Virus TI Series Parameter Reference Manual
Enjoy making waves.
TABLE OF CONTENTS Table Of Contents 11 Oscillators Oscillator 1 (Classic) Oscillator 1 (HyperSaw) Oscillator 1 (WaveTable) Oscillator 1 (Wavetable PWM Oscillator) Tips for auditioning the Wavetables Oscillator 1 (Simple Grain Table) Oscillator 1 (Complex Grain Table Oscillator) Oscillator 1 (Simple Formant Table Oscillator) Oscillator 1 (Complex Formant Table Oscillator) Oscillator 2 (Classic) Oscillator 2 (HyperSaw) Oscillator 2 (WaveTable) Oscillator 2 (Simple Grain Table) Oscillator 2 (Complex Grain
PARAMETER REFERENCE MANUAL 45 Mod Matrix Parameters 47 Modulator Parameters LFO 1 LFO 2 LFO 3 LFO 1 Destinations LFO 2 Destinations LFO 3 Destination 53 Arpeggiator Parameters 55 Effect Parameters Delay Reverb Low EQ Mid EQ High EQ Distortion Characters Chorus Phaser Frequency Shifter and Ring Modulator Ring Modulator Frequency Shifter Vocoder Vocoder Parameters on Mod Matrix Input Follower Input Ring Modulator 71 Common Unison Velocity Map Inputs Categories Soft Knob
TABLE OF CONTENTS 79 Multi Mode Parameters Multi Patch Bank Program Volume Panorama MIDI Channel Output Transpose Detune Priority Master Clock Init Volume Low Key High Key Hold Pedal Volume RX Prog Change Patch Volume Tempo 87 Config Menu Parameters MIDI MIDI Dump RX MIDI Dump TX Inputs Audio Clock Global Soft Knob settings Global Tuning Random Patch Generator (PG) 95 System Settings Switches User Interface Mem Protect
PARAMETER REFERENCE MANUAL Legal Notice © Copyright 2009 Kemper Digital GmbH. All rights reserved. This manual, as well as the software and hardware described in it, is furnished under license and may be used or copied only in accordance with the terms of such license. The content of this manual is furnished for informational use only, is subject to change without notice and should not construed as a commitment by Kemper Digital GmbH.
Sound Parameters
PARAMETER REFERENCE MANUAL
OSCILLATORS Oscillators The Virus TI has a total of five internal sound-generation sources: Three main oscillators, a sub-oscillator and a noise generator.
PARAMETER REFERENCE MANUAL •• Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu. Modulation destination “Osc Balance”. Oscillator 1 (HyperSaw) This information only applies to oscillator 1 in HyperSaw mode •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. •• Density 1.0 to 9.
OSCILLATORS parameter instead, controlling how much higher the pitch of the oscillator is than its master. To differentiate this function from standard oscillator synchronization, it is called Sync. Modulation destination “Osc2 FM Amount”. About HyperSaw and SubOscillators : Similarly, HyperSaw oscillators also have their own integrated sub oscillators - up to 9 square waves tuned an octave below the main oscillator, one for each saw wave..
PARAMETER REFERENCE MANUAL a unique mix of the two nearest waves, resulting in a smooth morphing of the timbre as you sweep the Index position. With Interpolation at zero position, the waves are blended as smoothly as possible, with the mid-point between each wave representing a 50/50 mix of the two nearest waves.
OSCILLATORS a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound, impossible via any other means. This parameter can be modulated via the Mod Matrix and the LFO’s - please select Wavetable 1/2 Index from the list of available destinations Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no effect on it.
PARAMETER REFERENCE MANUAL Hint: If you do not make use of either the PulseWidth or Detune parameters, switch back to Wavetable mode to save on DSP and increase polyphony! Tips for auditioning the Wavetables As with the majority of the Wavetable content, it is advisable to audition them at relatively low pitch (we suggest setting Oscillator Semitone to -24).
OSCILLATORS •• Index Determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound, impossible via any other means.
PARAMETER REFERENCE MANUAL •• Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu. Oscillator 1 (Complex Grain Table Oscillator) Here we have the purest application of the Grain Table technology - and a very powerful oscillator indeed. •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator.
OSCILLATORS •• Formant Spread By adjusting the spread of the formants, a very complex effect is achieved - something like an unholy alliance between a sub-oscillator and a sync-sweep could be one way of describing it, although the depth of the effect is highly-dependent on the current value of Formant Shift. For an effective demonstration, try sweeping from 0 (default) through to 127, with Formant Shift set at 12 o’clock position.
PARAMETER REFERENCE MANUAL •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. •• Index Determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound, impossible via any other means.
OSCILLATORS •• Key Follow -64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note number). Press both VALUE buttons at the same time for normal tuning (Norm). •• Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu.
PARAMETER REFERENCE MANUAL The movement within a wavetable will still be recognisable as you sweep through the Index points, but you will notice a very different character to the same table as played by the standard Wavetable oscillator. In contrast to the Simple version, the fundamental frequency is shifted along with the rest of the wave, resulting in a more dramatic effect.
OSCILLATORS Oscillator 2 (Classic) •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. •• Shape As in oscillator 1. Modulation destination “Osc2Shape“. •• Wave Select / Pulse Width As in oscillator 1. Modulation destination “Osc2WaveSelect“ or “Osc2PulseWidth“. •• Semitone As in oscillator 1. Modulation destination “Osc2Pitch“. •• Key Follow As in oscillator 1. •• Balance Mirrors the Balance parameter in the oscillator 1 page.
PARAMETER REFERENCE MANUAL •• FM Amount 0 to 127: The intensity of frequency modulation. Modulation destination “Osc2 FM Amount“. •• FiltEnv>Pitch >-64 to +63: How much the filter envelope modulates the pitch of oscillator 2. This was implemented in previous Virus models to facilitate sync sweeps, and has been retained for compatibility reasons. Modulation destination “FiltEnv>Osc2 Pitch“. •• Sync Off, On: Activates/deactivates oscillator synchronization.
OSCILLATORS •• Key Follow As in oscillator 1. •• Balance Mirrors the Balance parameter in the oscillator 1 page. •• Detune 0 to 127: Fine-tunes oscillator 2 upwards. Modulation destination “Osc2 Detune“. •• FiltEnv>Pitch As in Classic mode. •• Sync Frequency 0 to 127: Adjust the frequency of the internal sync oscillator. Modulation destination “Osc2 FM Amount”. Oscillator 2 (WaveTable) •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator.
PARAMETER REFERENCE MANUAL •• Semitone As in oscillator 1. Modulation destination “Osc2 Pitch“. •• Key Follow As in oscillator 1. •• Balance Mirrors the Balance parameter in the oscillator 1 page •• Detune 0 to 127: Fine-tunes oscillator 2 upwards. Modulation destination “Osc2 Detune“. •• FM Mode Specifies the type of FM. Note that the FM modes available in Wavetable mode are different from those available in Classic mode Value Meaning FreqMod Analog-style FM i.e. true frequency modulation.
OSCILLATORS Value The waveform of oscillator 3 Slave Oscillator 3 will follow oscillator 2. The mixture of waveforms i.e. SHAPE and any modulation applied to oscillator 2 will also apply to oscillator 3. The values of “Semitone” and “Detune” (see below) are ignored. Saw, Pulse, Sine, Triangle, Wave 3 to Wave 64 Oscillator3 waveform. Note that if “Pulse” is selected here, its pulse width will follow that of oscillator 2. •• Semitone -48 to +48: The pitch of oscillator 3.
PARAMETER REFERENCE MANUAL •• Wavetable Selects the current Wavetable - each being a unique collection of different waves from which all manner of different timbres may be achieved. •• Formant Shift Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is reminiscent of oscillator sync, and can be useful for both extreme lead sounds (try broad sweeps!), as well as subtle timbral variations.
OSCILLATORS •• Wavetable Selects the current wavetable - each being a unique collection of different waves from which all manner of different timbres may be achieved. •• Formant Shift Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral variations.
PARAMETER REFERENCE MANUAL Oscillator 2 (Simple Formant Table Oscillator) •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. •• Index Determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves.
OSCILLATORS Oscillator 2 (Complex Formant Table Oscillator) •• Mode Classic, HyperSaw, WaveTable etc.: Selects the basic type of oscillator. •• Index Determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound, impossible via any other means.
PARAMETER REFERENCE MANUAL •• Key Follow -64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note number). Press both VALUE buttons at the same time for normal tuning (Norm). •• Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu.
OSCILLATORS •• Semitone -48 to +48 semitones: Adjust the pitch of oscillator 1 in semitones. Modulation destination “Osc1 Pitch“. •• Key Follow -64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note number). Press both VALUE buttons at the same time for normal tuning (Norm). •• Balance -64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator 1 only and +63 is oscillator 2 only.
PARAMETER REFERENCE MANUAL Value Meaning Hold Polyphonic. Notes are held until they are all released and a new note is played. •• Osc Volume -64 to -63: Determines the total level of all oscillators and input signals (but not Noise or Ring Modulator) immediately before entering the filters. Note: The value 0 is unity gain i.e. already maximum volume - positive values control Saturation intensity only. Modulation destination “OscVolume“.
OSCILLATORS Sub Oscillator An extra “slave” oscillator tuned an octave below its master oscillator. If oscillator 1 is in Classic mode, the sub-oscillator is a Square or Triangle wave slaved to oscillator 1. If either oscillator 1 or 2 is in HyperSaw mode, the sub oscillator is HyperSub instead •• Volume 0 to 127: Sub oscillator mix. In HyperSaw mode, this parameter crossfades between HyperSaw and HyperSub. Modulation destination “SubOscVolume“.
PARAMETER REFERENCE MANUAL •• Volume Off, 1 to 127: The output level of the ring modulator. Independent of Osc Volume. Modulation destination “Ring Modulator“.
FILTERS Filters The Virus TI has two multimode filters that can be configured in series, parallel or split (i.e. separate left and right channels with differing signal sources). Saturation Type Meaning Off No saturation. Note that positive OSC VOLUME values will still control “analog” saturation if an Analog filter model is selected. Light, Soft, Medium, Hard, Digital Four different distortion curves. Wave Shaper Sinusoidal waveshaping.
PARAMETER REFERENCE MANUAL Filter-1 •• Cutoff 0 to 127: Filter 1 threshold frequency. Modulation destination “Filter1 Cutoff”. •• Resonance 0 to 127: Accentuation of the filter 1 Cutoff frequency. The actual effect of resonance depends on the selected Mode (see below). Modulation destination “Filter1 Resonance”. •• Env Amount 0 to 127: The amount of filter envelope applied to filter 1 Cutoff. Note that this effect can be inverted. Modulation destination “Filter 1 Env Amount”.
FILTERS About the Analog 1pole..4pole filter modes: In addition to the classic Virus filters, famous for their smooth, musical character, the Virus TI Snow offers an analog-style filter, inspired by the ‘ladder’ cascade array of the Minimoog synthesizer. However, where the original offered only a 4-pole lowpass, we have provided the option to choose between 1 and 4 poles on a single filter.
PARAMETER REFERENCE MANUAL •• Mode Mode Meaning Low Pass LP. Allows frequencies below the cutoff point to pass through i.e rejects those above the cutoff point. High Pass HP. Allows frequencies above the cutoff point to pass through i.e. rejects those below the cutoff point. Band Pass BP. Allows frequencies close to the cutoff point to pass through i.e. simultaneously rejects those above and below the cutoff point. Band Stop BS.
FILTERS Mode Meaning Split Mode The filters are also routed in parallel with 2 poles each, but each filter receives a different set of signals: Oscillator 1 and the sub-oscillator are sent to filter 1, oscillator 2 (including FM), oscillator 3 and noise are sent to filter 2. The ring modulator is disabled. There is no difference between Serial 4 and Serial 6 if one of the “analog” filter modes is selected .
PARAMETER REFERENCE MANUAL
ENVELOPES Envelopes Note that the filter envelope generator can also be used for other purposes by setting Filter Envelope as source in the Matrix. Filter Envelope •• Attack 0 to 127: The time it takes for the filter envelope to rise from 0 to maximum. •• Decay 0 to 127: The time it takes to fall from maximum to the Sustain level (see below). •• Sustain 0 to 127: The nominal level after the Decay.
PARAMETER REFERENCE MANUAL •• Decay 0 to 127: The time it takes to fall from maximum to the Sustain level (see below). •• Sustain 0 to 127: The nominal level after the Decay. •• Sustain Slope -64 to +63: Negative values cause the sustain phase to decay to zero, positive values cause it to rise to maximum. •• Release 0 to 127: The time it takes to fall from the current level to zero after the note is released. Accessible from the panel via the amp RELEASE knob.
MOD MATRIX PARAMETERS Mod Matrix Parameters The MOD menu contains all the parameters for the LFOs (Low Frequency Oscillators) and the Modulation Matrix. You can use a wide variety of modulators to apply dynamic changes to the sound, such as vibrato or tremolo effects, automated sweeps etc. The modulation matrix is used for custom control routing. Six sources can be routed to three destinations each.
PARAMETER REFERENCE MANUAL
MODULATOR PARAMETERS Modulator Parameters The MOD menu contains all the parameters for the LFOs (Low Frequency Oscillators) and the Modulation Matrix. You can use a wide variety of modulators to apply dynamic changes to the sound, such as vibrato or tremolo effects, automated sweeps etc. Traditionally, LFOs (low frequency oscillators) are used for cyclic modulation e.g. vibrato, tremolo etc..
PARAMETER REFERENCE MANUAL SHAPE Negative Positive Sine to Triangle to Square Triangle to falling Saw to rising Saw Saw concavity convexity Square pulse width <50% pulse width >50% S&H --- --- S&G --- --- 3 to 64 zoom into wave --- •• Mode Mode Meaning Poly Each voice has its own LFO, and these are slightly detuned against each other. Mono All voices share a common LFO. Only applies if the parameters Envelope Mode and Trigger Phase (see below) are both set to “Off”.
MODULATOR PARAMETERS •• Key Follow Off, 1 to 127: How much LFO1 rate is affected by MIDI note number. Note that Key Follow does not apply when LFOs are in Envelope Mode or are synchronized to the Clock). LFO 2 All edit parameters for LFO2 are the same as those for LFO1. LFO 3 The edit parameters for LFO3 are the same as those for LFO1, except that Contour, Envelope Mode and Trigger Phase are not available in LFO3.
PARAMETER REFERENCE MANUAL •• Resonance -64 to +63: How much LFO1 modulates the resonance of both filters. Modulation destination “LFO1>Resonance“. •• Filter Gain -64 to +63: How much LFO1 modulates the total level of all signals before entering the filters. Modulation destination “LFO1>Filter Gain“. •• Assign Target Off, Amp Env Attack ... WaveTable 2 Index: Select from a list of available destinations for LFO1. •• Amount -64 to +63: How much LFO1 modulates the Target parameter.
MODULATOR PARAMETERS Modulation destination “LFO2>Shape“. •• FM Amount -64 to +63: How much LFO2 modulates the amount of frequency modulation. Modulation destination “LFO2>FM Amount“. •• Panorama -64 to +63: How much LFO2 modulates the position of the signal across the stereo outputs. Modulation destination “LFO2>Panorama“. •• Assign Target Off, Amp Env Attack ... WaveTable 2 Index: Selects one of the many possible destinations for LFO2.
PARAMETER REFERENCE MANUAL Value Meaning Osc1+2 Pulse Width The pulse width of both oscillators at the same time. Osc2 Pulse Width The pulse width of oscillator 2. Sync Phase When Sync is switched on, this defines the absolute phase of oscillator 2 each time it is reset by oscillator 1. Modulating Sync Phase can cause effects similar to pulse width modulation, thus giving the (typically rather cold) sync-sounds more warmth.
ARPEGGIATOR PARAMETERS Arpeggiator Parameters ARP is short for Arpeggiator, a clocked processor that normally takes a chord and outputs individual notes, one after the other. The Arpeggiator in your Virus also features repeated chords, preset and custom rhythmic patterns, shuffle, infinite hold etc. •• Mode Mode Meaning Off No arpeggiation. No other arpeggiator parameters will be visible. Up Ascending notes, starting with the lowest note. Down Descending notes, starting with the highest note.
PARAMETER REFERENCE MANUAL •• Resolution 1/128 to 1/2: The Arpeggiator’s rate expressed as a fraction of a bar in 4/4 time. The minimum rate is therefore one complete arpeggio every 4/4 bar. The standard setting is 1/16 (i.e. 16 beats per bar), and normally does not need to be changed. The actual rate is determined by the Tempo parameter. •• Note Length -64 to +63: Scales the lengths (hold time) of all notes. Negative values shorten the notes, positive values lengthen them.
EFFECT PARAMETERS Effect Parameters ‘Effect’ is the generic term used to describe a process which affects the sound of a patch at the output stage. Traditionally, the output of an instrument, such as a keyboard or guitar, was sent through an external device, like a chorus or delay unit in order to add an extra dimension to the sound.
PARAMETER REFERENCE MANUAL •• Delay Time 0.0 ms to 693.6 ms: Non-synchronized delay expressed in milliseconds. This values is used if Clock (see above) is set to Off. Modulation destination “Delay Time”. •• Feedback 0 to 127: For repeated delays. Determines how much of the output signal is fed back into delay input, affecting the number of audible repeats. Modulation destination “Delay Feedback“. •• Coloration -64 to +63: Applies progressive filtering within the feedback path (see “Feedback” above).
EFFECT PARAMETERS •• Mode Value Meaning Off No effect. All other parameters will not be visible. Reverb Standard reverb effect with predelay (see “Predelay” parameter below). Feedback 1 Reverb effect with a feedback loop in the pre-delay line, thus allowing multiple reverb tails. Feedback 2 The same as Feedback 1, except that the first reverb tail appears immediately. •• Type Ambience, Small Room, Large Room, Hall: Different types of room simulations, in order of size.
PARAMETER REFERENCE MANUAL •• Predelay 0.0 ms to 300.4 ms: The time between the original signal and the reverb signal, expressed in milliseconds. This can be fed back for multiple reverb tails. Modulation destination “Reverb Predelay“.Only visible if the Clock parameter is set to Off (see above). •• Feedback 0 to 127: How much of the reverb signal is fed back into it’s own input. The repeat rate is determined by the Predelay parameter (see “Predelay” above). Modulation destination “Reverb Feedback”.
EFFECT PARAMETERS •• Gain -16dB to +16dB: Mid frequency cut or boost, in decibels. Modulation destination “EQ Mid Gain”. High EQ •• Frequency 1831 to 24.0: High shelf (1-pole) cutoff frequency in Hertz (values above 10,000 are given in kHz). •• Gain -16 dB to +16 dB: High shelf cut or boost. Distortion •• Type Value Meaning Off Distortion is disabled. Light, Soft, Medium & Hard Four analog-style distortion curves with differing characteristics. Digital Digital clipping.
PARAMETER REFERENCE MANUAL Value Meaning Low Pass Single pole low pass filter for variable reduction of high frequencies. This effect is only included to ensure compatibility with older programs (early Virus models did not feature a dedicated EQ section). High Pass Single pole high pass filter for variable reduction of low frequencies. Also included for compatibility reasons.
EFFECT PARAMETERS •• Mix Off, 1 to 127: Cross-fade between the dry and wet signal. Set this to 64 for maximum Chorus, or to 127 for a vibrato effects. If set to Off, none of the other parameters in this menu will be visible. Modulation destination “Chorus Mix“. •• Delay 0 to 127: The nominal delay time, modulated by a dedicated LFO (see “Mod Rate” etc. below). Very high values result in a short but noticable stereo delay effect. Modulation destination “Chorus Delay“.
PARAMETER REFERENCE MANUAL •• Mix Off, 1 to 127: Cross-fade between the dry and wet signal. Set this to 64 for normal phasing (together with zero Feedback - see below). Modulation destination “Phaser Mix“. •• Frequency 0 to 127: The average frequency of resonant peaks (see Spread below). Modulation destination “Phaser Frequency“. •• Feedback -64 to +63: The amount of signal fed back into the Phaser input, causing a resonance effect.
EFFECT PARAMETERS The Virus vocoder has two banks of up to 32 bandpass filters: One to analyse the frequency spectrum of a modulator audio signal, and the other to process a carrier signal (usually the internal oscillators) accordingly. •• Mode Carrier Signal Meaning Off The Vocoder is disabled, no other Vocoder parameters will be visible. Oscillator The carrier is the entire oscillator section, including any noise. Osc Hold Identical to “Osc” except that Hold mode is activated for the vocoder.
PARAMETER REFERENCE MANUAL •• Mod Q 0 to 127: Quality (steepness) of the Modulator bands. Modulation destination “Filter2 Resonance“. •• Center Freq -64 to +63: Centre frequency of the Carrier bank. Modulation destination “Filter1 Cutoff“. •• Balance -64 to +63: Balance between the carrier and modulator signals. For pure vocoder signal, set this value to <0>. Modulation destination “Filter Balance“. •• Mod Offset -64 to +63: Centre frequency offset of the modulator bank relative to the carrier bank.
EFFECT PARAMETERS Vocoder Parameters on Mod Matrix Vocoder Parameter Modulation Destination Carrier Freq Cutoff 1 Mod Freq Offset Cutoff 2 Carrier Q Filter 1 Resonance Modulator Q Filter 2 Resonance Q Factor Filter 1 Resonance Carrier Spread Filter 1 Key Follow Modulator Spread Filter 2 Key Follow Spread Filter 1 Key Follow Carrier Attack Filter Env Attack Carrier Release Filter Env Decay Spectral Balance Filter Env Slope Bands Filter Env Release Balance Filter Balance Input
PARAMETER REFERENCE MANUAL •• Attack 0 to 127: Accessible from the panel via the filter ATTACK knob. Reaction time to sudden peaks in the input signal level. Used to regulate how smooth the resulting envelope will be. Modulation destination “Filter Env Attack“. •• Release 0 to 127: Accessible from the panel via the filter DECAY knob. Reaction time to sudden drops in the input signal level. Used to regulate how smooth the resulting envelope will be. Modulation destination “Filter Env Decay“.
COMMON Common The ‘Common’ parameters are those which determine the performance of the overall patch, for example how the pitch bender will affect the pitch, how MIDI velocity will affect certain parameters, how the Soft Knobs function etc. In here you find all paramters which do not belong to a specific section of sound engine. •• Tempo 63 bpm to 190 bpm: The Virus has an internal clock to which the LFOs, arpeggiator and delay/reverb can be synchronized.
PARAMETER REFERENCE MANUAL •• Bend Up -64 to +63 semitones: How much pitch bend is applied to the oscillators when the Pitch Bender (on a keyboard etc.) is at maximum. •• Bend Down -64 to +63 semitones: How much pitch bend is applied when the Pitch Bender is at minimum. •• Bender Scale Mode Meaning Linear Pitch bend is directly proportional to the position of the Pitch Bender.
COMMON •• LFO Phase -64 to +63: How much the phases of all LFOs are shifted against each other. For making Unison sound even more complex. Modulation destination “Unison LFO Phase”. Velocity Map These pages give you access to several fixed destinations for MIDI velocity data (i.e. how hard a key is struck). •• Volume -64 to +63: How much velocity affects the total volume of all internal sound generation sources. •• Panorama -64 to +63: How much velocity affects panorama position.
PARAMETER REFERENCE MANUAL •• Resonance 1 -64 to +63: How much velocity affects the resonance of filter 1. •• Filter 2 Env Amount -64 to +63: How much velocity affects the envelope amount of filter 2. •• Resonance 2 -64 to +63: How much velocity affects the resonance of filter 2. Inputs •• Mode Instead of using the internal oscillators, a signal from the external inputs can be treated using the Virus filters, envelopes and effects. Value Meaning Off Standard setting i.e.
COMMON Programs are assigned one or two categories to make it easier to find particular types (Lead, Pad, Drums etc.) via the SEARCH function. Soft Knob As well as being used for editing, the three VALUE knobs below the display function as extra performance controls called “Soft Knobs” for instant access to parameters that might otherwise not be directly available. •• Function as... Off, Analog Boost Int ... Velo>Volume: Select from a list of Soft Knob destinations.
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Multi Parameters
PARAMETER REFERENCE MANUAL
MULTI MODE PARAMETERS Multi Mode Parameters In earlier Virus models, Multi mode programs consisted of multiple Parts, each one referencing a Single program. The downside: Multi programs depended on the location of all their referenced Singles, so if you changed any program while working in Single mode, Multi programs would change accordingly. In the Virus TI Snow however, each of the 4 Parts actually contains the equivalent of a Single program. Parts also require a few additional parameters (e.g.
PARAMETER REFERENCE MANUAL Panorama -64 to +63: Stereo position of the Part. Overrides/overwrites the Single parameter of the same name. MIDI Channel 01 to 16: The MIDI channel to which this Part will respond. Output Out1 L ... USB2 R: Sends this Part to the selected analogue or USB output. Transpose -48 to +48 semitones: Part transposition. Adds/subtracts from the Single parameter of the same name. Detune -64 to +63: Tunes all pitched elements (oscillators, filters) within a fairly narrow range.
MULTI MODE PARAMETERS Init Volume Off, 1 to 127: Initializes MIDI volume (CC#7) for the current Part whenever this Multi program is selected. See Volume RX below. Low Key C-2 to G8: The lowest MIDI note to which this Part will respond. If this is set higher than High Key (see below), the range between Low Key and High Key is disabled, and all notes outside this range are enabled. High Key C-2 to G8: The highest MIDI note to which this Part will respond.
PARAMETER REFERENCE MANUAL Patch Volume Quick access to the Patch Volume parameter, used for balancing levels between different programs. Tempo Quick access to the internal clock rate In Multi Mode, this controls the Master Clock parameter.
MULTI MODE PARAMETERS
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Configuration Parameters
PARAMETER REFERENCE MANUAL
CONFIG MENU PARAMETERS Config Menu Parameters This menu is opened by pressing the CONFIG button to the left of the display. It contains global parameters that determine how the entire Virus works. Configuration data does not have to be explicitly stored. MIDI Global Channel 1 to 16: Specifies a MIDI channel used for SINGLE mode, as well as for switching between MULTI mode programs via the MIDI message “Program Change”.
PARAMETER REFERENCE MANUAL Multi Prog. Change Disabled, Enabled: Specifies whether the MIDI message “Program Change” will switch the entire Multi Mode program if received on the global MIDI channel. MIDI Clock Value Meaning Internal Sync Any received MIDI Clock will be ignored. An internally generated clock is used instead. Sync to External Received MIDI Clock will be recognized. This is the standard setting. Send Internally generated MIDI Clock is sent to the MIDI output.
CONFIG MENU PARAMETERS Value Meaning To Edit Buffer Incoming bank data is not stored, but is treated as a series of individual programs. These will appear sequentially in the edit buffer – useful for trying out sounds without having to overwrite an entire bank. Verify Incoming bank data is compared with the memory in the Virus, after which a status message appears. Use this setting to check whether a bulk dump has been successful.
PARAMETER REFERENCE MANUAL Page A Value Meaning SysEx Page A parameters are transmitted/received as system exclusive packets. Controller data reception is disabled. Controller Data Page A parameters are transmitted/received in the form of MIDI CC (see glossary) data. Page B Value Meaning SysEx Page B parameters are transmitted and received in the form of system exclusive packets. Controller data reception is disabled.
CONFIG MENU PARAMETERS Characteristic Charateristics Meaning Linear For all applications besides a phono input Phono Vinyl discs have a special frequency response which generally needs adjusting for. Set this parameter to Phono when either connecting a turntable directly or using audio material recorded directly from vinyl (i.e. without deemphasis). Audio Clock Source Specifies the source of audio clock used for synchronization. Source Meaning Auto The default setting.
PARAMETER REFERENCE MANUAL Frequency Meaning Synced to Host Virus is slave clocked by host. Global Soft Knob settings Destination Off, Analog Boost Int ... Velo>Volume: Global destination. Used whenever the Soft Knob is left undefined in a program or the Global parameter is set to On here... Response Determines when and how parameters react to knob movements. Required because the position of knobs seldom reflects the stored values after changing to another program.
CONFIG MENU PARAMETERS Target Meaning Internal Knobs control internal functions directly and do not send MIDI. Internal+MIDI Knob data is also sent to MIDI Out. MIDI Knobs do not directly control internal functions, the data is sent to MIDI Out only. This setting is similar to the “Local Off” mode found in several other synthesizers. Global Tuning Master Tuning -64 to +63: Fine control over the pitch of the entire Virus, from 50 cents lower to 50 cents higher.
PARAMETER REFERENCE MANUAL
SYSTEM SETTINGS System Settings This menu is opened by pressing the CONFIG button to the left of the display. It contains global parameters that determine how the entire Virus works. Configuration data does not have to be explicitly stored. Switches All Delays Disabled, Enabled: Global switch to disable / enable any Delay effects. All Reverbs Disabled, Enabled: Global switch to disable / enable any Reverb effects.
PARAMETER REFERENCE MANUAL Mode Meaning LFO The default value. LED intensity follows LFO oscillation. Ext Inputs LED intensity shows the level of external input. Auto Either of the above, depending on whether there is a signal at the inputs. Output LED intensity shows output levels. Voice Steal Indicates note-stealing (see glossary). LED intensity follows the immediate levels of notes being stolen. LCD Contrast 0 to 127: Optimize the display for different viewing angles.
PARAMETER REFERENCE MANUAL
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