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Access Virus TI User Manual

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  • Page 1 Virus TI User Manual...

  • Page 2: Lfo

    Virus is a trademark of Kemper Digital GmbH. All other trade- marks contained herein are the property of their respective owners. All features and specifications subject to change with- out notice. For the latest revision of this manual, visit our website: www.access-music.de...

  • Page 3: Table Of Contents

    Table Of Contents Introduction First Steps WELCOME CHEESE FOR STARTERS? THE VARIOUS CHAPTERS THE AMPLIFIER ENVELOPE SECTION SAFETY PRECAUTIONS THE FILTERS SECTION MAINTENANCE THE FILTER ENVELOPE SECTION THE REAR PANEL THE OSCILLATORS SECTION ROTATING THE SOCKETS THE MIX SECTION SETTING UP THE MODULATORS SECTION SWITCHING ON AND OFF THE MATRIX SECTION...
  • Page 4 COMPATIBILITY LFO 1 LFO 2 STARTING UP LFO 3 LOADING VIRUSCONTROL LFO 1 DESTINATIONS LFO 2 DESTINATIONS EASY PAGE LFO 3 DESTINATION BROWSER PAGE EFFECTS (UPPER ROW) OSC PAGE DELAY REVERB FILTER PAGE LOW EQ LFO PAGE MID EQ HIGH EQ MATRIX PAGE EFFECTS (LOWER ROW) ARP PAGE...
  • Page 5 COMMON Configuration Reference SUB OSCILLATOR RANDOM PG NOISE MIDI RING MODULATOR MIDI DUMP RX MASTER MIDI DUMP TX COMMON KEYBOARD UNISON MIDI CONTROL VELOCITY MAP INPUTS INPUTS AUDIO CLOCK SURROUND SOFT KNOB (GLOBAL SETTINGS) CATEGORIES KNOB BEHAVIOUR SOFT KNOB GLOBAL TUNING SYSTEM STORE STORE...
  • Page 6 Appendix B - Glossary GLOSSARY Appendix - Patch Names ROM-A Index INDEX OF FUNCTIONS ETC.
  • Page 7 1: Introduction...

  • Page 8: Introduction

    Dear Virus owner references. Congratulations on choosing the new Virus TI, the latest gener- > Configuration Reference: All global settings – parameters ation in a deliberate process of evolution that has kept the used to adapt the Virus to suit your way of working.

  • Page 9: Safety Precautions

    Please keep levels reasonable at all times! Make sure that the equip- ment you connect the Virus TI to matches the Virus’ Please read the following carefully. Some of this advice con- requiremtents (+4dB Outputs etc.)

  • Page 10: The Rear Panel

    > OUTPUT 1: Main audio output jacks be disposed with other household waste. Please take your Virus TI to an applicable collection point for recycling of elec- > OUTPUT 2 / 3: Additional audio output jacks tronical and electronic items.

  • Page 11: Rotating The Sockets

    Using the latest set of screws (i.e. the ones without pointed The sockets on the rear panel of the Virus TI desktop model can ends), attach the sockets unit firmly into the baseplate, which be rotated 90° so that the unit can be mounted in a 19” rack has all the necessary holes.

  • Page 12: Switching On And Off

    Bank: Hold down SHIFT and turn the VALUE 3 knob. Switching On and Off Virus TI models do not have a physical on/off switch. To put the unit into standby mode, press and hold both TRANSPOSE buttons until the countdown reaches zero. Press the same but-...

  • Page 13: About The Menus

    About the Menus By Category Because there are so many sounds to choose from, programs can be assigned one or two so-called “Categories”. This infor- mation is stored within each program. A practical demonstra- How to open menus tion: The main menus are opened via the EDIT buttons you will find in most of the sections.

  • Page 14: Different Ways Of Working

    PARAMETERS buttons work – see “Navigation” on page 163. Unlike earlier Virus models and many other synthesizers, MULTI programs in the Virus TI do not simply reference indi- How to close menus vidual sounds, but actually contain the data, including all effects.

  • Page 15: Sequencer Mode

    PART number (1 to 16). Remote mode The Virus TI can be used as a MIDI controller i.e. the controls can be configured to suit a variety of MIDI devices. There are several Remote setups suitable for popular devices already included in your unit.

  • Page 16: About Usb Connection

    Don’t use a hub! To achieve the level of performance and inte- gration the Virus TI series provides, you must reserve a USB slot exclusively for the Virus TI i.e. this specific port should not be shared with any other USB device. During beta-testing with...

  • Page 17: Creating New Sounds

    Creating New Sounds The INIT Programs The end of bank ROM-A has been reserved for a few simple templates, which you can use whenever you want to create sounds “from scratch”. For instance, the instructions in the next Press the CONFIG button to the left of the display and use the chapter will often ask you to select one of those.

  • Page 19: First Steps

    2: First Steps This hands-on tutorial introduces every physical control on the panel, as well as a few important parameters in the menus.

  • Page 20: Cheese For Starters

    Cheese for Starters? If your Virus TI is a desktop model, you should have a MIDI key- board connected... The most effective way of getting to know your Virus is by per- forming very simple exercises “hands-on”, and that’s why...

  • Page 21: The Amplifier Envelope Section

    The Amplifier Envelope ATTACK Turn the ATTACK knob down to minimum to reach the value Section already stored in ROM-A127 (which is 0). Now turn it up slowly while repeatedly playing notes on your keyboard – you will hear the start of each note becoming progressively slower. Leave The four knobs at the bottom right of the panel control the ATTACK at around 40 for now.
  • Page 22 All the red labelling (blue in the case of the Pølar model) you can see on the panel identifies the SHIFT functions. To access these, hold down the SHIFT button to the left of the display immediately before using the knob or button, then release it...
  • Page 23 Take SUSTAIN SLOPE down to -32. Negative values cause the TEMPO sustain phase to fall (eventually reaching silence – you can Via SHIFT + RELEASE (in the AMP ENVELOPE section). The check this by playing a relatively long note on your keyboard). Virus has a master clock to which the arpeggiator is always syn- chronized.

  • Page 24: The Filters Section

    Virus. There are two main filters in your Virus, but before learning how to access them individually, let’s start by experimenting with You have actually been using two lowpass filters in series here the three parameters you will find on any subtractive synthe- –...
  • Page 25 ENV AMOUNT SELECT (FILT 1, FILT 2) Controls how much the filter envelope affects cutoff – like auto- Use these buttons to select which of the filters you would like mating the CUTOFF knob with each and every note you play. the RESONANCE and ENV AMOUNT knobs to control.
  • Page 26 > BS = Band Stop: Rejects frequencies close to the cutoff SHIFT + RESONANCE for on-the-fly adjustments because you point (within a certain “band”) i.e. allows frequencies above don’t have to check the status of the LEDs above the SELECT or below the cutoff point to pass through.
  • Page 27 > Split Mode: The filters are also routed in parallel, with two poles each. Unlike the Parallel 4 mode, each filter processes a different set of sources: Oscillator 1 and the sub-oscillator are routed to filter 1, whereas oscillator 2, its FM signal and noise are routed to filter 2.
  • Page 28 1 for this see above). purpose. Access have kept the term “Saturation”, but greatly expanded on the idea – several different Saturation types can be selected (via SHIFT + OSC VOLUME). Here are a few experiments to get...

  • Page 29: The Filter Envelope Section

    The Filter Envelope Section This obviously has the same structure as the amplifier envelope. Using your knowledge from previous experiments, use all the fil- ter knobs and buttons (plus the Routing parameter in the filter EDIT menu) to make a new sound from scratch. If you feel the need to save your work at any point, bookmark this page and read the information about “Store”...

  • Page 30: The Oscillators Section

    SHAPE knob. You will see the percentage mix- ture of waveforms being updated whenever you turn the knob. Again, the Virus TI has much more under the hood than is immediately apparant: As well as the “Classic” oscillators we have been using so far, the TI offers two other highly interest- ing types called “HyperSaw”...
  • Page 31 I only mentioned Sine, Sawtooth and Pulse above. However, the Now play a low note on your keyboard and move the Sine is only one of 64 waves available in Classic mode, and the WAVE SELECT/ PW knob fairly rapidly back and forth – this is Pulse can change it’s “width”.
  • Page 32 At moderate values you can get some pleasant phasing OSC 3 ON effects. High values can make the oscillators sound completely Although the third main oscillator may appear to have all the out of tune with each other – also a useful effect when used in same options as the other two, it is highly dependent upon the right context! what is currently happening with oscillator 2:...
  • Page 33 FM AMOUNT UNISON DETUNE FM stands for Frequency Modulation. This means that the fre- Via SHIFT + DETUNE 2/3. Unison means several instances of quency of one audio source is modulated by another – the the same note at the same time. For UNISON DETUNE to have FM AMOUNT parameter determines how much.
  • Page 34 PORTAMENTO Via SHIFT + SEMITONE. Often called glide, portamento means slurring / slowing down the pitch changes between consecu- tive notes. Take the portamento value up and play your key- board. Portamento is particularly effective in mono modes (see “Key Mode” on page 122).

  • Page 35: The Mix Section

    The Mix Section SUB OSC VOLUME The sub-oscillator is always an octave below oscillator 1 – restore ROM-A127 and try turning it up. The sub-oscillator is Most of the knobs here are self-explanatory. They are volume one of several sources whose level is ultimately controlled via controls for the signal sources: OSC VOLUME: OSC BALANCE...

  • Page 36: Ring Modulator

    The upper half (at least) of OSC VOLUME also has another RING MODULATOR important job. It controls the amount of filter saturation, men- Via SHIFT + NOISE VOLUME. Ring modulation means multi- tioned a few pages earlier. The idea was to make OSC plying two signals together.

  • Page 37: The Modulators Section

    The Modulators Section Although it is already active, try pressing LFO1’s SELECT but- ton again – this opens the LFO1 Destinations menu. Repeatedly press LFO 1 SELECT to switch between the 3 available pages (of course you can use the PARAMETERS buttons instead), LFOs (Low Frequency then stop at the page containing the Osc1+2 Pitch parameter.
  • Page 38 top three status LEDs for LFO1 are now lit up because you have now defined some modulation for each of these destina- tions. Press the LFO1 SELECT button yet again. The value of Assign Target (VALUE 1 knob) is one of many possible destinations that are also available in the MATRIX section...

  • Page 39: The Matrix Section

    The Matrix Section has been set to “Mod Wheel” and the destination is LFO3 Assign Amt i.e. the wheel will control the amount of whatever LFO3 has been assigned to. This is where you can route just about any Try out the left-hand controls on your keyboard. Pushing the control source to almost any parameter you mod wheel (or stick) away from you adds vibrato to the entire like –...

  • Page 40: The Arp Section

    The Arp Section Arpeggiators are so much fun that I will leave you to experiment on your own – the following is just to help you get started: Go to program ROM-A 7 BellBoy BC, take amplifier RELEASE down to 42 and press the ARP ON button.

  • Page 41: The Effects Section

    The Effects Section DELAY Restore ROM-A127 and select DELAY in the effects section. Set all the following knobs to their central positions: OSC This section is split into two halves (with separate EDIT buttons). BALANCE, FM AMOUNT (exactly 64), DETUNE 2/3, CUTOFF, The top half is dedicated to Delay, Reverb and EQ effects, while ENV AMOUNT and SEND (in the EFFECTS section).
  • Page 42 Restore ROM-A127. Transpose down an octave. Select Analog Boost MID EQ in the EFFECTS section. The three knobs now control Analog Boost is a special type of equalization used to emulate EQ GAIN, EQ FREQ and EQ Q-FACTOR respectively. Experi- the tonal characteristics of real analogue synthesizers.
  • Page 43 Starting from ROM-A126, turn down OSC VOLUME, turn up NOISE VOLUME and try out all the Phaser parameters! FIRST STEPS...

  • Page 44: The Master Section

    (see “Virus- BPM – the arpeggio will be slowed down. Control” on page 145). If you only see a message here, your Virus TI has a very early MULTI EDIT version of the operating sytem. Go to www.access-music.de...
  • Page 45 with any sound you like and use the RANDOM function several VALUE buttons to scroll through programs (the names appear in times in succession, each time checking how the sound has the upper bar). When you have found a suitable one, press the been affected.
  • Page 46 SEQ MODE Via MULTI + SINGLE. Switch to Sequencer Mode, the mode of choice for multitrack MIDI sequencing (see “Sequencer mode” on page 15 and “VirusControl” on page 145).

  • Page 47: Hypersaw And Wavetable

    Restore ROM-A127, open the oscillator 1 EDIT menu and change the Mode to WaveTable. The other two parameters in To supplement their “Classic” Virus oscillators, Access has this page should now read “Index” and “Table”. Set the Table to added two very powerful oscillator modes...
  • Page 49 3: VirusControl...

  • Page 50: Introduction

    The aim of this section is to help you get the most out of the your Virus TI. Audio and MIDI data from all 16 parts of the Virus VirusControl plugin – the hub of Access’ Total Integration con- are streamed directly into your sequencer, making the TI feel cept.
  • Page 51 Virus TI all happen outside of the host computer, your com- puter’s CPU is free to do other things, whilst you get to enjoy what all good synthesists love best, which is twiddling with our knobs. VIRUSCONTROL...

  • Page 52: Compatibility

    Compatibility For the latest news on compatibility, check our website at http://www.access-music.de/?go=compato VirusControl requires either a Windows or Macintosh computer with a USB 1.1 interface, and a host application which sup- ports the VST 2.0 protocol or Apple Audio Units. Whilst we are...

  • Page 53: Starting Up

    ASIO/Core Audio and MIDI by itself. drivers. Please run the Virus TI Software installer which can be found on the CD supplied with your TI – alternatively, visit the If the installer appears to hang for a while during the installation following website and download the latest version.
  • Page 54 Under certain circumstances, Windows doesn’t automatically tempted you may be, until the installation is completed!! find drivers. All Virus TI related drivers can be found here, in case you need to point the installer into the right direction: It always makes good sense to perform a system reset after updating the firmware –...

  • Page 55: Loading Viruscontrol

    Please be aware, that since a single instance of VirusControl mouse to adjust. manages all 16 parts of the Virus TI, it is not possible to open more than one instance in your sequencer, and as such you To achieve a finer resolution, hold the Shift key while you adjust should not attempt to do so.
  • Page 56 Most pages contain certain parameters can be adjusted by If you wish to send CC data to your host instead of automation clicking the graphical representations of the parameter and data, then you can use the ‘Virus Default’ template in Remote dragging them with the mouse.

  • Page 57: Easy Page

    If you wish to learn more about the functionality of a particular parameter, please refer to the Sound Parameters Reference chapter in the Virus TI User Manual. You will find PDF versions of the manual in several languages on your harddrive, under...

  • Page 58: Browser Page

    As you can see, it is always possible to view two banks at a time. Select which banks to browse by clicking anywhere in the long red box above each one. You will be presented with 3 options: ‘Virus TI’, ‘Categories’ and ‘Personal Libraries’.
  • Page 59 /LibraryApplication Support/Access Music/Virus TI/Patches To copy a patch used by one part into another, click+hold the ‘Virus TI’ represents the RAM and ROM banks in the TI itself - patch name in the original part, and drag/drop to the patch since VirusControl always checks for any altered RAM patches name of the destination part.
  • Page 60 Say, for instance, you wish to create a ‘Favourites’ bank in you wish to overwrite. RAM A, first open up Virus TI>RAM A in the lower library. Now you can use the top library to browse your patch libraries, and - If you wish to save to one of the TI’s RAM banks, open that...
  • Page 61 How to make new libraries 128 sounds maximum - any surplus will be deleted! Please be sure to export your SoundDiver library patches in batches of no - In the Virus TI/Patches folder, create a new folder called ‘My more than 128! Patches’...
  • Page 62 Re-organising patches within a library Hierarchical patch-management There are a couple of ways you can change the exact location It may be helpful to organise your libraries in separate folders of patches within a RAM bank or library without overwriting within the Patches folder.

  • Page 63: Osc Page

    Here you will find all the parameters relevant to the oscillators When the Shape dial is turned to the left of centre, the graphic as well as the mixer section of the Virus TI. underneath will display the currently selected ‘spectral’ wave.
  • Page 64 For a full description of any parameter, simply manoeuvre the mouse pointer over it, and take a look at the Information Bar along the bottom of VirusControl. If you wish to learn more about the functionality of a particular parameter, please refer to the Virus TI User Manual.

  • Page 65: Filter Page

    This is where you will find all the controls relating to the filter (duh!) and the amplifier section. The two large dials represent the filters of the Virus TI, with a graphical representation of the cutoff frequency and resonance level. Just like the equivalent control on the Easy Page, you can control Cutoff with the outer dial and Resonance with the sepa- rate, dedicated controller.
  • Page 66 If you wish to learn more about the functionality of a particular parameter, please refer to the Virus TI User Manual. Segment Direction Attack Horizontal Delay Horizontal Sustain Vertical Slope (Time) Vertical Release Horizontal...

  • Page 67: Lfo Page

    Surprisingly enough, this is where you will find the controls for clicking CLK ‘Off’ and dragging vertically. the Virus TI’s 3 LFO’s. Clock resolution can be adjusted either by dragging the CLK value vertically, or by turning the rate dial.

  • Page 68: Matrix Page

    MATRIX Page If you wish to learn more about the functionality of the various controller sources and available targets, please refer to the Mod Matrix Section in this User Manual. Select up to 6 control sources to modulate up to18 destina- tions.

  • Page 69: Arp Page

    If you wish to learn more about the functionality of a particular There are two ways to adjust Velocity for each step: parameter, please refer to the Virus TI User Manual. 1) Adjust the knob above the step 2) Click on the bar itself and drag vertically...

  • Page 70: Fx Page

    ‘F’….’X’ – sounds like ‘Effects’, doesn’t it? How clever is that?! Needless to say, this is where we thought it would make sense to put all the controls for the Effects section of the Virus TI. For a full description of any parameter, simply manoeuvre the mouse pointer over it, and take a look at the Information Bar along the bottom of VirusControl.

  • Page 71: Common Page

    Click to select the output channel for the currently selected part – you can select between the 2 stereo USB outputs, or the 3 stereo analog outputs* of the Virus TI. *If you use the analog outs (Out1/2/3L+R) the audio signal from the TI is no longer sent to your sequencer.

  • Page 72: Remote Page

    If you create any synths using the knobs of your Virus TI. There are 32 locations new templates and are happy to share them with other users, in the TI for storing templates –...
  • Page 73 If you wish, you can now click the LOAD tab and select a tem- Basically, ‘B0’ makes it a MIDI CC command, where 0 = MIDI plate from the available libraries on your computer’s hard drive – channel 1 (the 16 channels are numbered 0-15). ‘%70’ makes it the one you select will over-write the currently selected tem- controller number 70, and ‘*’...

  • Page 74: General Hints And Tips

    General Hints and Tips Tutorials A range of setup tutorials can be found on the Access Music homepage and on the installer CDROM which comes with your Virus TI. Those tutorials usually consist of a demo session Pre-roll along with a written description on how to get the best out of the totally integrated Virus and your favourite sequencer host.

  • Page 75: Sound Parameters Reference

    4: Sound Parameters Reference...

  • Page 76: Arp

    > EDIT MENU ARP is short for Arpeggiator, a clocked processor that nor- Arpeggiator mally 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.

  • Page 77: Note Length

    Octaves Resolution > 1 to 4: Notes can be successively transposed up an octave at > 1/128 to 1/2: The Arpeggiator’s rate expressed as a fraction the start of each new arpeggio cycle. The value here is equal of a bar in 4/4 time. The minimum rate is therefore one com- to the number of cycles before the arpeggio reverts to its plete arpeggio every 4/4 bar.
  • Page 78 Hold Accessible from the panel via SHIFT + ARP ON. > Off: The arpeggio stops as soon as all notes are released > On: The arpeggio continues after notes are released. Playing new notes after releasing all previous ones resets the arpeg- gio (i.e.

  • Page 79: Matrix

    MATRIX > SELECT MENU The modulation matrix is used for custom control routing. Six Slot sources can be routed to three destinations each. Available sources include the internal envelopes and LFOs as well as The information below applies to any slot in the matrix. Use the most MIDI controllers, channel pressure (aftertouch) etc..
  • Page 80 > -64 to +63: Modulation amount for the specified destination. The range is bipolar so that modulation can be inverted, and amounts are internally doubled so that unipolar destinations can be modulated over their entire range (i.e. 128 values). The Amount itself can be controlled by another modulation source –...

  • Page 81: Modulators

    MODULATORS ENV MODE Toggles the Envelope Mode parameter on and off (see “Enve- lope Mode” on page 83). Traditionally, LFOs (low frequency oscillators) are used for cyclic modulation e.g. vibrato, tremolo etc.. Alternatively, two of the three LFOs in the Virus can serve as simple envelopes (see SHAPE “Envelope Mode”...

  • Page 82: Lfo 1

    SELECT > 1/64 ... 16/1: LFO1 rate is synchronized to the Clock, expressed as a fraction of one bar in 4/4 time. See “Tempo” These buttons are used to switch between the three LFOs – on page 129. the upper row of controls (ENV MODE, SHAPE and RATE) will apply to the selected LFO only.
  • Page 83 Contour Envelope Mode Accessible from the panel via SHIFT + RATE. Accessible from the panel via the ENV MODE button. > -64 to +63: Continuous control over LFO waveform. Modula- > Off: Standard (cyclic) LFO mode. tion destination “LFO1 Contour“. >...

  • Page 84: Lfo 3

    LFO 1 Destinations Key Follow > Off, 1 to 127: How much LFO1 rate (see “Rate” on page 82) is affected by MIDI note number. Note that Key Follow does not apply when LFOs are in Envelope Mode (see “Envelope Mode”...

  • Page 85: Filter Gain

    Pulse Width Assign Target > -64 to +63: How much LFO1 modulates the pulse width of > Off, Amp Env Attack ... WaveTable 2 Index: Select from a both main oscillators. Modulation destination list of available destinations for LFO1. “LFO1>Pulse Width”. Amount Resonance >...

  • Page 86: Lfo 2 Destinations

    LFO 2 Destinations Cutoff 2 > -64 to +63: How much LFO2 modulates filter 2 cutoff fre- quency. Like automating the CUTOFF 2 knob. Modulation destination “LFO2>Cutoff2“. Cutoff 1 > -64 to +63: How much LFO2 modulates filter 1 cutoff fre- quency.

  • Page 87: Lfo 3 Destination

    LFO 3 Destination Panorama > -64 to +63: How much LFO2 modulates the position of the signal across the stereo outputs. Like automating the PANO- RAMA knob (SHIFT + OSC BALANCE). Modulation destina- tion “LFO2>Panorama“. Fade In > 0 to 127: The amount of LFO3 can be faded in after each note is played: 0 = instantaneous, 127 = about 40 seconds.
  • Page 88 > 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 (see “SYNC” on page 110), this defines the absolute phase of oscillator 2 each time it is reset by oscillator 1.

  • Page 89: Effects (Upper Row)

    EFFECTS (upper row) SEND, EQ GAIN If DELAY or REVERB is selected, this is an effect send control (dry/wet mix). If one of the EQ bands is selected, this knob con- The upper half of the Effects section is responsible for delay, trols the Gain parameter.

  • Page 90: Delay

    Send > EDIT MENUS Accessible from the panel via the SEND knob. > Dry, 1 to 126, Wet: Effect send – actually a crossfade i.e. the overall level remains fairly constant (the dry signal is faded Delay out at higher values). Modulation destination “Delay Send“. Mode Clock >...

  • Page 91: Reverb

    Feedback Mod Rate > 0 to 127: For repeated delays. Determines how much of the > 0 to 127: The speed of the delay LFO. Modulation destination output signal is fed back into delay input, affecting the “Delay Mod Rate“. number of audible repeats.
  • Page 92 In the signal path, delay and reverb are routed in series i.e. the > Dry, 1 to 126, Wet: Effect send. Actually a cross-fade dry signal plus any delay is sent to the reverb input. between dry and wet – the overall level remains fairly con- stant.

  • Page 93: Low Eq

    Damping Feedback Only visible in Feedback 1 or Feedback 2 modes. > 0 to 127: For simulating different surface materials by pro- Accessible from the panel via the FEEDBACK knob. gressively removing higher frequencies. Carpets and drapes etc. tend to absorb a lot of high frequencies, while tiled floors >...

  • Page 94: Mid Eq

    Mid EQ Gain > -16dB to +16dB: Mid frequency cut or boost, in decibels. Modulation destination “EQ Mid Gain”. High EQ Frequency > 19 Hz to 24.0 kHz: Centre frequency of the MID EQ. Values above 10,000 are given in kHz. Modulation destination “EQ Mid Frequency”.

  • Page 95: Effects (Lower Row)

    EFFECTS (lower row) TYPE/MIX If DISTORTION is selected, this controls the distortion Type (see below). If ANALOG BOOST is selected, it controls the frequency The lower half of the Effects section offers distortion, analog (see “Frequency” on page 97). If Chorus or Phaser is selected, it boost, chorus and phasing effects, all of which can be applied controls the Mix parameter (see e.g.

  • Page 96: Analog Boost

    > Rate Reducer: Variable reduction of sampling rate. For gen- erating the aliasing effects typical of early samplers and dig- ital synthesizers. > 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).

  • Page 97: Chorus

    the Chorus effect in your Virus is also capable of flanging, ensemble, vibrato or resonator effects. Note that if the Mix parameter is set to Off, the other parameters will not be visible in the menu. Intensity Accessible from the panel via the INTENSITY knob. >...

  • Page 98: Phaser

    Feedback Mod Shape > -64 to +63: The amount of signal fed back into the Chorus > Sine, Triangle, Sawtooth, Square, S&H, S&G: Selects the input. The Feedback parameter is bipolar because positive waveform used to modulate the Delay parameter. and negative values have different tonal characteristics.
  • Page 99 > Off, 1 to 127: Cross-fade between the dry and wet signal. Set Mod Rate this to 64 for normal phasing (together with zero Feedback - > 0 to 127: Modulation rate – the speed of the Phaser’s dedi- see below). Modulation destination “Phaser Mix“. cated LFO (a triangle wave) used to modulate the Frequency parameter (see above).

  • Page 100: Vocoder

    Spread > 0 to 127: How far apart the resonant peaks between multiple stages are. Modulation destination “Phaser Spread“. Vocoder To enter these pages, press EDIT (lower EFFECTS section) Mode once or twice so that its LED flashes, then navigate using the Specifies the carrier signal...
  • Page 101 Spread Carrier Spread Available if both filter SELECT buttons are active. Accessible Accessible via the ENV AMOUNT knob when only FILT1 is from the panel via the ENV AMOUNT knob. selected. > -64 to +63: Simultaneously controls Carrier Spread and Mod- >...
  • Page 102 Modulator Spread > -64 to +63: Centre frequency of the Carrier bank. Modula- tion destination “Filter1 Cutoff“. Accessible via the ENV AMOUNT knob in the FILTERS section when only FILT2 is active. Balance > -64 to +63: How far apart individual Modulator bands are. The standard value is +63 (full range), negative values effec- Accessible from the panel via the FILTER BALANCE knob.
  • Page 103 Carrier Attack Bands > 0 to 127: Attack time of the carrier’s own “envelope follower”. > 1 to 32: The number of filter bands used. The higher this Together with Carrier Release, this is used to smoothen the number, the higher the quality (e.g. speech becomes more vocoded signal.

  • Page 104: Vocoder Table

    Vocoder Table VOCODER PARAMETER EQUIVALENT KNOB ON THE PANEL MODULATION DESTINATION Carrier Freq CUTOFF Cutoff 1 Mod Freq Offset CUTOFF 2 Cutoff 2 Carrier Q RESONANCE (FLT1 selected) Filter 1 Resonance Modulator Q RESONANCE (FLT2 selected) Filter 2 Resonance Q Factor RESONANCE (FLT1 &...

  • Page 105: Input Follower

    Input Follower Attack > 0 to 127: Accessible from the panel via the filter ATTACK To enter these pages, press EDIT (in the lower EFFECTS sec- knob. Reaction time to sudden peaks in the input signal level. tion) once or twice until the LED flashes, and navigate using the Used to regulate how smooth the resulting envelope will be.

  • Page 106: Input Ring Modulator

    Input Ring Modulator To enter this page, press EDIT (in the lower EFFECTS section) until the LED flashes, and navigate with the PARAMETERS but- tons. The source specified by the Input Select parameter (see “Input Select” on page 134) can be ring-modulated with the oscillator signal: >...

  • Page 107: Oscillators

    OSCILLATORS section, press EDIT once or twice until its own LED flashes. The Virus TI offers three fundamentally different oscillator modes: Classic (as in previous Virus models), HyperSaw (up to 9 layered, detunable Saw waves) and WaveTable (smoothly interpolated, additive waves).
  • Page 108 Here is a table showing how oscillator mode selection deter- mines what the SYNC button, the FM AMOUNT knob and SUB OSCILLATOR knobs actually do... Osc 1 Mode Osc 2 Mode SYNC Button on FM AMOUNT knob SUB OSCILLATOR knob Classic Classic Active sync...
  • Page 109 Classic: Either selects one of the 64 spectral waves or controls Pulse Width, depending on the current value of SHAPE. See Via SHIFT + DETUNE. Direct access to the “Unison Detune” “Wave Select or Pulse Width” on page 111 for details.

  • Page 110: Oscillator 1 - Classic

    OSC3 ON FM AMOUNT Activates/deactivates oscillator 3. If oscillator 3 is not active, it Classic or WaveTable: Controls the intensity of frequency mod- will be skipped when pressing the SELECT button. ulation. See “Oscillator 3” on page 120. HyperSaw: Controls the HyperSync Offset parameter i.e. tunes the HyperSaw oscillators upwards relative to their own (inaudi- ble) sync oscillators.
  • Page 111 Wave Select or Pulse Width Accessible from the panel via WAVE SELECT/ PW. Two distinct functions, depending on the value of the Shape parameter (see below): If Shape is anywhere below centre, WAVE SELECT/ PW will select a spectral wave. If SHAPE is set to “Sawtooth” or above, the WAVE SELECT/ PW knob will control pulse width instead...

  • Page 112: Oscillator 1 - Hypersaw

    Key Follow Mode Accessible from the panel via SHIFT + oscillator SHAPE. > -64 to +31, Norm, +33 to +63: How much the pitch of oscil- lator 1 follows the keyboard (i.e. MIDI note number). Press > Classic, HyperSaw, WaveTable: Selects the basic type of both VALUE buttons at the same time for normal tuning oscillator.
  • Page 113 > -64 to +63: Adjusts the relative levels of oscillator 1 and oscil- lator 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”. Semitone Accessible from the panel via the SEMITONE knob.

  • Page 114: Oscillator 1 - Wavetable

    Oscillator 1 – WaveTable Semitone Accessible from the panel via the SEMITONE knob. Mode > -48 to +48 semitones: The nominal pitch of oscillator 1. Accessible from the panel via SHIFT + oscillator SHAPE knob. Modulation destination “Osc1 Pitch“. > Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.

  • Page 115: Oscillator 2 - Classic

    > -64 to +63: Adjusts the relative levels of oscillator 1 and oscil- Wave Select or Pulse Width lator 2 (including FM), whereby -64 is oscillator 1 only and +63 As in oscillator 1 – see “Wave Select or Pulse Width” on is oscillator 2 only.
  • Page 116 > In L, In L+R, In R: One or both of the Audio inputs (see rear panel). FM Amount Accessible from the panel via FM AMOUNT. > 0 to 127: The intensity of frequency modulation. Modulation Detune destination “FM/HyperSync“. Accessible from the panel via the DETUNE 2/3 knob when oscillator 1 or 2 is selected.

  • Page 117: Oscillator 2 - Hypersaw

    > Off, On: Activates/deactivates oscillator synchronization. Density Whenever oscillator 1 starts a new cycle, oscillator 2 resets its Accessible from the panel via the oscillator SHAPE knob. phase (see “Phase angle” in the glossary). > 1.0 to 9.0: The number of sawtooth waves used. The volumes are cross-faded for completely smooth transitions.

  • Page 118: Oscillator 2 - Wavetable

    Key Follow As in oscillator 1 – see “Key Follow” on page 112. Balance Mirrors the Balance parameter in the oscillator 1 page – see “Balance” on page 112. H-Sync Offset Accessible from the panel via the FM AMOUNT knob. Note that this parameter is mirrored in the Common menu because it can apply to oscillators 1 and 2 at the same time –...
  • Page 119 Mode Key Follow Accessible from the panel via SHIFT + oscillator SHAPE. As in oscillator 1 – see “Key Follow” on page 112. > Classic, HyperSaw, WaveTable: Selects the basic type of oscillator. Balance Mirrors the Balance parameter in the oscillator 1 page – see “Balance”...

  • Page 120: Oscillator 3

    FM Mode precious space in the modulation matrix, and has been retained for compatibility reasons. Note that oscillator 2 in Specifies the type of FM (see glossary). Note that the FM WaveTable mode does not feature Sync. Modulation desti- modes available in Wavetable mode are different from those nation “FiltEnv>Osc2 Pitch“.

  • Page 121: Common

    > Slave: Oscillator 3 will follow oscillator 2. The mixture of Detune waveforms i.e. SHAPE and any modulation applied to oscilla- Accessible from the panel via the DETUNE 2/3 knob if tor 2 will also apply to oscillator 3. The values of “Semitone” oscillator 3 is selected.
  • Page 122 > Off: The phase angle (see glossary) of each oscillator is reset Osc Volume to a random value at the start of each note. This closely Accessible from the panel via the OSC VOLUME knob. emulates the “free-running” oscillators found in real ana- logue synthesizers.

  • Page 123: Sub Oscillator

    Sub Oscillator FiltEnv>H-Sync Only visible if at least one of the oscillators is in HyperSaw An extra “slave” oscillator tuned an octave below its master mode. oscillator. If oscillator 1 is in Classic mode, the sub-oscillator is a Square or Triangle wave slaved to oscillator 1. See “Oscillator >...

  • Page 124: Noise

    Shape Color Not available if oscillator 1 is in HyperSaw or WaveTable > -64 to +63: Adjusts the noise frequency range. Negative val- mode. See “About HyperSaw and Sub Oscillators” on ues are darker, positive ones are brighter. A value of 0 is page 107.

  • Page 125: Master

    EXIT Via SHIFT + CONFIG. Puts the Virus in remote mode i.e. for use as a MIDI controller box. The Virus TI can hold up to 32 different Closes any menu, returns to the current play mode (Single, Multi templates. Go to http://www.access-music.de and download or Sequencer mode).

  • Page 126: Power On/Off

    RANDOM In keyboard models of the Virus TI, a global parameter deter- mines whether these buttons will affect the Virus sound engine Via SHIFT + STORE. Creates a random program based on the or the MIDI data from the keyboard. See “Transpose Buttons”...
  • Page 127 “SEQ MODE” below. VALUE 2 MULTI Adjusts the parameter appearing directly above the knob. Switch to MULTI mode. If the Virus TI is already in Multi mode, exits any open menu. See “Multi Mode Reference” on page 165. SOUND PARAMETERS REFERENCE...

  • Page 128: Common

    The master EDIT button to the left of the display opens a menu Note: No additional parameters are required – tempo, panning, giving access to all parameters which are not specific to any MIDI volumes etc. are all handled by the sequencer application.
  • Page 129 (or Parts when in Multi or Sequencer modes). Note that you may have to keep Right from the very beginning, Access have been applying a this value well below 127 to avoid unwanted distortion, espe- technique called “Adaptive Control Smoothing”...
  • Page 130 > On: Smoothing is enabled. Pros: Continuous control Bend Up changes are smooth, so this setting is generally the better > -64 to +63 semitones: How much pitch bend is applied to option. Cons: Sometimes too slow for intentional rapid the oscillators when the Pitch Bender (on a keyboard etc.) is jumps e.g.

  • Page 131: Unison

    Unison > 0 to 127: How much the stacked voices are detuned against each other. Modulation destination “Unison Detune”. Pan Spread > 0 to 127: The stereo width of the signal. As well as applying to Unison sounds, this parameter also applies to any Parallel and Split mode sounds (see filter “Routing”...

  • Page 132: Velocity Map

    > -64 to +63: How much velocity affects the amount of fre- These pages give you access to several fixed destinations for quency modulation (FM) between oscillators 1 and 2. For MIDI velocity data (i.e. how hard a key is struck).

  • Page 133: Inputs

    Pulse Width Filter 2 Env Amount > -64 to +63: How much velocity affects the pulse width of all > -64 to +63: How much velocity affects the envelope amount main oscillators. For oscillators in HyperSaw mode, this of filter 2. See “ENV AMOUNT” on page 139. affects the Spread parameter.

  • Page 134: Surround

    > Dynamic: The source specified by Input Select (see below) Output is routed to the FILTERS section, the envelopes remain func- > Out1 L ... Out3 R: Which audio jacks will be used for addi- tional. This means you have to play a note to hear any tional audio output.

  • Page 135: 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. See also “Soft Knob (global settings)”...

  • Page 136: Store

    STORE Patch No. > 0 to 127: Selects the program number you wish to overwrite. After selecting a bank and patch number, press STORE again to edit the name (see “Editing the Patch Name” Store below). To save the current program under the same name to the same position (RAM only), press STORE three times in succession.

  • Page 137: Mix

    Original Value Indicator This LED lights up briefly when the original value of any parame- ter (as stored in memory) has been reached. This section controls the relative levels of all sound sources except audio inputs. The MIX section has no EDIT button – you will find all MIX parameters in the oscillators edit menu.
  • Page 138 The inputs to the ring modulator are always oscillator 1 and oscillator 2 (including any FM). The ring modulator is disabled in Split mode. See “Routing” on page 144 and “Ring Modula- tor” on page 124.

  • Page 139: Filters

    Via SHIFT + RESONANCE. The resonance of filter 2, whatever the status of the two SELECT buttons. 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).

  • Page 140: Saturation

    Saturation CUTOFF 2 The cutoff frequency of filter 2 only. If Cutoff Link (see “Cutoff Link” on page 145) is on, this will be a bipolar offset relative to filter 1. FILT 1 – MODE – FILT 2 The basic types of filter. In addition to the four modes repre- sented by each row of LEDs, the Virus has four “Analog”...

  • Page 141: Filter-1

    Filter-1 > Bit Reducer: Bit depth reduction. Generates digital quantiza- tion noise similar to early samplers. > Rate Reducer: “Sample” rate reduction. Generates digital aliasing similar to early samplers. > Rate+Follow: Rate reduction with Key Follow (see glossary). > Low Pass: Simple low pass filter.
  • Page 142 Env Amount > Band Pass: BP. Allows frequencies close to the cutoff point to pass through i.e. simultaneously rejects those above and Accessible from the panel via ENV AMOUNT when filter 1 is below the cutoff point selected. > Band Stop: BS.

  • Page 143: Filter-2

    Env Polarity > 0 to 127: Accentuation of the filter 2 Cutoff frequency. The actual effect of resonance depends on the selected Mode > Positive, Negative: The effect of Env Amount on filter 1 can (see below). Modulation destination “Filter2 Resonance”. be inverted by setting this parameter to Negative.

  • Page 144: Common

    Common > 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 >...

  • Page 145: Filter Envelope

    Filter Balance Pan Spread Only visible here in Split mode (see “Routing” above). > -64 to +63: Put as simply as possible, this is the relative con- tribution of each filter to the overall output of the filter section. > 0 to 127: The stereo width of the Split mode signal i.e.

  • Page 146: Amp Envelope

    Decay Release Accessible from the panel via the upper DECAY knob. Accessible from the panel via the RELEASE knob > 0 to 127: The time it takes to fall from maximum to the Sus- > 0 to 127: Starts as soon as a note is released – the time it tain level (see below).
  • Page 147 Decay Release Accessible from the panel via the lower DECAY knob Accessible from the panel via the amp RELEASE knob. > 0 to 127: The time it takes to fall from maximum to the Sus- > 0 to 127: The time it takes to fall from the current level to zero tain level (see below).

  • Page 148: Filter Envelope

    FILTER ENVELOPE Direct access to the filter envelope parameters. Please refer to “Filter Envelope” on page 145 for details of the individual knob functions. The FILTER ENVELOPE section has no EDIT button – all parameters can be accessed via the edit button in the FILTERS section.

  • Page 149: Amplifier Envelope

    See “Patch Volume” on page 129. TEMPO Via SHIFT + RELEASE. Quick access to the internal clock rate – see “Tempo” on page 129. In Multi Mode, this controls the Mas- ter Clock parameter (see “Master Clock” on page 168).
  • Page 151 5: Configuration Reference...

  • Page 152: Random

    This menu is opened by pressing the CONFIG button to the left Scope of the display. It contains global parameters that determine > 0 to 127: How many program parameters will be affected. how the entire Virus works. Configuration data does not have Note that if this value is set very high, successive use of the to be explicitly stored.

  • Page 153: Soft Thru

    Soft Thru MIDI Clock > Off, On: Specifies whether received MIDI data is also directly > Internal Sync: Any received MIDI Clock will be ignored. An routed to (i.e. mirrored at) the MIDI out socket. Before switch- internally generated clock is used instead. ing this parameter on, make sure there will be no MIDI loop in >...

  • Page 154: Midi Dump Rx

    Multi Prog. Change > Enable: Bank data (128 sounds) will be stored to the Bank from which it was originally dumped, regardless of which > Disabled, Enabled: Specifies whether the MIDI message bank is currently selected. “Program Change” will switch the entire Multi Mode pro- >...

  • Page 155: Keyboard

    Single program (or Part without the Multi settings). sions of the Virus. This function is also available in the STORE menu for easy access – see the “Patch No” option under “STORE” on page 136. > Single Bank A: All 128 programs in Bank A.

  • Page 156: Mod Wheel

    > One Channel: The keyboard transmits MIDI data (notes etc.) to the currently selected Part via the MIDI channel defined in that Part. > Multi Channels: The keyboard transmits MIDI data (notes etc.) to all Parts, regardless of the assigned MIDI channel. Mod Wheel >...

  • Page 157: Midi Control

    Note that system exclusive data is always recognized, irre- would be 4 (Foot Pedal), 7 (Volume) or 11 (Expression). spective of the settings here. Further information, including a list of all parameters, is available at www.access-music.de. Pressure Curve > -64 to +63: Channel aftertouch sensitivity. Adjust this param- Page A eter to suit your playing style.

  • Page 158: Inputs

    > Poly Pressure: Page B parameters are transmitted and received in the form of Poly-pressure (see glossary) data. Inputs Source > Analog: Audio input is via the INPUT jacks only. > S/PDIF: Audio input is via S/PDIF only. Boost Sensitivity >...

  • Page 159: Audio Clock

    Audio Clock Destination > Off, Analog Boost Int ... Velo>Volume: Global destination. Source Used whenever the Soft Knob is left undefined in a program Specifies the source of audio clock used for synchronization. (see “Soft Knob” on page 135) or the Global parameter is set to On here...

  • Page 160: Knob Behaviour

    Knob Behaviour Display Time > Off: Knob values not be displayed. > Off, 1 to 127: Knob values will be displayed for up to 7 sec- onds. Target > Internal: Knobs control internal functions directly and do not Response send MIDI. Determines when and how parameters react to knob move- >...

  • Page 161: System

    Pure Tuning > Tempered, 1 to 63, Natural, 65 to 126, Pure: Variable degree of “Hermode” tuning (see glossary) – slight pitch adjustment of each note within a chord to minimize disso- nance between them. The default value is Tempered i.e. standard (Western) keyboard tuning.
  • Page 162 BPM LED Brightness Mem Protect > 0% to 100%: Relative brightness of the BPM LED. > Disabled: Data can be stored. > Enabled: Full memory protect – no data can be overwritten. LED Mode Specifies what the LFO1 and LFO2 LEDs at the top of the LCD Contrast MODULATORS section will indicate.
  • Page 163 Navigation Determines how the PARAMETERS buttons work while navigat- ing within menus. > By Page: Scroll through pages. SHIFT+PARAMETERS will move the cursor within each page. > By Parameter: Move the cursor within the page (or across page boundaries). SHIFT+PARAMETERS will scroll through pages.
  • Page 165 6: Multi Mode Reference...

  • Page 166: Patch

    UNDO before adjusting any other parame- ters. Tip: Save your Multi programs regularly. In the Virus TI however, each of the 16 Parts actually contains the equivalent of a Single program. Parts also require a few additional parameters (e.g. transposition, keyboard range) Part Enable which are all accessed via MULTI EDIT –...

  • Page 167: Midi Channel

    Program Can be stepped when this menu is closed via SHIFT + VALUE. > 0 to 127: Selects the Single program to be automatically cop- ied into the current Part. Output Specifies Part output: > Out1 L ... Out3 R: Sends this Part to the selected analogue output jacks.

  • Page 168: Low Key

    Part when all voices in the Virus have respond. If this is set higher than High Key (see below), the been used up. The Virus TI has plenty of voices and applies range between Low Key and High Key is disabled, and all a very clever note-stealing algorithm, so you should seldom notes outside this range are enabled.
  • Page 169 Volume RX > Disabled, Enabled: Specifies whether the Part will respond to MIDI CC#7 (Volume). Prog Change > Disabled, Enabled: Specifies whether the Part will respond Keyboard to MIDI to MIDI Program Change messages. The global “Program Change” parameter in the CONFIG menu is ignored. Only available in keyboard versions (TI keyboard, Pølar).
  • Page 171 7: Appendix A - Legal Declarations This device is designed exclusively for generating low frequency audio signals. Any other use is not permitted, and automatically invali- dates the warranty supplied by Kemper Digital GmbH.

  • Page 172: Compliance

    ONLY to products distributed in the USA. your authority, granted by the FCC, to use this product. ACCESS VIRUS TI Version 1. 191 FCC Information (CANADA) IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables.
  • Page 173 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 communitaire 89/336/EC. Dette apparat overholder det gaeldenda EF-direktivvedroren- dareadiostoj. Dieses Gerät entspricht der EG-Richtlinie 89/336/EC.192 APPENDIX A - LEGAL DECLARATIONS...

  • Page 174: Declaration Of Conformity

    DECLARATION OF CONFORMITY The following devices ACCESS VIRUS TI DESKTOP ACCESS VIRUS TI KEYBOARD ACCESS VIRUS TI POLAR are hereby declared to conform with the requirements of Council Directive 89/336/FWG for radio frequency interfer- ence. They also comply with regulations dated August 30 1995 concerning radio interference generated by electronic devices.

  • Page 175: Warranty Regulations

    Autorised Base Dealer from whom you bought the synthesizer, or contact us directly using the forms on the Access website. The synthesizer can only be returned upon prior approval and the following requirements have to be fulfilled: - The unit is sent in its original package or one of equal quality.
  • Page 177 8: Appendix B - Glossary...

  • Page 178: Glossary

    Glossary How much a modulation source affects its destination. Amplitude Most of the “definitions” below only apply to synthesizer tech- A non-scientific definition would be: loudness, level, volume nology or even specifically to the Virus. etc.. Arpeggiator, Arpeggio, Arp In classical music, Arpeggio means you should play the notes of a chord in rapid succession instead of all at once.
  • Page 179 Filter which passes a range (band) of frequencies while rejecting others outside this range. Bandstop filter (BS) Carrier Also called notch filter or band reject filter. Practically the oppo- Term borrowed from FM radio (the dial adjusts carrier fre- site of a bandpass filter i.e. rejects a range of frequencies while quency) meaning the oscillator being frequency-modulated by passing others outside this range.
  • Page 180 Regular signal used for synchronization purposes (e.g. LFOs, Cyclic delay times etc.). Recurring regularly e.g. an LFO when not in envelope mode. Also called “periodic”. Color, Coloration Parameter affecting the cutoff frequency of a simple filter e.g. in the Noise generator or Delay/Reverb tails. Continuous Controller See CC.
  • Page 181 Digital Signal Processor. Practically all modern hardware syn- A loop in any signal path e.g. feeding the output of a delay back thesizers are based on DSP chips, not on standard computer into its own input. CPUs (Pentium, Athlon etc.). Filter Module present in all subtractive synthesizers used to pass cer- tain frequencies while rejecting / attenuating others.
  • Page 182 A parameter affecting the entire synthesizer (e.g. Knob you instant access to such sounds. Response, MIDI Device ID etc.). Press the CONFIG button on your Virus TI to adjust global parameters. Interactive Harmonic Series Two or more parts of any system capable of affecting each other, e.g.
  • Page 183 Generally used as a cyclic modulation source, the LFOs in the Virus can alse serve as “one shot” envelopes (when set to Enve- lope Mode). Key Follow Modulation source proportional to the MIDI note number i.e. which key you play. Key Pressure Mark-Space-Ratio See Polypressure.
  • Page 184 Modular Synthesizer mode in which more than one complete sound (e.g. Single program) can be generated simultaneously. Also Composed of discrete elements (modules) that can be implies that the synth can receive over several MIDI channels arranged in different ways. at once.
  • Page 185 In the Virus TI Multi mode: One of the 16 separate sound engines. Patch Octave The arrangement of physical connections in e.g. a telephone A musical interval 12 semitones apart e.g. C1 to C2. routing system. For modular synthesizers, this also includes all knob and switch settings.
  • Page 186 (“poles”) arranged in series. Program The term used by Access for individual sounds / patches. See Polyphonic, Poly Patch. Usually: Several notes can be played at the same time. Can...
  • Page 187 Quaver Classical term for the length of a note equal to half of a Crotchet. Sample and Hold (S+H) A clocked processor which takes a regular sample of input lev- Rate els and holds this until the next clock (so the output is stepped). Sample and Hold is a random source in the Virus LFOs because Speed.
  • Page 188 Square wave Special form of Pulse wave in which the Pulse Width is exactly Template 50%. A ready-to-use blueprint, model, stencil etc.. In the Virus TI: a preset for remote control of external devices using the Virus Subtractive synthesis knobs.
  • Page 189 Cyclic amplitude modulation similar in effect to Vibrato. Cyclic pitch modulation (usually around 5Hz). LFO3 is the most common source of vibrato in the Virus. Toggle Vocoder Switch between two distinct states e.g. on/off, mono/poly etc.. “Voice Encoder”: Device often used to impose the formant characteristics of the human voice onto other signal.
  • Page 190 Zipper Noise Generally unpleasant audio artifacts usually caused by quan- tized modulation. Eliminated in the Virus via Adaptive Control Smoothing.
  • Page 191 9: Appendix - Patch Names...

  • Page 192: Rom-A

    ROM-A 000 T I BC 001 Alead BC 002 AoilioA BC 003 BadmouthBC 004 BassSoupBC 005 BelisimoBC 006 BellfireBC 007 BigPipe BC 008 BombasdrBC 009 BothEndsBC 010 BotlStr BC 011 Britl5thBC 012 BumFluf BC 013 BusyKeysBC 014 Cables BC 015 Caustic BC 016 ChimePadBC 017 ChoirBelBC 018 Cicadia BC...
  • Page 193 ROM-B 000 64Degee MS 001 A.Pop MS 002 AcidChrdMS 003 Adagio MS 004 AirTonicMS 005 AmbulantMS 006 Anubis MS 007 Atx BassMS 008 BabyloneMS 009 Bad Pop MS 010 BigBeat MS 011 BigPhaseMS 012 BittBassMS 013 Bomber MS 014 Brasso MS 015 ButtrflyMS 016 By Zero MS 017 Chapel MS...
  • Page 194 ROM-C 000 3-Dumm HS 001 60sSciFiHS 002 68-CreakHS 003 Aah-Vln HS 004 Acidica HS 005 AnlogBD HS 006 AnyMusicHS 007 AutobahnHS 008 BadCntaxHS 009 Baryon HS 010 Bombers HS 011 Brash HS 012 Cadmium HS 013 Clox 014 CutBrassHS 015 CuttaD6 HS 016 Cyber2 HS 017 D50-50 HS 018 D=CM+1 HS...
  • Page 195 ROM-D 000 S-1973 @ 001 x(o-o)x @ 002 38 S@ws 003 Aeternal @ 004 An@gry 005 Anaklav1 @ 006 Anaklav2 @ 007 Anaklav3 @ 008 AnlogFeel@ 009 AprilPad@ 010 AtariCr@sh 011 BeautySyn@ 012 Before @ 013 BellLead @ 014 BlackHole@ 015 BladeRun @ 016 Bore@lis 017 BPF+2P! @...
  • Page 196 ROM-E 000 AcidArp M 001 AcidRain M 002 Anemone M 003 ArdeKey M 004 Atlantis M 005 BadBrain M 006 Beaker M 007 Beano 008 Bhurly M 009 CashCrop M 010 Chimp 011 Clockers M 012 ComeDown M 013 Cunted M 014 Dayz 015 Diana 016 DieSoon M...
  • Page 197 ROM-F 000 AndromdaHS 001 Arctis HS 002 AT-Mini HS 003 AwashBs HS 004 Backing HS 005 BadTape HS 006 Begin? HS 007 BellBoy BC 008 BerimTamHS 009 Boingy HS 010 BowBouncHS 011 Bronze HS 012 BubblX HS 013 CantburyHS 014 ChaosBelHS 015 Choir2 HS 016 ClubMed HS 017 Congoid HS...
  • Page 198 ROM-G 000 80’sStabBC 001 AmbienceBC 002 BanjArp BC 003 BassArp BC 004 BassMan1BC 005 BassMan2BC 006 Beans BC 007 BigLead BC 008 Bite Me BC 009 BluBotl BC 010 BottlPadBC 011 BriteArpBC 012 Burbler BC 013 BuzzBassBC 014 CellStabBC 015 CheezMe BC 016 ClaviKeyBC 017 CompressBC 018 DelivrncBC...
  • Page 199 ROM-H 000 AutoBendBC 001 Avenues JS 002 B-SquareBC 003 Back280sSV 004 Base 005 BC NewVoV3 006 BellAir MH 007 BlkvelvtSV 008 BusysawsSV 009 ChilloutJS 010 ChrunchyJS 011 ClubbassSV 012 ClubtoolBC 013 Comm basSV 014 CommerseSV 015 Contra BC 016 CosmicbsSV 017 CreameryBC 018 Cyclone JS 019 Da Funk BC...
  • Page 200 ROM-I 000 101-Sub RP 001 2-Burst RP 002 2-Chord RP 003 68-CreakHS 004 7thCord RP 005 80s 006 =BASS= RP 007 Acidica HS 008 AlfBass RP 009 AnyMusicHS 010 Arp-BD2 RP 011 B-Kewl SV 012 BabyBee HS 013 BandPad RP 014 Baryon HS 015 BasemineHS 016 Bass Me RP...
  • Page 201 ROM-J 000 AESound zs 001 AldoNovaM 002 AmbientBlJ 003 AmbientFXJ 004 ambiRgM zs 005 AnHigh M 006 Arcade BC 007 Atlas 008 Attack! J 009 AutoTknoBC 010 B-Deep M 011 B-Foe 012 BadLand M 013 BassIk M 014 basting zs 015 basting2zs 016 bigTung zs 017 Bleu! M...
  • Page 202 ROM-K 000 7thHeavnJS 001 Ah RESO JS 002 Anabo|icJS 003 Anima JS 004 Animate JS 005 ArtificlJS 006 Bad S JS 007 Bassic JS 008 Bassta JS 009 BasstardJS 010 BC VoV-2BC 011 BC VoV-3BC 012 Beatbox JS 013 Bella JS 014 BElla 2 JS 015 BellaArpJS 016 BIG FLY JS...
  • Page 203 ROM-L 000 8BitHellXM 001 8-bitPadXM 002 AcidLineXM 003 AllRoundXM 004 AngstPadXM 005 Bass 87 XM 006 BD 3-4 XM 007 Bombast jh 008 BP Pad XM 009 BPGrooveXM 010 BpHpOsc XM 011 CheezArpXM 012 CheezLd XM 013 CheezMasXM 014 ChoBell jh 015 ComeOne XM 016 Cydonia1XM 017 Cydonia2XM...
  • Page 204 ROM-M 000 GO ON! MS 001 Lonely MS 002 N-R-G! MS 003 Photex MS 004 1 FingerMS 005 303Sync MS 006 AftrglowMS 007 Alert!! MS 008 AlroundrMS 009 AmbienceMS 010 AmbrStngMS 011 Angels MS 012 Binary MS 013 BombTraxMS 014 BPMover PS 015 BubblizeMS 016 Cabinet MS 017 Careful!MS...
  • Page 205 ROM-N 000 AandreasM@ 001 Aerosol J 002 AerSynthM@ 003 AI2 Pad M@ 004 AirMonixM@ 005 Apogee M@ 006 AqutouchM@ 007 Baggins M@ 008 BGot90s M@ 009 BigPadSwM@ 010 Bowzerz M@ 011 Cali-AirM@ 012 CheezwizM@ 013 Claps2 HS 014 Clench BC 015 CloudCtyM@ 016 COMPump M@ 017 CrossQ BC 018 D&B FX...
  • Page 206 ROM-O 000 2030SawzSV 001 8-bit SV 002 Acidia SV 003 AlphA SV 004 AlphA IISV 005 AnachronSV 006 Analand SV 007 Angels SV 008 Armus SV 009 AtalashiSV 010 BasStar jh 011 BionicleSV 012 BoomahMgSV 013 Breezer SV 014 C Break SV 015 C cup SV 016 C-Love SV 017 C-Rave SV...
  • Page 207 ROM-P 000 !”U”! CC 001 %SOFT% CC 002 2 LFO 2 CC 003 A FreeK CC 004 ADN 005 AfterpadCC 006 Alamos CC 007 AmiGito CC 008 AussieLdCC 009 B-Boys CC 010 BallenasCC 011 Bandrun CC 012 Bass!!! CC 013 BigArp CC 014 BigBass2CC 015 BudapestCC 016 C4Phone CC...
  • Page 208 ROM-Q 000 AccMW JL 001 AgressivJL 002 AhaaDistJL 003 Amadeus PS 004 Anthem PS 005 ArpBass JL 006 ArpBass2JL 007 ArpSwingPS 008 ArtifactJL 009 AstralPdJL 010 BeautiflJL 011 Benny B JL 012 BigBoy JL 013 Birds JL 014 Block JL 015 Bone 016 Boring JL 017 Bulk...
  • Page 209 10: Index...

  • Page 210: Index Of Functions Etc

    Index of Functions etc. Cleaning 9 Clock 82 Color 124 Coloration 93 > A Common 121 Amount 80 Configuration 15 Amplifier 21 Contour 83 Analog Boost 42 Cutoff 24 Arp Section 40 Cutoff Link 27 Arpeggiator 40 Assign 39 > D Attack 21 Damping 89 Audio Clock 159...
  • Page 211 > F Input 106 Input Follower 105 Fade In 87 Input Modes 100 FCC Information 172 Inputs 133 Feedback 42 FiltEnv>Hsync 123 Filter 24 > K Filter Balance 25 Key Follow 26 Filter Envelope 29 Key Mode 122 Filter Gain 85 Keyboard 155 FM 33 FM Amount 86...
  • Page 212 Mod Wheel 156 Parts 14 Modulation Matrix 79 Patch 14 Modulator 100 Patch Name 136 Modulators 81 Patch Volume 22 Modulators Section 37 Phaser 42 Mono 32 Pitch 84 Multi 44 Pitch Bender 130 Multi Edit 125 Portamento 34 Multi mode 14 Power On/Off 126 Predelay 93 Program 127...
  • Page 213 Repair 9 Soft Thru 153 Replacing the Battery 10 Source 79 Resolution 77 Split Mode 27 Resonance 24 Spread 47 Reverb 41 Store 125 Reverb Type 92 Sub Oscillator 123 Ring Modulator 36 Surround 134 Rotating the sockets 11 Sustain 21 Routing 27 Sustain Slope 22 Swing Factor 77...
  • Page 214 > V Value Knobs 127 Velocity 132 VirusControl 8 Vocoder 100 Volume 35 > W Warranty 175 Wave Select 31 Wave Shaper 28 Wave Table 47 WaveTable 47 Wavetable Index 47...
  • Page 218 ACCESS MUSIC ELECTRONICS GMBH KÖNIGSWALL 6 · 45657 RECKLINGHAUSEN · GERMANY WWW.ACCESS-MUSIC.DE Printed in Germany VTIMEU 05/06 Revision B...

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