©2000, 2001 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 Guido Kirsch and Marc Schlaile. Translation by Thomas Green. Graphic design and DTP by Babylonwaves Media. http://www.access-music.de | info@access-music.de The Virus - Resistance is futile.
Table Of Contents
2 Important Safety Remarks - Set-up - Connections - Operation - Memory battery change - Care - Fitness for Purpose 6 7 7 8 8 8 Prologue Introduction All About The Memory Store 66 Compare 67 Modmatrix And Definables Creating Modulations via Assign 70 The Definable Knobs 72 Master Clock And Midi-Clock The Virus - Cable Connections - Power Up the Virus - Listening to the Factory Sounds - Listening to the Multi Programs - Your First Sound Program 14 15 15 16 17 17 The Amplifier Envelope 19
ACCESS VIRUS RACK - Filter 2 - Filters 103 104 Envelope Section (Encoder) - Filter Envelope - Amplifier Envelope 107 107 108 LFO Section (Encoder) - LFO 1 - LFO 2 - LFO 3 109 109 110 110 LFO Section (Menu) - LFO 2 - LFO 3 111 112 113 EFX Section 115 EFX Section/Encoder - Chorus - Reverb - Delay - Input - Vocoder - Analog Boost 116 116 117 119 120 123 123 EFX Section/Menu - Chorus - Delay/Reverb 124 124 125 Edit Section/Encoder 129 Edit Section/Menu - Common - Unison - Punch - Assign - Veloc
4 Appendix System Exclusive Data - System Exclusive Implementation - Control Change message (only Page A) - Polyphonic Pressure message (only Page B) - System-Exclusive-Message - SysEx Parameterchange - Single Dump - Multi Dump - Single Request - Multi Request - Single Bank Request - Multi Bank Request - Arrangement Request - Global Request - Total Request - Controller Dump Request 204 204 205 206 206 206 207 207 208 208 208 209 209 209 209 209 MIDI Implementation Chart 210 FCC Information (U.S.
ACCESS VIRUS RACK 5
6 CHAPTER 2 Important Safety Remarks sPlease read and heed the following safety guidelines! A few fundamental rules on handling electrical devices follow. 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.
ACCESS VIRUS RACK Connections Operation Be sure to use exclusively the included mains power supply adapter. Don’t set beverages or any other receptacle containing liquids on the device. Plug the device only into mains sockets that are properly grounded in compliance with statutory regulations. Never modify the included power cord. If its plug does not fit the sockets you have available, take it to a qualified electrician.
8 CHAPTER 2 Memory battery change Care 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. Do not open the device, it is not equipped with any user-serviceable parts.
ACCESS VIRUS RACK 9
10 CHAPTER 3 Prologue Dear Virus Owner, Congratulations on your choice, the new Virus. You have purchased a cuttingedge 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.
ACCESS VIRUS RACK You'll find parallel external audio inputs on the front and back panel. You can determine the input sensitivity via a gain selector switch. You're also free to activate a special Phono EQ that enables you to connect a record player via a suitable cord. The two main oscillators produce 66 waveshapes, three of which are dynamically mixable so that spectral effects are possible within the confines of a single oscillator.
12 CHAPTER 3 appears immediately on the screen. Incidentally, this editor is based on Emagic's popular SoundDiver. In all modesty, we are especially proud of a feature we developed called Adaptive Parameter Smoothing. For the first time in the history of synthesizers equipped with memories, you can manipulate a knob or control feature without an audible step or increment. In other words, the sound does not change abruptly but SEAMLESSLY.
Introduction
14 CHAPTER 4 Introduction THE VIRUS This section provides deliberate, step-bystep 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 RACK The Virus Cable Connections Power Up the Virus 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. Power up the Virus Rack by pressing the POWER button. To shut the device down, press and hold this button for approx.
16 CHAPTER 4 Introduction Listening to the Factory Sounds The program memory of the Virus was loaded with sound programs (SINGLE PROGRAMs) and sound combinations (MULTI PROGRAMs) before it left the factory. To hear the SINGLE PROGRAMs (and gain an initial impression of the possibilities your new instrument has to offer in terms of sounds), first make sure your MIDI source is sending on MIDI Channel 1. Press the SINGLE button. A number, a letter, number and name appear in the display.
ACCESS VIRUS RACK The Virus Listening to the Multi Programs The Virus not only has the capability of playing SINGLE PROGAMs, but also combinations consisting of more than one sound simultaneously (MIDI Multi Mode). To call up the MULTI PROGRAMs, press the MULTI button and select these combination programs via the VALUE button. The Virus features “only” 128 MULTI PROGRAMs, so you don’t have to switch back and forth between banks they way you just did while activating single programs.
18 CHAPTER 4 Introduction abruptly. This sound is not designed to be especially pleasant; it is intended to be as neutral as possible to give you a basis from which you can begin creating or shaping your own sound.
ACCESS VIRUS RACK The Amplifier Envelope THE AMPLIFIER ENVELOPE Long-term exposure to this sound will definitely grate on your nerves, so let’s get started with changing it into a signal you might enjoy hearing, beginning with the volume characteristics. Locate the two vertically arrayed buttons next to the seven LEDs. Use these UP and DOWN buttons to select from among the seven parameter groups and/or sections. The appropriate LED lights up to indicate that the given section has been selected.
20 CHAPTER 4 Introduction Rotate the ATTACK encoder while you repeatedly engage a key to hear the note. The further you turn the encoder up, the longer it takes for the sound to achieve maximum volume after the start of the note. So you can say ATTACK controls the initial volume swell of the sound. Whenever the SUSTAIN level is set to maximum, the volume cannot drop during the DECAY phase; in other words, in this situation the DECAY encoder is ineffective. .
ACCESS VIRUS RACK The Amplifier Envelope If you turn it counter-clockwise to the left, then the level drops off at an increasing rate towards the minimum level much in the manner you just experienced with the DECAY encoder; If you turn the encoder clockwise to the right, the level rises at an increasing rate to maximum and remains there until you release the key.
22 CHAPTER 4 Introduction 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. Use the UP or DOWN buttons to activate the filter section FILT. The second encoder knob in this row is labeled CUTOFF (not to be confused with CUTOFF 2!).
ACCESS VIRUS RACK The First Filter Now we'll look at a parameter that is not assigned a dedicated knob of its own, but can be dialed up in the display. This type of parameter may be selected via the PARAMETER buttons and then adjusted with the VALUE knob or the VALUE buttons. Select the FILTER 1 Mode parameter via the PARAMETER buttons. To do this, make sure that the display is still in the filter section FILT.
24 CHAPTER 4 Introduction of the notch decreases; in other words more frequencies on both sides of the filter frequency are allowed to pass.
ACCESS VIRUS RACK Filter Modulation FILTER MODULATION Of course we don’t want to require you to execute every sound modification manually by twiddling encoders.
26 CHAPTER 4 Introduction you might say many of the settings produce sounds reminiscent of stringedinstruments; some sound picked, plucked or snapped, others sound bowed. For your next experiment set the amplifier envelope so that you hear a constant level when you press and hold a note. Now deactivate the filter envelope by setting the ENV AMOUNT to 0. Set Filter1Filter-1 to low pass mode and decrease the filter frequency until you just barely hear a muddy signal when you play notes in the mid-range.
ACCESS VIRUS RACK The Saturation Stage THE SATURATION STAGE In the signal chain of the Virus, Filter-1 is followed by a saturation stage. It enables you to add overtones to the filtered signal via distortion. Locate the parameter SATURATION in the FILTERS section. 01111111111111111112 1 SATURATION Curve Off≤ 61111111111111111154 The display will read ”SATURATION CURVE OFF”, which means exactly what it says.
28 CHAPTER 4 Introduction THE SECOND FILTER You probably noticed that by a adding a bit of saturation to the signal you can come up with a pretty heavy, aggressive sound - especially with a low filter frequency level and high resonance. You’re probably thinking these types of sounds could do with some more filtering. We had the same idea, which is one of the reasons why we equipped the Virus with another filter per voice.
ACCESS VIRUS RACK The Second Filter blended out of the signal chain until at the far right position only Filter-2 is active and audible. Each filter in the Virus normally features 2 poles. However in the FILTER ROUTING operating mode SER 6, Filter-1 operates with 4 poles, so the signal patched through Filter-1 (FILTER BALANCE to the far left) is trimmed more drastically than when it is routed through Filter-2 (FILTER BALANCE to the far right).
30 CHAPTER 4 Introduction Now experiment with the diverse filter modes and listen closely to the effect of the parameters RESONANCE, ENV AMOUNT and KEY FOLLOW in conjunction with FILTERS SELECT.
ACCESS VIRUS RACK The Second Filter 31
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 RACK Filter Routing Her is the filter routings capabilities of the Virus.
34 CHAPTER 4 Introduction THE FIRST OSCILLATOR To this point, we have turned our attention exclusively to sound-shaping functions and have always started with the same basic material: a so-called sawtooth wave. This waveshape is especially well-suited as a neutral starting point as it contains all of the so-called natural scale of overtones, which give the filter plenty of quality material to work with.
ACCESS VIRUS RACK The First Oscillator Now modify the amplifier envelope so you are working with a less grating sound, but hold back on any other filter or saturation modifications so you can hear the purest oscillator signal possible. SHAPE encoder from the sawtooth control range towards the pulse control range, you are actually dialing every other overtone out of the mix, which explains why the sound becomes thinner.
36 CHAPTER 4 Introduction O’CLOCK). Regardless of the current SHAPE setting, you can also select a wave in the EDIT menu under OSCILLATOR 1 WAVE. Go ahead and check out the different waveshapes. The second of the 64 waves is a triangle wave, the remainder of the waveshapes are each a unique tonal blend.
ACCESS VIRUS RACK 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 which has more sound-shaping options than Oscillator 1. You are already familiar with Oscillator 1’s SHAPE and WAVE SEL/PW parameters. These functions are identical for Oscillator 2, so we won’t go into detail on them again.
38 CHAPTER 4 Introduction measure is that the wavering tone that resulted from detuning and mixing the oscillator signals disappears. The SYNC effect really becomes interesting when you transpose Oscillator 2 upwards in comparison to Oscillator 1 via the SEMITONE encoder. What happens is that the wave cycle of Oscillator 2 is interrupted as soon as Oscillator 1 starts its cycle.
ACCESS VIRUS RACK The MIXER Section THE MIXER SECTION You have already come across two parameters of the MIXER section: OSC BAL determines the mix ratio between Oscillators 1 and 2; in the left half of its control range, OSC VOL determines the master volume of the oscillator mix. In the right half of the control range from the center position to the far right, OSC VOL increases the saturation intensity when a SATURATION curve has been activated.
40 CHAPTER 4 Introduction you can still control the volume levels of the different elements as well as OSC VOL in the usual manner.
ACCESS VIRUS RACK The LFOs THE LFOS When you first started this series of experiments with sounds, we promised that many of the functions the Virus can be “programmed” so that they are executed automatically. You have already learned how to control the volume and cutoff frequencies of both filters as well as the pitch and intensity of the frequency modulation of Oscillator 2 via “preprogrammed” envelopes.
42 CHAPTER 4 Introduction LFO 1 The modulation targets Start with the usual basic sound configuration or chose a modified sound to suit your taste. Locate the RATE encoder in the LFO 1 section of the control panel. The VIRUS is equipped with an LED that indicates the speed of the LFO as well as its waveshape. Turn the RATE encoder and check out how the flash of the LED indicates the change of pace as you rotate the encoder.
ACCESS VIRUS RACK The LFOs Modulate the five parameters separately and in combinations with different intensities. Try to anticipate the sound you will come up with when you modulate the first oscillator, the second oscillator or both oscillators at once and see if the results match your expectations.
44 CHAPTER 4 Introduction chords, especially when they are sustained. To enhance this effect, activate the LFO 1 KEY FOLLOW. This function enables you to control the rate of the LFOs via the pitch, or more accurately, via the MIDI note number, so that higher notes generate faster LFO rates. As result, when you press and hold several notes you will hear all kinds of substantially different periodic fluctuations. Finally, the LFOs can also be used as additional envelopes.
ACCESS VIRUS RACK The LFOs LFO 2 The design of the second LFO is essentially the same as the first, so we’ll spare you the repetition of details SHAPE 1 and 2 are available as a joint modulation target; the filter frequencies and the Panorama position can be manipulated individually. You may also freely select a parameter for your modulation destination.
46 CHAPTER 4 Introduction VOLUME AND PANORAMA Volume and Panorama Position Its value is set to 100 so that you have a reserve or headroom of 27 volume increments when you are dealing with highly filtered sounds. You probably noticed that the many of the sound shaping options available in the Virus occasionally influence the volume level.
ACCESS VIRUS RACK Velocity VELOCITY 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.
48 CHAPTER 4 Introduction 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.
ACCESS VIRUS RACK The Chorus/Flanger Effect 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.
50 CHAPTER 4 Introduction 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.
ACCESS VIRUS RACK More to Come 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.
52 CHAPTER 4 Introduction
Concept and Operation
54 CHAPTER 5 Concept and Operation OPERATING MODES In the Virus you can select from two ba5sic operating modes, SINGLE MODE and MULTI MODE. time; for this purpose the control panel enables you to switch among the sixteen so-called PARTS. In SINGLE MODE, the Virus is able to generate a single sound program only. All 16 voices, all effects and all control features (with the exception of the MULTI button) function in conjunction with this one sound program.
ACCESS VIRUS RACK The Multi-Single Mode THE MULTI-SINGLE MODE While being in MULTI Mode, you’re unable to change the SINGLE programs directly, which would admittedly be a handy option when you’re working with a sequencer. This is why the Virus features MULTI SINGLE mode, which, strictly speaking, is more an alternative view of MULTI mode rather than a further mode in its own right. Activate MULTI SINGLE mode by pressing the MULTI and SINGLE buttons simultaneously.
56 CHAPTER 5 Concept and Operation In addition, you can activate another complete MULTI program in MULTI mode only. The MULTI mode parameters feature a dedicated menu called the Multi Edit menu. Access it by pressing the Multi button while the device is in MULTI mode. The LED located over the MULTI button will light up to indicate that the Multi Edit menu is active. Press the MULTI button again to return to normal Play mode.
ACCESS VIRUS RACK the Edit Buffers THE 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
Operation
60 CHAPTER 6 Operation PARAMETER SELECTION AND DATA ENTRY The parameters of the Virus Rack are controlled via the five encoder knobs. The functions of this row of knobs may be assigned to seven parameter groups that are indicated visually by the seven LEDs located to the left of the encoders.
ACCESS VIRUS RACK Parameter Selection and Data Entry This knob is not labeled on the panel with a parameter name that indicates its purpose. Instead, the name of the parameter and its function is shown in the display. Apart from the envelope section, each of the parameter groups features these peripheral parameters that are grouped in menus. These are ancillary parameters that complement the directly accessible parameters.
62 CHAPTER 6 Operation Once you've selected a parameter group or section, the individual LEDs located next to the knobs indicate whether or not the knobs are assigned a function in the currently active menu. parameter groups in the direction of the button that you are holding down. This handy feature lets you swiftly go from one parameter type to another, for instance, from all chorus-related to all delay-related parameters.
ACCESS VIRUS RACK Parameter Selection and Data Entry The VALUE +/- buttons let you change the value of the selected parameter in steps. When you hold one of these buttons down, the value changes automatically and the longer you hold the button, the faster the pace of the value change. You can increase this pace even further by pressing and holding one VALUE button and simultaneously pressing the other VALUE button.
64 CHAPTER 6 Operation DISPLAY OF VALUES When a menu is active, different display options are available for parameters with a dedicated knob. These can be selected under the menu item KNOB DISPLAY in the CTRL menu: OFF Knob movements are not displayed; the current contents of the display remain intact when you turn a knob. ON The lower row of the display is being overwritten by the parameter's value.
All About The Memory
66 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 RACK Compare COMPARE When you press STORE and then UP or DOWN, you will activate Compare mode. After you have programmed or edited a SINGLE sound, Compare mode lets you hear the unedited sound that was originally stored in this memory slot. Press UP or DOWN repeatedly to switch back and forth between the Compare sound and the edited sound so that you can - surprise, surprise – compare the two sounds.
68 CHAPTER 7 All About The Memory
Modmatrix And Definables
70 CHAPTER 8 Modmatrix And Definables CREATING MODULATIONS 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 ”hardwired” factory modulation routing options simply can’t satisfy.
ACCESS VIRUS RACK Creating Modulations via Assign tions. This lets you radically reshape sounds and even transform or morph them into entirely different sounds. 01111111111111111112 1 ASSIGN Source OFF≤ 61111111111111111154 . You’ll find a list of available sources and DESTINATIONS in the appendix.
72 CHAPTER 8 Modmatrix And Definables 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. this program. If, however, you have not selected a parameter for this program (DEFINABLE Single = OFF), the setting for DEFINABLE Global is automatically enabled.
Master Clock And Midi-Clock
74 CHAPTER 9 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.
The Effects Section
76 CHAPTER 10 The Effects Section THE EFFECT SECTION For every SINGLE program and every PART, you can access two stereo effects individually. You’ll find these effects – analog boost and chorus – in the aptly named EFFECTS menu. The vocoder and the delay/reverb section are each available just once, but you can address them individually via the PARTs’ Effect Send parameter. In the signal path, all effects are connected in series in accordance with their sequence in the Effects menu.
Audio Inputs
78 CHAPTER 11 Audio Inputs AUDIO INPUTS You can also opt to use external audio signals in place of the on-board oscillators for the sound programs or MULTI PARTs. The Virus is equipped with two inputs for external signals. You can route these to its sound generating components (the filters, the saturation stage as well as the volume and panorama stage) or patch them directly to the effects section of the Virus. External audio signals may also be used as carrier or modulator signals for the vocoder.
ACCESS VIRUS RACK Audio Inputs TOEFFECTS An alternative to INPUT Static mode, here the audio signal is routed directly to the effects section of the SINGLE program or PART. This mode doesn’t use the voices of the Virus, which means that its polyphonic performance remains fully intact and available. The filter section is unavailable in this mode.
80 CHAPTER 11 Audio Inputs Input global Settings Input Level Indicator In the Input menu, you'll find a gain switch (INPUT Gain) that increases the input signal by 20 decibels before it is sent to the digital analog converter. This means that with the proper cords you can connect a microphone, an electric guitar or a record player directly to the Virus Rack.
Audio Routing
82 CHAPTER 12 Audio Routing THE AUDIO OUTPUTS In MULTI mode, you can choose a mono or stereo audio output in the OUTPUT Select menu independently for every PART. In contrast to the majority of other effects, the delay/reverb section is not available individually for each PART. Instead, it processes the signals of the PARTs collectively. You can, however, control the intensity of the effect individually for each PART using the respective Effect Send parameter.
Categories
84 CHAPTER 13 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.
Random Patch Generator
86 CHAPTER 14 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 RACK Random Patches by repeatedly pressing the STORE button. Higher values introduce fundamental changes to the sound. 01111111111111111112 1 RANDOM [STORE] Amount 0≤ 61111111111111111154 . Be aware that RANDOM PAR DEPTH and RANDOM AMOUNT are not actual sound parameters. They merely set the parameters for the RANDOM PATCH GENERATOR and only take effect when the RANDOM PATCH GENERATOR is activated. Not until then will the sound be changed.
88 CHAPTER 14 Random Patch Generator
Additional Functions
90 CHAPTER 15 Additional Functions ADDITIONAL FUNCTIONS Panic Function The Virus features a Panic function to remedy stuck notes caused by MIDI transmission parity errors and the like. When you press the POWER and the STORE button simultaneously, then all voices of the Virus that are still sounding will be released. A double-click on both buttons initiates a controller reset.
ACCESS VIRUS RACK Additional Functions Reset Function If you get the impression that the VIRUS is behaving unstable or indeed strange, we suggest you perform a system reset. Holding the PARAMETER LEFT button while switching the VIRUS on, performs a system reset. No data will be lost during this procedure, although some global system settings as ”Global Channel” will be reset.
92 CHAPTER 15 Additional Functions
The Parameters
94 CHAPTER 16 The Parameters OSC SECTION (ENCODER) The following section lists all parameters in the Virus, each with a brief definition or explanation. . In case, a parameter is only available in the Expert Mode, the prefix [XP] has been used in front of the parameter’s name. The function of the Encoders depends on the selected section and the currently active display menu. If the given Encoder does not have an assignment, the corresponding LED on the front panel will extinguish.
ACCESS VIRUS RACK OSC Section (Encoder) Oscillator 1 SEMITONE Determines the interval between the second oscillator and the first oscillator: Control range +/-48 semitones, assigned in semitone steps. 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.
96 CHAPTER 16 The Parameters OSC SEKTION (MENU) Oscillator 1 WAVE Selects among of 64 spectral waveshapes. This parameter is identical to WAVE SEL/PW (see appropriate section) when SHAPE (see appropriate section) is set to the left half of its control range. However, in contrast to WAVE SEL/PW, WAVE is always available regardless of the current SHAPE setting.
ACCESS VIRUS RACK OSC Sektion (Menu) Oscillator 2 WAVE Same as OSCILLATOR 1; see paragraph above. [XP] KEYFOLLOW Same as OSCILLATOR 1; see paragraph above. SYNC Synchronizes the second oscillator with the first: The SYNC function forces Oscillator 2 to interrupt its wave cycle and restart it at the same time as Oscillator 1 starts its cycle.
98 CHAPTER 16 The Parameters FILT ENV -> FM It determines the intensity at which the filter envelope controls the frequency modulation (FM AMOUNT). This as well as the previous parameter are ”relics” from the predecessor model of the Virus. Modulations such as these may also be implemented via the Modulation Matrix (see the section ”ASSIGN” below).
ACCESS VIRUS RACK OSC Sektion (Menu) ing the tonal spectrum in terms of saturation. The intensity of the remaining DSP effects available in the SATURATION Stage is controlled via the OSC VOL knob. Sub Oscillator VOLUME Determines the volume level of the SubOscillator. [XP] 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.
100 CHAPTER 16 The Parameters Ringmodulator Noise 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. The frequency coherence can be changed, for instance use the OSC2 SEMITONE parameter. If the RINGMODULATOR VOLUME is zero, the ring modulator is switched off. OSC VOL does NOT affect the ring modulator level.
ACCESS VIRUS RACK Filter Section (Encoder) FILTER SECTION (ENCODER) CUTOFF Determines the cutoff frequency of Filter-1 and 2 (with exceptions; see CUTOFF 2). CUTOFF 2 (OFFSET) Controls the cutoff frequency of Filter-2. Normally, CUTOFF 2 does not operate absolutely, but relatively to CUTOFF: The cutoff frequency of the second filter is subordinate to the CUTOFF value you determined for the first filter. However you can use the CUTOFF 2 knob to dial in a relative +/- deviation in frequencies, i.e.
102 CHAPTER 16 The Parameters FILTER SECTION/MENU LP The low pass filter suppresses fre- Filter 1 quencies higher than the CUTOFF frequency (see appropriate section) and allows the lower frequencies through. KEY FOLLOW Determines the extent to which the filter frequency follows the pitch (Note Number) and the Pitch Bend. Depending on the FILT SELECT setting, KEY FOLLOW affects the first filter, the second filter or both filters.
ACCESS VIRUS RACK Filter Section/Menu [XP] ENV POLARITY Switches back and forth between positive (POS) and negative (NEG) ENV AMOUNTs for Filter-1 (see appropriate section). Filter 2 01111111111111111112 1 FILTER1 EnvPolarity Pos≤ KEY FOLLOW same as FILTER 1 61111111111111111154 MODE same as FILTER 1 [XP] ENV POLARITY Switches back and forth between positive (POS) and negative (NEG) ENV AMOUNTs for Filter-2 (see appropriate section).
104 CHAPTER 16 The Parameters 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.
ACCESS VIRUS RACK Filter Section/Menu ROUTING This feature offers four filter routing options which allow you to operate the filters in series or in parallel: SER-4 The filters are switched in series; with two poles each (12dB), both filters have the same slope for a total of four filter poles (24dB). SER-6 The filters are switched in series; Filter-1 has four poles (24dB), Filter-2 has two poles (12dB) so the overall slope is equivalent to six poles (36dB).
106 CHAPTER 16 The Parameters SATURATION CURVE The SATURATION stage in the filter section offers a selection of different saturation or distortion characteristics. You can use these to add overtones to a sound. The intensity of the distortion can be varied considerably via the second half of the OSC VOL control range. For the distortion curves, this intensity range is equivalent to a gain boost of 12 decibels, in the case of the ”Digital” curve as much as 24 decibels.
ACCESS VIRUS RACK Envelope Section (Encoder) ENVELOPE SECTION (ENCODER) Filter Envelope ATTACK Determines the amount of time it takes for the filter envelope to rise to its maximum level. The higher the ATTACK value, the longer it takes for the envelope to rise to maximum volume after the start of a note. DECAY Determines the amount of time it takes for the filter envelope to fade out. The higher the DECAY value, the longer it takes for the envelope to fall from its peak level to the SUSTAIN value.
108 CHAPTER 16 The Parameters then the level drops off at an increasing rate towards the minimum level; If you turn the knob clockwise to the right (towards RISE), the level rises at an increasing rate to maximum. RELEASE Determines the speed or rate at which the volume of the filter envelope decreases after the end of a note. The higher the DECAY value, the longer it takes for the envelope to fall from its current level to the minimum level, when the key is released.
ACCESS VIRUS RACK LFO Section (Encoder) LFO SECTION (ENCODER) LFO 1 RATE Determines the speed or rate of the LFO. In polyphonic sounds, the manually selected RATE value deviates slightly from voice to voice to liven up the sound of the LFOs, which also oscillate polyphonically. When the LFO is synced up to the master clock, the desired note value is selected via the RATE knob. SHAPE Determines the waveshape of the LFO.
110 CHAPTER 16 The Parameters SINE Contour morphs from sine to a triangle wave (Contour to the left) or to a square wave (Contour to the right). LFO 2 TRIANGLE Contour morphs from a triangle to a declining (Contour to the left) or ascending sawtooth (Contour to the right). 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).
ACCESS VIRUS RACK LFO Section (Menu) LFO SECTION (MENU) CLOCK When you set it to OFF, the LFO oscillates in the normal manner, independently of the global Master Clock (CLOCK TEMPO). When you enter a note value here, the LFO rate is synced up to the global master clock. The length of the waveshape’s cycle will then correspond to the note value that you have entered. You can also set the rate via CLOCK TEMPO (refer to the appropriate section) or synchronize it to external MIDI clock.
112 CHAPTER 16 The Parameters phase positions of 0 to 360 degrees; the value 0 switches the KEY TRIGGER function completely off so that the LFO oscillates freely and appears on random phase positions at the start of a note.
ACCESS VIRUS RACK LFO Section (Menu) [XP] MODE Same as LFO 1 AMOUNT FM Amount. An additional modulation destination of LFO-2. The intensity of the frequency modulation of Oscillator 2 is modulated.
114 CHAPTER 16 The Parameters OSC AMOUNT Controls the modulation intensity of the LFO. 01111111111111111112 1 LFO3 OscAmount +0≤ 61111111111111111154 FADE IN This parameter lets you automatically initiate a delayed fade-in the LFO3 modulation that you set up via OSC AMOUNT (see the section above). FADE IN controls the overall delay and fade-in time. 01111111111111111112 1 LFO3 FadeIn 0≤ 61111111111111111154 CLOCK Same as LFO 1; see paragraph above. [XP] MODE Same as LFO 1; see paragraph above.
ACCESS VIRUS RACK EFX Section EFX SECTION The Effects menu contains the parameters of the effects section and audio inputs (INPUT). The following effects are available individually per PART and in stereo: ANALOG BOOST CHORUS The vocoder and the delay/reverb section are each available just once, but they can be addressed individually by the PARTs. In the signal path, all effects are connected in series in accordance with sequence in the Effects menu.
116 CHAPTER 16 The Parameters EFX SECTION/ENCODER The LFO modulates the left and right sides of the Chorus signal antiphase, which generates a true stereo effect. Chorus 01111111111111111112 RATE Determines the speed of the Chorus LFO. 01111111111111111112 1 CHORUS Rate 69≤ 61111111111111111154 1 CHORUS Depth 16≤ 61111111111111111154 DELAY Controls the delay time of the Chorus. 01111111111111111112 DEPTH Controls the intensity of the delay modulation by the LFO.
ACCESS VIRUS RACK EFX Section/Encoder 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 of several cushioned edges along the way. This friction depletes energy and causes the pool ball to slow down.
118 CHAPTER 16 The Parameters high-end damping has a significant influence the vibe and warmth of the room sound. 01111111111111111112 1 REVERB Damping 12≤ 61111111111111111154 [XP] REVERB PREDELAY This parameter controls the pre-delay time of the given room simulation. In a real room, sound travels quite a distance and is reflected at least once before it reaches your ear. This means that a certain amount of time elapses before you hear the earliest reflections of the room signal.
ACCESS VIRUS RACK EFX Section/Encoder will become more prominent when you set a short decay time and a long predelay time. 01111111111111111112 1 REVERB Feedback 50≤ Delay sThe following parameters are only available when you’re working with DELAY algorithms. 61111111111111111154 DELAY RATE Determines the speed of the Delay LFO. 01111111111111111112 1 DELAY Rate 5≤ 61111111111111111154 DELAY DEPTH Controls the intensity of the delay modulation by the LFO.
120 CHAPTER 16 The Parameters DELAY TIME This is the absolute delay time of the delay effect in milliseconds (ms). Use it to determine the interval between each repetition up to a maximum delay time of 693 ms. Delay time is infinitely variable. Changing the delay time bends the pitch of the delay signal. The DELAY TIME parameter will not appear in the display when delay time is determined by the DELAY CLOCK (see below).
ACCESS VIRUS RACK EFX Section/Encoder as a microphone preamplifier, a mixer, or a guitar preamp before you route it into the input of the Virus. should only turn up the INPUT BOOST when you are unable to dial in a sufficient signal level prior to the external inputs. At a value of 0, the signal level is not boosted at all. . Please turn down the Master Volume This is a global parameter, i.e. it affects all involved PARTs and INPUT DIRECT THRU (see paragraph below).
122 CHAPTER 16 The Parameters play notes in order to hear the external signal source. For instance in this mode you can manipulate the volume to “chop up” the input signal much the way a gate does. If you turn FILTER KEY FOLLOW up, the input signal is filtered by a different filter frequency depending on the key you press.
ACCESS VIRUS RACK EFX Section/Encoder Vocoder TUNE Controls the frequency range of ANALOG BOOST. 01111111111111111112 See [“The Vocoder” on page 161] 1 ANALOG BOOST Tune 32≤ 61111111111111111154 Analog Boost This effect produces the typical bass punch on analog synthesizers, and with the corresponding TUNE setting you can emphasis the punch in the mid frequencies or even lower the treble frequencies.
124 CHAPTER 16 The Parameters EFX SECTION/MENU [XP] SHAPE Determines the waveshape of the chorus LFO. You can select from among 6 waveshapes. 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.
ACCESS VIRUS RACK EFX Section/Menu Delay/Reverb As its name would indicate, the DELAY/ REVERB section generates two different effects: The DELAY effect does just that to the input signal – delay it to create echoes. Much like a chorus, you can modulate the delay time to create oscillations and phase shifting in the stereo panorama. Delay time can also be locked into sync with the global clock generator. As a result, the rhythm of the repetitions can be matched up to the given song tempo.
126 CHAPTER 16 The Parameters EFFECT SEND The level at which the given sound is patched to the DELAY or REVERB effect is adjusted here. EFFECT SEND is identical to a post-fader effect bus on a mixing console. When you move the control toward the end of its control range, the dry signal is faded out and only the wet DELAY/REVERB signal is audible. tions are independently variable depending on the pre-delay time and feedback intensity (FEEDBACK).
ACCESS VIRUS RACK EFX Section/Menu echo, or for a nice unnatural effect, to become thinner with increased harmonics (Hipass). sThe following parameters will only appear in the display when you’re working with REVERB algorithms. 01111111111111111112 1 DELAY Color +10≤ 61111111111111111154 [XP] DELAY SHAPE Determines the waveshape of the Delay LFO. You can select from among 6 waveshapes.
128 CHAPTER 16 The Parameters 01111111111111111112 1 REVERB Type Ambience≤ 61111111111111111154 In the signal path. the filter is located at the output of the pre-delay. This means that the filter also influences pre-delay feedback (REVERB FEEDBACK, see below) when you use this parameter. 01111111111111111112 [XP] REVERB COLOR [XP] This parameters influences the room’s static frequency response.
ACCESS VIRUS RACK Edit Section/Encoder EDIT SECTION/ENCODER CUTOFF Determines the cutoff frequency of Filter-1 and 2 (with exceptions; see CUTOFF 2). DEFINABLE 1/2 These two knobs are freely definable. You can define the knobs via the CTRL menu (DEFINABLE 1/2 MODE). Settings can be saved globally as well as individually to SINGLE program slots. MASTER VOLUME Controls the overall volume of the Virus.
130 CHAPTER 16 The Parameters
ACCESS VIRUS RACK Edit Section/Menu EDIT SECTION/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 lowlevel 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..
132 CHAPTER 16 The Parameters every time you play a note (Multi Trigger mode); Portamento is only active when you play legato. MONO 3 (Single-Trigger): The sound is played monophonically; when you play in a smooth, even style (legato) the envelopes are restarted at the first note only and continue to run through their phases when you play other notes (Single Trigger mode); Portamento is always active.
ACCESS VIRUS RACK Edit Section/Menu 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. 01111111111111111112 1 COMMON BendDown generating greater intervals because of the exponential increase in range.
134 CHAPTER 16 The Parameters jumps in steps when a new note is played. Unison 01111111111111111112 1 COMMON SmoothMode On≤ 61111111111111111154 MODE determines how many voices the Virus will use to render a played note. In a nutshell, it determines how fat or big the sound will be. When you activate UNISON mode for a sound, it can still be played polyphonically. However, depending on the number of voices you’ve dialed in, its polyphony will of course be considerably reduced in UNISON mode.
ACCESS VIRUS RACK Edit Section/Menu Moreover, PAN SPREAD lets you spread the stereo panorama of the two oscillators or filter, provided that you select SPLIT as the FILTER ROUTING option (more on this in the section, ”FILTER ROUTING”). Then this option is enabled regardless of whether or not UNISON mode is active. This feature allows you to create a stereo sound with just a single voice.
136 CHAPTER 16 The Parameters Assign The three ASSIGN options let you control up to six modulation destinations via up to three modulation sources. Simply go to ASSIGN, select one of the modulation sources (SOURCE) and one or several modulation destinations (DESTINATION). Each of these configurations features a parameter that determines modulation intensity (AMOUNT).
ACCESS VIRUS RACK Edit Section/Menu ture an infinitely variable control range – ergo, you have more than 100 modulation destinations at your disposal. Controls the intensity of the first modulation allocation. If you haven’t selected a source for one of the ASSIGN options (SOURCE = OFF), the subordinate parameters will not be displayed.
138 CHAPTER 16 The Parameters ASSIGN 3 SOURCE Selects the modulation source for the third modulation assignment. ASSIGN 3 DESTINATION 1 Selects the first modulation destination for the third modulation assignment. ASSIGN 3 AMOUNT 1 Controls the intensity of the third modulation assignment for the first modulation destination. ASSIGN 3 DESTINATION 2 Selects the second modulation destination for the third modulation assignment. Velocity .
ACCESS VIRUS RACK Edit Section/Menu VELOCITY PULSE WIDTH Determines the intensity of the VELOCITY control for the pulse width (see appropriate section) of both oscillators. 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.
140 CHAPTER 16 The Parameters VELOCITY PANORAMA Determines the intensity of the VELOCITY control for the Panorama position.
ACCESS VIRUS RACK Arpeggiator&Ctrl Section (Encoder) ARPEGGIATOR&CTRL SECTION (ENCODER) ARPEGGIATOR MODE Selects the Arpeggiator mode. You can chose from: RANDOM Arpeggiates notes in ran- OFF Self-explanatory. The Arpeggiator CHORD Plays notes as chords rather is inactive. than arpeggios. UP Sustained notes are arpeggiated in an ascending manner. DOWN Sustained notes are arpeggiated in descending manner. dom sequence.
142 CHAPTER 16 The Parameters ARPEGGIATOR PATTERN This parameter selects one of the rhythmic patterns for the Arpeggiator. 01111111111111111112 1 ARPEGGIATOR Pattern 2≤ 61111111111111111154 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.
ACCESS VIRUS RACK Arpg&Ctrl Section (menu) ARPG&CTRL SECTION (MENU) 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.
144 CHAPTER 16 The Parameters Arpeggiator 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. The actual tempo is determined by the global clock generator, the speed of which may be varied via CLOCK TEMPO (see the section on CLOCK TEMPO). Moreover, the clock generator can be synced up to the external MIDI Clock.
ACCESS VIRUS RACK Arpg&Ctrl Section (menu) ARPEGGIATOR HOLD When this parameter is activate, the arpeggiator continues to play after you release the keys. Not until you release all keys and press a new key are the notes that were held up to this point released. 01111111111111111112 1 ARPEGGIATOR Hold Off≤ Random Patch Generator . The random patch generator can be found in the RACNDOM PATCH GENERATOR chapter.
146 CHAPTER 16 The Parameters AMOUNT This parameter determines the intensity of the RANDOM PATCH GENERATOR’s effect on the sound parameters. At lower values, sound changes are fairly subtle, but you can intensify the effect by repeatedly pressing the STORE button. Higher values introduce fundamental changes to the sound.
ACCESS VIRUS RACK Arpg&Ctrl Section (menu) program may be. Comparable to a small MIDI fader box, this mode is used to control connected MIDI devices. Note that this information is not processed internally in the Virus. The setting for the actual 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.
148 CHAPTER 16 The Parameters [XP] DEFINABLE 2 GLOBAL Same as DEFINABLE 1; see paragraph above. [XP] DEFINABLE 2 MIDI Same as DEFINABLE 1; see paragraph above.
ACCESS VIRUS RACK MIDI MIDI Midi Dump TX This feature transfers the sound data of one Virus to another Virus, a computer or a hardware sequencer via MIDI. The dump is executed via so-called system exclusive data (SysEx). You can chose from the following dump options: TOTAL All data in the RAM of the Virus, in other words, the SINGLE Banks A and B, the MULTI programs, the EDIT buffers as well as the settings for the global parameters.
150 CHAPTER 16 The Parameters ARRANGEMENT The current MULTI and the SINGLE programs involved can be transmitted in one go with this option. To shorten the amount of time that this dump takes, only the sounds of those PARTs whose Part Enable option is set to On are sent. MULTI BANK All MULTI programs are transmitted with this option. Please bear in mind that, with this option, merely the MULTI parameters and not the associated SINGLE sounds are transmitted.
ACCESS VIRUS RACK MIDI VERIFY Compares an incoming MIDI dump to the memory content of the Virus. It checks if a dump was recorded properly on the sequencer and if it can be played back correctly. Load data from the sequencer into the Virus while “Verify” is enabled. The Virus’ display will indicate if the device is actually receiving data and it will call your attention to any transmission errors that may occur. Data stored in the Virus remains unaffected by this operation.
152 CHAPTER 16 The Parameters the Arpeggiator may no longer be able to play correctly under these conditions. To avoid this situation, route data via another MIDI channel or switch off the MIDI Thru function on your sequencer. PROGRAM CHANGE ENABLE Globally swithes the reception of Program Change Data for SINGLE programs on and off. 01111111111111111112 1 MIDI ProgChange Ena≤ 61111111111111111154 [XP] CLOCK RX This parameter activates or deactivates the receiving of MIDIClock globally.
ACCESS VIRUS RACK MIDI exchange system exclusive data - you must assign the same MIDI DEVICE ID to both units. 01111111111111111112 1 MIDI DeviceId Omni≤ 61111111111111111154 MIDI CONTROL LOW PAGE Here you can determine if you want the first 128 parameters (Page A) to be sent to MIDIOut as system exclusive data (SysEx) or as MIDI Controllers (Contr). When you set it to ”SysEx”, controller data is disabled on the receive side; if you set it to ”Contr”, both controller and SysEx data are received.
154 CHAPTER 16 The Parameters SYSTEM 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. LCD CONTRAST Lets you adjust the contrast of the LC display to different light conditions and viewing angles.
ACCESS VIRUS RACK System original menu does not reappear in the display. or PART that accesses an external audio outputs. 01111111111111111112 OUTPUT1 / OUTPUT2 Much like when 1 SYSTEM KnobDispl Short≤ 61111111111111111154 LED MODE Here you can chose between two operating modes for the RATE LEDs of LFO 1 and 2: LFO The LEDs indicate the oscillations of the LFOs. INPUT The LEDs serve as level indicators for the two external audio inputs (RATE 1 = Input L; RATE 2 = Input R).
156 CHAPTER 16 The Parameters MULTIMODE PARAMETERS The MULTI mode parameters feature a dedicated menu called the Multi Edit menu. Access it by pressing the Multi button while the device is in MULTI mode. The LED located over the MULTI button will light up to indicate that the Multi Edit menu is active. Press the MULTI button again to return to normal Play mode. If the device is in MULTI-SINGLE mode, press the MULTI and SINGLE buttons simultaneously to access the Multi Edit menu.
ACCESS VIRUS RACK Multimode parameters OUTPUT SELECT Several PARTs can simultaneously access the external outputs via OUTPUT SELECT.In SINGLE MODE, OUTPUT SELECT does not appear in the menu; in this case Output 1 (stereo) is preset.If the selected output is monophonic, then the Panorama settings and modulations in the sound program are inactive.
158 CHAPTER 16 The Parameters (0 to +63), extremely low-level signals are amplified. When you set values greater than 0 for sounds that are already fairly loud, you may hear undesirable digital distortion. 01111111111111111112 1 B36 101BASS RP PartVolume +0≤ 61111111111111111154 CHAN VOLUME INIT This parameter relates to the Channel Volume Controller (#7). ChanVolInit lets you determine a preset level that is activated when you switch to this MULTI.
ACCESS VIRUS RACK Multimode parameters In other words, if you set all Parts to High, you’re defeating the purpose of this parameter. In this case, it wouldn’t have any effect since the priority of all voices is the same. disabled and the PART will respond only to notes the lie above and below this zone. 01111111111111111112 . The two parameters may be entered 1 B36 101BASS RP ChanVolInit Off≤ in the usual way via the VALUE buttons and the VALUE knobs as well as directly via keyboard.
160 CHAPTER 16 The 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.
The Vocoder
162 CHAPTER 17 The Vocoder VOCODER Although vocoder sounds have seen a comeback in the recent time, many musicians do not specifically know how they work or even more importantly, how they sound! Various Vocoder presets are stored In the last section of SINGLE bank D (grammalogue ”VOC”). These SINGLEs require an audio signal being fed to the external inputs. The keyboard also needs to be played on most of the presets. The Virus Vocoder is not necessarily easy to handle.
ACCESS VIRUS RACK Vocoder All you need is the internal synthesizer of the Virus. It is also possible to process external signals. The feature set of the VIRUS includes 32 filter bands, shifting the frequency’s relation of modulator and carrier, adjustable quality (Q-factor) of the filter bands and much more. parameter. These signals are no audio signals, as they contain the envelope of the signal being analysed.
164 CHAPTER 17 The Vocoder THE PARAMETERS OF THE VIRUS VOCODER OSC VOL (in the EFFECTS menu, . The Vocoder related parameters are located in the EFFECT Menu VOCODER MODE here you can enable the vocoder and choose the signal source for the carrier bank at the same time: OSC This mode uses the whole oscillator section of the Virus, including the noise generator as the carrier signal. The oscillators can be played polyphonic which enables the amplifier envelope to work as usual.
ACCESS VIRUS RACK The parameters of the Virus vocoder ity creates a higher resonance in the filter bands, which therefore make the overall sounds more artificial. tain amount of the carrier signal to the vocoder signal. A turn to the right adds the modulator signal. VOCODER 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.
166 CHAPTER 17 The Vocoder 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. As mentioned before, the whole filter section is exchanged to the vocoder, parameters, parameters like saturation or the filter routing are not available anymore.
The Virus and Sequencers
168 CHAPTER 18 The Virus and Sequencers PARAMETER CONTROL VIA MIDI 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 RACK Organizational Information ORGANIZATIONAL INFORMATION In order to be able to record the movements of knobs and status changes of buttons on the Virus to a sequencer, you must connect the MIDI Out of the Virus to the MIDI In of the computer or sequencer. You also have to enable reception of MIDI controllers and MIDI polypressure commands in the sequencer so that this data is not subject to onesided filtering.
170 CHAPTER 18 The Virus and Sequencers instrument to exploit this data type in the interest of putting further controllers at your disposal.) . Please note that the Virus allows you to control several PARTs via the same MIDI channel. This means that an incoming controller would collectively address this parameter in all PARTs. This of course defeats the purpose of routing several of these PARTs via the same channel, which is to double up different sounds.
ACCESS VIRUS RACK Organizational Information 171
172 CHAPTER 18 The Virus and Sequencers HANDLING MIDI PARAMETER CONTROL If you have configured your MIDI system in accordance with the instructions in the previous section, you may activate the sequencer’s recording mode and record the knob and button movements as you see fit. Check the Event or List editor of your sequencer to see if the recording operation was successful. Good-to-know info: Do not record knob and button movements to the same track that contains the notes of any given passage.
ACCESS VIRUS RACK Notes on Adaptive Parameter Smoothing NOTES ON ADAPTIVE PARAMETER SMOOTHING We developed a feature called Adaptive Parameter Smoothing for the Virus that assures automated knob movements are carried out so that parameter changes are not audible in steps commonly called zipper noise. This means that the Virus responds just as smoothly to your sound-shaping actions as did the analog synthesizers of yore that were used before the devices that could store sounds were introduced.
174 CHAPTER 18 The Virus and Sequencers Side effect: This analysis of radical parameter changes can’t cope with jumps that occur in rapid succession. The Control Smooth mode parameter setting is considered a component part of a SINGLE sound and is thus stored with it. NOTE Adaptive Control Smoothing works continuously, but jumps when a new note is played. .
ACCESS VIRUS RACK 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.
176 CHAPTER 18 The Virus and Sequencers 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 RACK Dump - The Sound in the Song 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 TX: Arrangement). In this case, the current MULTI is transmitted.
178 CHAPTER 18 The Virus and Sequencers
Tips, Tricks& Words Of Wisdom
180 CHAPTER 19 Tips, Tricks& Words Of Wisdom TIPS AND TRICKS Multi Single Mode were in SINGLE mode, except that you have 16 sounds available simultaneously on 16 MIDI channels. Use the PART buttons to select these sounds. In MULTI mode, 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 RACK Tips and Tricks 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.
182 CHAPTER 19 Tips, Tricks& Words Of Wisdom ALL ABOUTS INPUTS Audio Inputs and Audio Routing The Virus is equipped with two inputs for external signals. You can route these to its sound generating components and use them as carrier or modulator signals for the Vocoder.
ACCESS VIRUS RACK All abouts Inputs 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. When the parameter is set to Auto, the Virus automatically activates this level indicator mode when the selected SINGLE program accesses the external audio inputs.
184 CHAPTER 19 Tips, Tricks& Words Of Wisdom ABOUT EFFECTS Delay/Reverb Effect Send The Virus as an Effect Device The Effect Send parameter works like a classic aux send knob on a mixer (postfader), i.e. it adjusts the level of the global DELAY/REVERB effect signal without influencing the dry signal.
ACCESS VIRUS RACK Oscillators OSCILLATORS Pulse Width Modulation Pulse width modulation is a very effective method for producing beat oscillations without having to resort to several detuned oscillators. Dial OSC BALANCE to the far left so that only OSC1 is audible, then select the waveform Pulse for this oscillator (OSC1 Shape to the right). Slowly turn the Pulse Width (PW) knob back and forth. As you change its pulse width, you’ll hear movement in the sound itself.
186 CHAPTER 19 Tips, Tricks& Words Of Wisdom Oscillator Sync/FM On the Virus, Oscillator 1 is always the component that determines the frequency for the two functions oscillator synchronization (SYNC) and frequency modulation (FM). This means that you can use both of these options at the same time. With frequency modulation, you can create extremely complex spectra, whereby inharmonic frequency components are filtered out (so to speak) in the course of synchronization.
ACCESS VIRUS RACK Filters FILTERS 24-dB Filter Variations Filter Balance You have two options for using the 24dB filters of the Virus. The filter section of the Virus puts slopes of 12, 24 and 36 dB/oct. at your disposal. In addition, the FILT BALANCE parameter 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 lowpass (LP). This gives you a serial setup comprised of a 24-dB and a 12-dB filter.
188 CHAPTER 19 Tips, Tricks& Words Of Wisdom Filter Routing: Split In Filter SPLIT mode, each of the two oscillators sends its signal into one of the two filters. Each filtered signal, in turn, is sent into a separate VCA. The two VCAs can be spread in the panorama via the UNISON Pan Spread parameter. The difference to UNISON mode is that you only have one oscillator and one filter available for each side, although each with the full complement of voices.
ACCESS VIRUS RACK Saturation for Added Grit and Dirt 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.
190 CHAPTER 19 Tips, Tricks& Words Of Wisdom LFOS 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. This lets you use a sawtooth wave to create a ramp, the shape of which you can vary from linear to exponential by means of LFO CONTOUR.
ACCESS VIRUS RACK LFOs LFO Mode LFO Trig Phase You can set the LFO Mode parameter so that the LFOs are polyphonic or monophonic. In Poly mode, the LFOs of several voices have different phase positions. This lets you create complex modulations for pad-like sounds, and puts an end to the sonic monotony of a “wobbly” monophonic LFO. In SINGLE mode, one LFO controls several voices so that the modulation will affect several voices in the same way. This which will make the effect stand out in the mix.
192 CHAPTER 19 Tips, Tricks& Words Of Wisdom External LFO Trigger Filter Gain You can also trigger an LFO at any time by means of a controller, in other words, restart its waveform cycle via remote control. LFO1 mode (Ctr #70), LFO2 mode (Ctr #82) and LFO3 mode provision controllers that you can use for this purpose (Parameter B 9, see the parameter documentation in the “Appendix” on page 203). LFO1 lets you modulate the volume of a voice.
ACCESS VIRUS RACK Volume Control VOLUME CONTROL Next to the Oscillator Volume parameter, the Virus features four other volume stages for every SINGLE or PART: Patch Volume Volume level of the sound program. Use Patch Volume to balance out the fundamental differences in levels between the different sound programs. The Patch Volume is stored along with the sound program. The unit value is 100. Part Volume Volume level of the MULTI-PART.
194 CHAPTER 19 Tips, Tricks& Words Of Wisdom ASSIGN AND THE DEFINABLE KNOBS The ASSIGN section in the EDIT menu lets you control up to six freely selectable parameters via up to three modulation sources. The modulation sources can be MIDI controllers such as the modulation wheel as well as internal, voice-related modulation sources such as envelopes and LFOs.
ACCESS VIRUS RACK Arpeggiator ARPEGGIATOR In AsPlayed mode, notes are played in the same sequence in which the Arpeggiator receives them. As a rule, the Arpeggiator is able to store up to 16 notes. At first glance, it wouldn’t seem possible to play a pattern in which several notes have the same pitch. To do this, you would have to release a key before you can play it again, and when you release a key, the corresponding note is deleted from the Arpeggiator pattern.
196 CHAPTER 19 Tips, Tricks& Words Of Wisdom 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.
ACCESS VIRUS RACK MIDI Expression Controller The Virus is able to handle Expression Controller (Controller #11) commands. Expression is a volume 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 POWER and STORE). The default setting is 127.
198 CHAPTER 19 Tips, Tricks& Words Of Wisdom 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.
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200 CHAPTER 19 Tips, Tricks& Words Of Wisdom THE OPERATING SYSTEM (OS) Installing an operating system update Please don’t try to load a VIRUS b / kb / Indigo Operating System into the rack. We have a special OS for the VIRUS rack downloadable at our Website. 1 Load the MIDI file into your sequencer and make sure you have chosen the right MIDI channel and port settings. The MIDI file contains the new software for the Virus, packed in MIDI Sysex data.
ACCESS VIRUS RACK The Operating System (OS) when you actually initiate a burn operation will the old operating system be deleted and overwritten with new data. Loading the OS 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.
202 CHAPTER 19 Tips, Tricks& Words Of Wisdom
Appendix
204 CHAPTER 20 Appendix SYSTEM EXCLUSIVE DATA System Exclusive Implementation and receives both MIDI Control Change and SysEx-Parameterchange on Page A. sThe default setting is LowPage=Contr. The Parameters of the VIRUS are organized in three so-called pages A, B and C. Each page contains 128 parameters, addressed by numbers from 0 to 127. Each parameter is represented by one byte with a maximum value of 127. All parameters are individually accessible by SysEx-Parameterchange.
ACCESS VIRUS RACK System Exclusive Data sThe default setting is HiPage=SysEx.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) Bc nn In the following, all bytes are shown in hexadecimal representation. vv Status byte, c=MIDI channel Parameter Number 0..127 (see parameter list Page A) Parameter Value 0..127 see parameter list Page A) .
206 CHAPTER 20 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 (!). SysEx Parameterchange [message]= 7x Parameterchange 70:page A; 71:page B; 72:page C pp Part number 00..0F Multi part 1..16; 40: Single nn Parameter Number 0..127 (see parameter list) vv Parameter Value0..
ACCESS VIRUS RACK System Exclusive Data Single Dump Multi Dump [message]= 10 Single Dump bb Bank Number 00 Single Edit buffer 01..04: Single Bank A..D ss Program Number 0..127 [256 single bytes] cs Checksum optional [message]= 11 Multi Dump bb Bank Number 00 Multi Edit buffer; 01 multi bank mm Program Number 0..127 [256 multi bytes] cs Checksum optional {F0,00,20,33,01,dd,10,bb,ss,[256 single bytes],cs,F7} {F0,00,20,33,01,dd,11,bb,mm,[256 multi bytes],cs,F7} .
208 CHAPTER 20 Appendix Single Request Multi Request [message]= 30 Single Request bb Bank Number 00: Single Edit buffer 01..04: Single Bank A..D ss Program Number 0..127 [message]= 31 Multi Request bb Bank Number 00:Multi Edit buffer; 01:Multi Bank mm Program Number 0..127 {F0,00,20,33,01,dd,30,bb,ss,F7} {F0,00,20,33,01,dd,31,bb,mm,F7} . When bank number is set to 00, the .
ACCESS VIRUS RACK System Exclusive Data Multi Bank Request Total Request [message]= 33 Multi Bank Request bb Bank Number 01:Multi Bank [message]= 36 Total Request {F0,00,20,33,01,dd,36,F7} {F0,00,20,33,01,dd,33,bb,F7} Controller Dump Request Arrangement Request [message]= [message]= 34 Arrangement Request 37 Controller Dump Request 00 Bank Number (always zero) ss Part Number {F0,00,20,33,01,dd,34,F7} {F0,00,20,33,01,dd,37,00,ss,F7} .
210 CHAPTER 20 Appendix MIDI IMPLEMENTATION CHART Date: 6.9.2000 Model: Access VIRUS RACK SynthesizerVersion: 1.
ACCESS VIRUS RACK 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.
212 CHAPTER 20 Appendix FCC INFORMATION (U.S.A) IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by ACCESS MUSIC ELECTRONICS may void your authority, granted by the FCC, to use this product. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used.
ACCESS VIRUS RACK FCC Information (U.S.
214 CHAPTER 20 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.
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216 CHAPTER 20 Appendix 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.
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218 CHAPTER 20 Appendix DECLARATION OF CONFORMITY EG-Konformitätserklärung Für das folgend bezeichnete Erzeugnis/ For the following named product Access VIRUS Synthesizer Model rack 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 Verträglichkeit
ACCESS VIRUS RACK 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, 16.12.
220 CHAPTER 20 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. Von der Garantie ausgenommen sind alle Schäden, die durch falsche oder unsachgemäße Bedienung, durch falsche Verbindungen mit anderen Geräten oder durch nicht bestimmungsgemäße Verwendung des Gerätes entstehen.
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222 CHAPTER 20 Appendix 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. To ensure the warranty is valid, fill out the warranty card completely, including serial no.
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224 CHAPTER 20 Appendix
ACCESS VIRUS RACK Warranty 225
