume 0..127 -64..+63; 160..17 5 Part 1..16 Midi Volume Init 0..127 Off, 1..127 176..19 1 Part 1..
ACCESS VIRUS OS4 275 Multi Dump Table 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.
276 CHAPTER 24 Appendix CLASSES Classes p: Performance Controller Accessible by Control message. Performance Controllers are not stored with a Single-Sound. If more than one Multi Part is set to the same MIDI channel, all Parts on this MIDI channel receive the same Performance Controllers. a: Sound Parameter of Bank A Accessible by Control message, SysEx-Parameterchange and Single-Dump.The Sound Parameters are stored with a Single Sound.
ACCESS VIRUS OS4 277 Classes np: Non-part-sensitive Sound Parameter When in Multi Mode, the parameter affects all Multi Parts. bpc: Bank/Program-Change Parameter Bank Select selects the Single bank accessed by a subsequent Program Change, similar to the regular Bank Select.Bank Change directly changes the Single program to the requested bank, without changing the program number.
278 CHAPTER 24 Appendix On non-part-sensitive parameters the part number is ignored, but must still be sent as any value. The Virus can be switched between Multi Mode and Single Mode by parameter C123 Part Number. Remarks for editor/librarian programs Not all 256 bytes of a Single or Multi Dump are defined as a parameter. Some of them are defined for internal use or reserved for future applications.
ACCESS VIRUS OS4 279 Classes
280 CHAPTER 24 Appendix MOD MATRIX SOURCES All sources of the definable knobs 1/2 Off PitchBnd ChanPres ModWheel Breath Contr3 Foot Data Balance Contr 9 Express Contr 12 Contr 13 Contr 14 Contr 15 Contr 16 HoldPed PortaSw SostPed AmpEnv FiltEnv Lfo 1 Lfo 2 Lfo 3 VeloOn VeloOff KeyFlw Random
ACCESS VIRUS OS4 281 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 Fl
282 CHAPTER 24 Appendix DEFINABLE KNOBS DESTINATIONS All destinations of the definable 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 O
ACCESS VIRUS OS4 283 Definable Knobs Destinations All destinations of the definable knobs 1/2 PhaserRate PhaserDepth PhaserFrequenc PhaserFeedback PhaserSpread RevDecayTime ReverbDamping ReverbColor ReverbFeedback SecondBalance ArpMode ArpPattern ArpClock ArpNoteLength ArpSwing ArpOctaves ArpHold
284 CHAPTER 24 Appendix MIDI IMPLEMENTATION CHART Model: Access VIRUS SynthesizerVersion: 4.0 Date: 6.9.
ACCESS VIRUS OS4 285 MIDI Implementation Chart System Exclusive O O System Common :Song Pos :Song Sel :Tune . O X X X X X System Realtime :Clock :Commands X X X X Aux- :Local ON/OFF Mes- :All NotesOff Sages : ActiveSense : Reset X X X X X O O X Start, Stop Continue * Note: See MIDI Controller Assignments for more Information.
286 CHAPTER 24 Appendix FCC INFORMATION (U.S.A) I M P O R T A N T N O T I C E : 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. I M P O R T A N T: When connecting this product to accessories and/or another product use only high quality shielded cables.
ACCESS VIRUS OS4 287 FCC Information (U.S.A) In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorised to distribute this type of product. The statements above apply ONLY to products distributed in the USA.
288 CHAPTER 24 Appendix FCC INFORMATION (CANADA) The digital section of this apparatus does not exceed the „Class B“ limits for radio noise emmissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications.
ACCESS VIRUS OS4 289 Other Standards (Rest of World) OTHER STANDARDS (REST OF WORLD) This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC. Cet appareil est conforme aux prescriptions de la directive communautaire 89/336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedrorendareadiostoj. Diese Geräte entsprechen der EG-Richtlinie 89/336/EC.
290 CHAPTER 24 Appendix DECLARATION OF CONFORMITY EG-Konformitätserklärung Für das folgend bezeichnete Erzeugnis/ For the following named product Access VIRUS Synthesizer Model b / kb / Indigo Wird hiermit bestätigt, daß es den Schutzanforderungen entspricht, die in der Richtlinie 89/336/FWG des Rates zur Angleichung der Rechtsvorschriften der Mitgliedstaaten über die elektromagnetische Verträglichkeit festgelegt sind; außerdem entspricht es den Vorschriften des Gesetzes über die elektromagnetische Vertr
ACCESS VIRUS OS4 291 Declaration of Conformity Diese Erklärung wird verantwortlich für den Hersteller abgegeben: This declaration has been given responsibly to the manufacturer: Access Music Electronics Trimburgstraße 11 36039 Fulda Fulda, 1.9.
292 CHAPTER 24 Appendix GARANTIE BESTIMMUNG access Music Electronics leistet Garantie für alle nachweisbaren Material- und Fertigungsfehler für eine Dauer von 6 Monaten ab Verkauf oder Aushändigung an den Endverbraucher.
ACCESS VIRUS OS4 293 Warranty WARRANTY 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. Warranty coverage is also voided when the device is repaired by unauthorized persons or tampered with in any way.
294 CHAPTER 24 Appendix
