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Access Virus Rack User Manual

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  • Page 2 ©2000, 2001 Access Music GmbH, Germany. Virus™ is a trademark of Access Music GmbH. All other trademarks contained herein are the property of their respective owners. All features and specifications subject to change without notice. Written by Christoph Kemper, Uwe G. Hönig, Wiland Samolak Guido Kirsch and Marc Schlaile.
  • Page 3 Table Of Contents...

  • Page 4: Table Of Contents

    í í Important Safety Remarks All About The Memory - Set-up Store - Connections Compare - Operation í - Memory battery change Modmatrix And Definables - Care - Fitness for Purpose Creating Modulations via Assign í Prologue The Definable Knobs í...

  • Page 5: Lfo

    ACCESS VIRUS RACK 3 í - Filter 2 The Virus and Sequencers - Filters Parameter Control via MIDI Envelope Section (Encoder) Organizational Information - Filter Envelope - Amplifier Envelope Handling MIDI Parameter Control LFO Section (Encoder) Notes on Adaptive Parameter Smoothing...
  • Page 6 í Appendix System Exclusive Data - System Exclusive Implementation - Control Change message (only Page A) - Polyphonic Pressure message (only Page B) - System-Exclusive-Message - SysEx Parameterchange - Single Dump - Multi Dump - Single Request - Multi Request - Single Bank Request - Multi Bank Request - Arrangement Request...
  • Page 7 ACCESS VIRUS RACK 5...

  • Page 8: Set-Up

    6 CHAPTER 2 Important Safety Remarks s Please read and heed the follow- í Set-up ing safety guidelines! A few fundamental rules on handling Operate and store the device in electrical devices follow. enclosed rooms only. Please read all notes carefully before you Never expose the device to a damp power the device up.

  • Page 9: Connections

    ACCESS VIRUS RACK 7 í í Connections Operation Be sure to use exclusively the Don’t set beverages or any other included mains power supply adapter. receptacle containing liquids on the device. Plug the device only into mains sock- Make sure the device is placed on a ets that are properly grounded in com- pliance with statutory regulations.

  • Page 10: Memory Battery Change

    (see “Midi Dump TX” on page 149). í Fitness for Purpose This device is designed exclusively to generate low-frequency audio signals for sound engineering-related pur- poses. Any other use is not permitted and automatically invalidates the war- ranty extended by Access Music Elec- tronics GmbH.
  • Page 11 ACCESS VIRUS RACK 9...

  • Page 12: Prologue

    ROM. Beyond that, you can use internal or external signals as sources for the Virus’ The Virus rack offers a maximum of 16 on-board vocoder serve. The vocoder voices. In Multi Mode, these are allo- works with up to 32 filter bands and...
  • Page 13 filter poles (36 dB slope!) enables radical tonal manipulations. The Virus Rack comes with a powerful software editor for PC and Macintosh. It The LFOs feature 6 continuous variable lets you edit and manage sounds on a waveshapes each, including a triangle large-scale user interface.
  • Page 14 12 CHAPTER 3 appears immediately on the screen. Inci- Although far from complete, the fea- dentally, this editor is based on Emagic's tures listed above give you some indica- popular SoundDiver. tion that you now own an exceptionally versatile, high-quality musical instru- In all modesty, we are especially proud of ment that will give you plenty of joy for a feature we developed called Adaptive...

  • Page 15: Introduction

    Introduction...

  • Page 16: The Virus

    14 CHAPTER 4 Introduction THE VIRUS This section provides deliberate, step-by- magazines to you. And of course there is step guidelines on operating and han- a wide range of books available on these dling the Virus for those of you who are subjects.

  • Page 17: Cable Connections

    Cable Connections Power Up the Virus Before you connect the Virus to an AC Power up the Virus Rack by pressing the outlet and the rest of your equipment, POWER button. To shut the device down, ensure that all of the devices are press and hold this button for approx.

  • Page 18: Listening To The Factory Sounds

    16 CHAPTER 4 Introduction You’ll find that some sound programs í Listening to the Factory are labeled with the abbreviations ”INP” or ”VOC”. These use the external audio Sounds input as a signal source for the filter sec- tion (INP) or vocoder (VOC). This means that you won’t hear anything until you The program memory of the Virus was route an audio signal into the external...

  • Page 19: Listening To The Multi Programs

    ACCESS VIRUS RACK 17 The Virus í Listening to the Multi Programs The Virus not only has the capability of playing SINGLE PROGAMs, but also com- binations consisting of more than one sound simultaneously (MIDI Multi Mode). To call up the MULTI PROGRAMs,...
  • Page 20 18 CHAPTER 4 Introduction abruptly. This sound is not designed to be especially pleasant; it is intended to be as neutral as possible to give you a basis from which you can begin creating or shaping your own sound.

  • Page 21: The Amplifier Envelope

    ACCESS VIRUS RACK 19 The Amplifier Envelope THE AMPLIFIER ENVELOPE Long-term exposure to this sound will The section labeled ENV addresses the definitely grate on your nerves, so let’s envelope. On a synthesizer, an envelope get started with changing it into a signal is used to modulate sound over time.
  • Page 22 20 CHAPTER 4 Introduction Rotate the ATTACK encoder while you Whenever the SUSTAIN level is set to repeatedly engage a key to hear the maximum, the volume cannot drop dur- note. The further you turn the encoder ing the DECAY phase; in other words, in up, the longer it takes for the sound to this situation the DECAY encoder is inef- achieve maximum volume after the start...
  • Page 23 ACCESS VIRUS RACK 21 The Amplifier Envelope If you turn it counter-clockwise to the left, then the level drops off at an increasing rate towards the minimum level much in the manner you just expe- rienced with the DECAY encoder; If you...

  • Page 24: The First Filter

    22 CHAPTER 4 Introduction THE FIRST FILTER Now we will take a look at a component Use the UP or DOWN buttons to activate of a synthesizer that is generally the filter section FILT. The second enco- regarded as the most important func- der knob in this row is labeled CUTOFF tional unit as it enables drastic sound (not to be confused with CUTOFF 2!).
  • Page 25 ACCESS VIRUS RACK 23 The First Filter Now we'll look at a parameter that is not The band stop filter, band reject assigned a dedicated knob of its own, filter or notch filter which works in the but can be dialed up in the display. This opposite manner of the bandpass fil-...
  • Page 26 24 CHAPTER 4 Introduction of the notch decreases; in other words more frequencies on both sides of the fil- ter frequency are allowed to pass.

  • Page 27: Filter Modulation

    ACCESS VIRUS RACK 25 Filter Modulation FILTER MODULATION Of course we don’t want to require you determined manually. And it is defi- to execute every sound modification nitely not always desirable that the filter manually by twiddling encoders. All frequency is brought to the maximum kinds of sound modifications in the Virus...
  • Page 28 26 CHAPTER 4 Introduction you might say many of the settings pro- Please note that KEY FOLLOW is a so- duce sounds reminiscent of stringed- called bipolar parameter: Its control instruments; some sound picked, plucked range is not limited to the positive end or snapped, others sound bowed.

  • Page 29: The Saturation Stage

    ACCESS VIRUS RACK 27 The Saturation Stage THE SATURATION STAGE In the signal chain of the Virus, Filter-1 is At this point we would like to mention followed by a saturation stage. It the OSC VOL parameter, which is next to enables you to add overtones to the fil-...

  • Page 30: The Second Filter

    28 CHAPTER 4 Introduction THE SECOND FILTER You probably noticed that by a adding a In the sound program we are using for bit of saturation to the signal you can our experiments, both filters are come up with a pretty heavy, aggressive selected, so that all adjustments to the sound - especially with a low filter fre- given parameters affect both filters.
  • Page 31 ACCESS VIRUS RACK 29 The Second Filter blended out of the signal chain until at adjust the cutoff frequency of both fil- the far right position only Filter-2 is ters by the same measure! This feature active and audible. lets you determine a difference in values in the filter frequencies (called an offset)
  • Page 32 30 CHAPTER 4 Introduction Now experiment with the diverse filter modes and listen closely to the effect of the parameters RESONANCE, ENV AMOUNT and KEY FOLLOW in conjunc- tion with FILTERS SELECT. Please also keep in mind that the chances of chok- ing a sound off are substantially greater when you are using both filters: For instance, if the first filter is used as a low...
  • Page 33 ACCESS VIRUS RACK 31 The Second Filter...

  • Page 34: Filter Routing

    32 CHAPTER 4 Introduction FILTER ROUTING The final parameter we’ll discuss for the SPLIT The filters are switched in par- time being is FILTER ROUTING. This fea- allel and feature two poles each (12dB/ ture offers several filter routing options Okt.).
  • Page 35 ACCESS VIRUS RACK 33 Filter Routing Her is the filter routings capabilities of the Virus.

  • Page 36: The First Oscillator

    34 CHAPTER 4 Introduction THE FIRST OSCILLATOR To this point, we have turned our atten- What you need is a sound-shaping tion exclusively to sound-shaping func- option for the portion of a signal that a tions and have always started with the filter allows to pass.
  • Page 37 ACCESS VIRUS RACK 35 The First Oscillator Now modify the amplifier envelope so SHAPE encoder from the sawtooth con- you are working with a less grating trol range towards the pulse control sound, but hold back on any other filter range, you are actually dialing every or saturation modifications so you can...
  • Page 38 36 CHAPTER 4 Introduction O’CLOCK). Regardless of the current SHAPE setting, you can also select a wave in the EDIT menu under OSCILLA- TOR 1 WAVE. Go ahead and check out the different waveshapes. The second of the 64 waves is a triangle wave, the remainder of the waveshapes are each a unique tonal blend.

  • Page 39: The Second Oscillator

    ACCESS VIRUS RACK 37 The Second Oscillator THE SECOND OSCILLATOR As we mentioned previously, in addition You are already familiar with Oscillator to the other sound sources, the Virus is 1’s SHAPE and WAVE SEL/PW parame- equipped with a second oscillator which ters.
  • Page 40 SEMITONE encoder. What happens is oscillator that lets you create further that the wave cycle of Oscillator 2 is oscillations and spectra. You can access interrupted as soon as Oscillator 1 starts the parameters of this oscillator, which its cycle. The pitch of the second oscilla-...

  • Page 41: The Mixer Section

    ACCESS VIRUS RACK 39 The MIXER Section THE MIXER SECTION You have already come across two the OSC VOL parameter. In other words, parameters of the MIXER section: OSC it is audible even when OSC VOL is set to BAL determines the mix ratio between zero.
  • Page 42 40 CHAPTER 4 Introduction you can still control the volume levels of the different elements as well as OSC VOL in the usual manner.

  • Page 43: The Lfos

    ACCESS VIRUS RACK 41 The LFOs THE LFOS When you first started this series of In the Virus, both of these tasks are exe- experiments with sounds, we promised cuted by a so-called LFO (low frequency that many of the functions the Virus can oscillator) that oscillates at frequencies be “programmed”...

  • Page 44: Lfo 1

    five parameters called LFO in different sound-shaping settings AMOUNT button which works with the manually. In other words, the audible...
  • Page 45 ACCESS VIRUS RACK 43 The LFOs Modulate the five parameters separately The third waveshape is a descending and in combinations with different sawtooth wave. You can convert it into intensities. Try to anticipate the sound to an ascending sawtooth by simply dial-...
  • Page 46 44 CHAPTER 4 Introduction chords, especially when they are sus- also lets you determine the temporal tained. To enhance this effect, activate relationship between attack and decay; the LFO 1 KEY FOLLOW. in other words, their respective rates.. Dial in the desired speed via the RATE This function enables you to control the encoder.

  • Page 47: Lfo 2

    ACCESS VIRUS RACK 45 The LFOs í LFO 2 The design of the second LFO is essen- tially the same as the first, so we’ll spare you the repetition of details SHAPE 1 and 2 are available as a joint modulation target;...

  • Page 48: Volume And Panorama

    46 CHAPTER 4 Introduction VOLUME AND PANORAMA Its value is set to 100 so that you have a í reserve or headroom of 27 volume incre- Volume and Panorama ments when you are dealing with highly Position filtered sounds. You have already dealt with the Pan- orama position as a modulation target You probably noticed that the many of of LFO 2.

  • Page 49: Velocity

    ACCESS VIRUS RACK 47 Velocity VELOCITY Velocity is one of the preferred modula- which you can manipulate indepen- tion sources of keyboard players: A light dently of one another in the familiar key attack generates a low velocity value bipolar control range.

  • Page 50: Unison Mode

    48 CHAPTER 4 Introduction UNISON MODE When we talked about the oscillators, mode for a sound, it can still be played we mentioned that by subtly detuning polyphonically. However, depending on signals, you can beef up sounds and the number of voices you’ve dialed in, its achieve string-like sounds.

  • Page 51: The Chorus/Flanger Effect

    ACCESS VIRUS RACK 49 The Chorus/Flanger Effect THE CHORUS/FLANGER EFFECT Another function that delivers great CHORUS DIR/EFF determines the balance effects based on pitch fluctuation is the between the original signal and the pro- so-called chorus effect. Chorus actually cessed signal. The parameters RATE and...

  • Page 52: The Delay Effect

    50 CHAPTER 4 Introduction THE DELAY EFFECT A delay effect is traditionally used to similar detuning effects. A stereo effect generated an echo of the input signal. is achieved via different modulations of Locate the parameter group DELAY in the left and right sides of the signal. the EDIT menu.

  • Page 53: More To Come

    ACCESS VIRUS RACK 51 More to Come MORE TO COME We have come to the end of these detailed instructions for novices. We hope we were able to help you become a bit more familiar with your new syn- thesizer and gain some confidence in how to handle it.
  • Page 54 52 CHAPTER 4 Introduction...

  • Page 55: Concept And Operation

    Concept and Operation...

  • Page 56: Operating Modes

    A SINGLE program is a ”sound” of the Virus, that can be stored and recalled. The Virus provides access to 512 SINGLE sounds. Next to the 256 RAM sounds (Bank A and Bank B), you have two banks available with a total of 256 fac- tory sounds.

  • Page 57: The Multi-Single Mode

    ACCESS VIRUS RACK 55 The Multi-Single Mode THE MULTI-SINGLE MODE While being in MULTI Mode, you’re Please bear in mind that MULTI SINGLE unable to change the SINGLE programs mode is really just another view of the directly, which would admittedly be a normal MULTI mode.
  • Page 58 The MULTI mode parameters feature a dedicated menu called the Multi Edit menu. Access it by pressing the Multi button while the device is in MULTI mode. The LED located over the MULTI button will light up to indicate that the Multi Edit menu is active.

  • Page 59: The Edit Buffers

    ACCESS VIRUS RACK 57 the Edit Buffers THE EDIT BUFFERS Whenever you play or edit a SINGLE pro- It lets you edit copies of sounds with- gram, its current data is stored in an edit out sacrificing the original sounds.
  • Page 60 58 CHAPTER 5 Concept and Operation...

  • Page 61: Operation

    Operation...

  • Page 62: Parameter Selection And Data Entry

    60 CHAPTER 6 Operation PARAMETER SELECTION AND DATA ENTRY The parameters of the Virus Rack are The effect section controlled via the five encoder knobs. The functions of this row of knobs may EDIT Here you'll find various be assigned to seven parameter groups...
  • Page 63 LFO 2. This selected the same function as in the EDIT parame- parameter may then be edited via the ter group. Accordingly, you can access VALUE knob. At the same time, you can Filter Cutoff, the two Definable knobs control LFO 2's Rate, Shape, Contour and and Master Volume directly.
  • Page 64 62 CHAPTER 6 Operation Once you've selected a parameter group parameter groups in the direction of the or section, the individual LEDs located button that you are holding down. This next to the knobs indicate whether or handy feature lets you swiftly go from not the knobs are assigned a function in one parameter type to another, for the currently active menu.
  • Page 65 The MULTI mode parameters feature a enable and DIS means disable. dedicated menu called the Multi Edit menu. Access it by pressing the Multi button while the device is in MULTI mode. The LED located over the MULTI button will light up to indicate that the Multi Edit menu is active.

  • Page 66: Display Of Values

    64 CHAPTER 6 Operation DISPLAY OF VALUES When a menu is active, different display options are available for parameters with a dedicated knob. These can be selected under the menu item KNOB DIS- PLAY in the CTRL menu: Knob movements are not dis- played;...

  • Page 67: All About The Memory

    All About The Memory...

  • Page 68: Store

    PART is stored. The STORE process is always the same regardless of the operating mode: Press STORE. You then gain access to the STORE menu. There you can use the PARAMETER buttons to move among the individual letters in the lower name entry line and the number of the des- .

  • Page 69: Compare

    ACCESS VIRUS RACK 67 Compare COMPARE When you press STORE and then UP or DOWN, you will activate Compare mode. After you have programmed or edited a SINGLE sound, Compare mode lets you hear the unedited sound that was origi- nally stored in this memory slot.
  • Page 70 68 CHAPTER 7 All About The Memory...

  • Page 71: Modmatrix And Definables

    Modmatrix And Definables...

  • Page 72: Creating Modulations Via Assign

    70 CHAPTER 8 Modmatrix And Definables CREATING MODULATIONS VIA ASSIGN As a rule, it is of course desirable to be the keyboard’s modulation wheel, to the able to create modulation routing con- desired parameter. You can also chose to figurations on a synthesizer. In other use the sound generator’s internal mod- words, you want to enjoy the freedom to ulators, such as LFOs and envelopes, as...
  • Page 73 ACCESS VIRUS RACK 71 Creating Modulations via Assign tions. This lets you radically reshape sounds and even transform or morph them into entirely different sounds. 01111111111111111112 1 ASSIGN Source OFF≤ 61111111111111111154 . You’ll find a list of available sources and DESTINATIONS in the appendix.

  • Page 74: The Definable Knobs

    72 CHAPTER 8 Modmatrix And Definables THE DEFINABLE KNOBS The Virus is equipped with two knobs this program. If, however, you have not that, rather than being dedicated to pre- selected a parameter for this program defined tasks, may be assigned to differ- (DEFINABLE Single = OFF), the setting for ent parameters by you, the user.
  • Page 75 Master Clock And Midi-Clock...

  • Page 76: Master Clock And Midi-Clock

    74 CHAPTER 9 Master Clock And Midi-Clock MASTER CLOCK AND MIDI-CLOCK The Virus is equipped with a global clock CLOCK TEMPO is saved in the MULTI generator that lets you sync the LFOs, PROGRAM (as are the settings for the arpeggiators and delay up to a common global delay effect).

  • Page 77: The Effects Section

    The Effects Section...

  • Page 78: The Effect Section

    76 CHAPTER 10 The Effects Section THE EFFECT SECTION For every SINGLE program and every PART, you can access two stereo effects individually. You’ll find these effects – analog boost and chorus – in the aptly named EFFECTS menu. The vocoder and the delay/reverb sec-...
  • Page 79 Audio Inputs...

  • Page 80: Audio Inputs

    Static mode. When you set the device to this mode, one voice of the Virus is acti- The Virus Rack is equipped with two vated automatically. If you select a ste- audio inputs on the back panel. Addi-...

  • Page 81: Osc Volume / Input

    ACCESS VIRUS RACK 79 Audio Inputs TOEFFECTS An alternative to INPUT í OSC Volume / Input Static mode, here the audio signal is routed directly to the effects section of the SINGLE program or PART. This mode doesn’t use the voices of the Virus, which...

  • Page 82: Input Global Settings

    SINGLE program accesses the guitar or a record player directly to the external audio inputs. The LEDs will flash Virus Rack. However, to attain the best rapidly to indicate that the inputs are possible sound quality, it is advisable to being overloaded.

  • Page 83: Audio Routing

    Audio Routing...

  • Page 84: The Audio Outputs

    82 CHAPTER 12 Audio Routing THE AUDIO OUTPUTS In MULTI mode, you can choose a mono or stereo audio output in the OUTPUT Select menu independently for every PART. In contrast to the majority of other effects, the delay/reverb section is not available individually for each PART.
  • Page 85 Categories...

  • Page 86: Sound Categories

    84 CHAPTER 13 Categories SOUND CATEGORIES The Virus gives you the option of classing matter if this sound has been assigned to the stored SINGLE sounds in categories. the category via CATEGORY 1 or CATE- With the benefit of these categories, GORY 2;...

  • Page 87: Random Patch Generator

    Random Patch Generator...

  • Page 88: Random Patches

    86 CHAPTER 14 Random Patch Generator RANDOM PATCHES The RANDOM PATCH GENERATOR can be PAR DEPTH This parameter determines used to generate a new sound automati- the number of sound parameters that cally or a modify an existing sound at are influenced by the RANDOM PATCH random.
  • Page 89 ACCESS VIRUS RACK 87 Random Patches by repeatedly pressing the STORE but- ton. Higher values introduce fundamen- tal changes to the sound. 01111111111111111112 1 RANDOM [STORE] Amount 0≤ 61111111111111111154 . Be aware that RANDOM PAR DEPTH and RANDOM AMOUNT are not actual sound parameters.
  • Page 90 88 CHAPTER 14 Random Patch Generator...
  • Page 91 Additional Functions...

  • Page 92: Additional Functions

    90 CHAPTER 15 Additional Functions ADDITIONAL FUNCTIONS í Panic Function The Virus features a Panic function to remedy stuck notes caused by MIDI transmission parity errors and the like. When you press the POWER and the STORE button simultaneously, then all voices of the Virus that are still sounding will be released.

  • Page 93: Reset Function

    ACCESS VIRUS RACK 91 Additional Functions í Reset Function If you get the impression that the VIRUS is behaving unstable or indeed strange, we suggest you perform a system reset. Holding the PARAMETER LEFT button while switching the VIRUS on, performs a system reset.
  • Page 94 92 CHAPTER 15 Additional Functions...

  • Page 95: The Parameters

    The Parameters...

  • Page 96: Osc Section (Encoder)

    If no menu is activate (none of the seven section LEDs is illuminated), then the Encoder assignments are deter- mined by the Edit section. EXPERT MODE: The Virus Rack features numerous parameters. Many of these you can occasionally do without because...

  • Page 97: Oscillator 1

    ACCESS VIRUS RACK 95 OSC Section (Encoder) SEMITONE Determines the interval í Oscillator 1 between the second oscillator and the first oscillator: Control range +/-48 semi- tones, assigned in semitone steps. SHAPE This control feature lets you determine the waveshape for the WAVE section (one of 64 variable spectral waveshapes).

  • Page 98: Osc Sektion (Menu)

    96 CHAPTER 16 The Parameters OSC SEKTION (MENU) upwards by one octave for every two í Oscillator 1 ascending octaves you play (quarter note scale); at 0 the keyboard control option is off. Negative values generate oppo- site control intensities. 01111111111111111112 WAVE Selects among of 64 spectral 1 OSCILLATOR1...

  • Page 99: Oscillator 2

    ACCESS VIRUS RACK 97 OSC Sektion (Menu) [XP] FM AMOUNT Controls the fre- í Oscillator 2 quency modulation intensity of the sec- ond oscillator by the first. Depending on the selected FM AMOUNT and the inter- val between the oscillators, the fre- quency modulation generates WAVE Same as OSCILLATOR 1;...

  • Page 100: Oscillators

    98 CHAPTER 16 The Parameters FILT ENV -> FM It determines the inten- í Oscillators sity at which the filter envelope controls the frequency modulation (FM AMOUNT). This as well as the previous parameter are ”relics” from the prede- cessor model of the Virus. Modulations OSC BAL Determines the balance such as these may also be implemented between the Oscillators 1 and 2 volume...

  • Page 101: 1 Suboscillator

    ACCESS VIRUS RACK 99 OSC Sektion (Menu) ing the tonal spectrum in terms of satu- í Sub Oscillator ration. The intensity of the remaining DSP effects available in the SATURATION Stage is controlled via the OSC VOL knob. VOLUME Determines the volume level of the SubOscillator.

  • Page 102: Ringmodulator

    100 CHAPTER 16 The Parameters í í Ringmodulator Noise VOLUME The ring modulator multiplies COLOR Determines the sound of the the output of both oscillator 1 and 2 to Noise. Positive values emphasis on high create interesting sounds with rich frequencies, negative values on the bass enharmonic overtones.

  • Page 103: Filter Section (Encoder)

    The polarity of the modulation can have the same CUTOFF frequency. In FIL- be changed individually for each filter TER EDIT Menu, you can access CUTOFF via the ENV POLARITY function in the LINK ON/OFF to sever the link between FILTER EDIT menu.

  • Page 104: Filter Section/Menu

    102 CHAPTER 16 The Parameters FILTER SECTION/MENU The low pass filter suppresses fre- í Filter 1 quencies higher than the CUTOFF fre- quency (see appropriate section) and allows the lower frequencies through. The high pass filter works in the KEY FOLLOW Determines the extent to opposite manner of the low pass filter: It which the filter frequency follows the suppresses the lower frequencies in a sig-...
  • Page 105 ACCESS VIRUS RACK 103 Filter Section/Menu [XP] ENV POLARITY Switches back and í Filter 2 forth between positive (POS) and nega- tive (NEG) ENV AMOUNTs for Filter-1 (see appropriate section). 01111111111111111112 KEY FOLLOW same as FILTER 1 1 FILTER1 EnvPolarity Pos≤...

  • Page 106: Filter

    104 CHAPTER 16 The Parameters Now,the CUTOFF and CUTOFF 2 í Filters knobs are no longer linked and CUTOFF 2 operates absolutely in a control range of 0 to 127. In this case the CUTOFF and CUTOFF 2 knobs are two independent control features that determine the [XP] BALANCE Has different functions respective cutoff frequencies for Filter-1...
  • Page 107 ACCESS VIRUS RACK 105 Filter Section/Menu ROUTING This feature offers four filter simultaneously. SELECT pertains to the routing options which allow you to oper- corresponding knob located on the Virus ate the filters in series or in parallel: only, but not to the sound parameters it controls.
  • Page 108 106 CHAPTER 16 The Parameters SATURATION CURVE The SATURATION SHAPER Sine characteristic curve with stage in the filter section offers a selec- several wave cycles. With the Shaper, you tion of different saturation or distortion can drastically warp signals. In some characteristics.

  • Page 109: Envelope Section (Encoder)

    ACCESS VIRUS RACK 107 Envelope Section (Encoder) ENVELOPE SECTION (ENCODER) SUSTAIN Determines a variable level for í Filter Envelope the filter envelope at which it remains after the end of the DECAY phase (see appropriate section). The duration of the SUSTAIN phase depends on the TIME value (see appropriate section).

  • Page 110: Amplifier Envelope

    108 CHAPTER 16 The Parameters then the level drops off at an increasing SUSTAIN Sets a variable level value for rate towards the minimum level; If you the amplifier envelope at which it turn the knob clockwise to the right remains after the end of the DECAY (towards RISE), the level rises at an phase (see appropriate section).

  • Page 111: Lfo Section (Encoder)

    ACCESS VIRUS RACK 109 LFO Section (Encoder) LFO SECTION (ENCODER) SHAPE Determines the waveshape of the í LFO 1 LFO. You can select from a sine, triangle, sawtooth, pulse wave, a stepped ran- dom modulation (S&H; short for Sample & Hold) or a smooth random modulation (S&G;...
  • Page 112 110 CHAPTER 16 The Parameters SINE Contour morphs from sine to a tri- í LFO 2 angle wave (Contour to the left) or to a square wave (Contour to the right). TRIANGLE Contour morphs from a tri- angle to a declining (Contour to the left) RATE Same as LFO 1 or ascending sawtooth (Contour to the right).

  • Page 113: Lfo Section (Menu)

    ACCESS VIRUS RACK 111 LFO Section (Menu) LFO SECTION (MENU) CLOCK When you set it to OFF, the LFO MONO In polyphonic mode, all voices oscillates in the normal manner, inde- are assigned the same LFO. This accentu- pendently of the global Master Clock ates the LFO modulation, making it more (CLOCK TEMPO).

  • Page 114: Lfo 2

    112 CHAPTER 16 The Parameters phase positions of 0 to 360 degrees; the FILTER GAIN Here the input level of the value 0 switches the KEY TRIGGER func- filter section is modulated (and thus the tion completely off so that the LFO oscil- subsequent saturation level).
  • Page 115 ACCESS VIRUS RACK 113 LFO Section (Menu) [XP] MODE Same as LFO 1 AMOUNT FM Amount. An additional modulation destination of LFO-2. The intensity of the frequency modulation of Oscillator 2 is modulated. [XP] ENV MODE Same as LFO 1 [XP] TRIG PHASE Same as LFO 1 í...
  • Page 116 114 CHAPTER 16 The Parameters OSC AMOUNT Controls the modulation intensity of the LFO. 01111111111111111112 1 LFO3 OscAmount +0≤ 61111111111111111154 FADE IN This parameter lets you auto- matically initiate a delayed fade-in the LFO3 modulation that you set up via OSC AMOUNT (see the section above).

  • Page 117: Efx Section

    ACCESS VIRUS RACK 115 EFX Section EFX SECTION The Effects menu contains the parame- ters of the effects section and audio inputs (INPUT). The following effects are available individually per PART and in stereo: ANALOG BOOST CHORUS The vocoder and the delay/reverb sec-...

  • Page 118: Efx Section/Encoder

    116 CHAPTER 16 The Parameters EFX SECTION/ENCODER The LFO modulates the left and right í Chorus sides of the Chorus signal antiphase, which generates a true stereo effect. 01111111111111111112 1 CHORUS RATE Determines the speed of the Cho- Depth 16≤ rus LFO.

  • Page 119: Reverb

    ACCESS VIRUS RACK 117 EFX Section/Encoder FEEDBACK Controls the amount of feed- of several cushioned edges along the back in the Chorus. On the chorus, FEED- way. This friction depletes energy and BACK lets you boost specific frequencies causes the pool ball to slow down. The in the delayed signal to create a flanger...
  • Page 120 118 CHAPTER 16 The Parameters high-end damping has a significant influ- able, it is suitable for generating feed- ence the vibe and warmth of the room back, and it can be synced up to the sound. global clock generator. 01111111111111111112 REVERB PREDELAY controls the absolute 1 REVERB pre-delay time in milliseconds (ms).

  • Page 121: Delay

    ACCESS VIRUS RACK 119 EFX Section/Encoder will become more prominent when you í Delay set a short decay time and a long pre- delay time. 01111111111111111112 s The following parameters are only 1 REVERB available when you’re working with Feedback 50≤...

  • Page 122: Input

    1 DELAY phone, an electric guitar or a record Feedback 22≤ player directly to the Virus Rack. How- ever, to attain the best possible sound 61111111111111111154 quality, it is advisable to patch the signal into an appropriate signal processor such...
  • Page 123 Virus Rack with a suitable by the filters, envelopes and the internal Phono equalizer. It may be activated via effects.
  • Page 124 Select In L+R≤ 61111111111111111154 Several PARTs can simultaneously access If the selected signal source is a stereo the external input via INPUT SELECT. source - i.e. IN L+R, - then the sound pro- gram is automatically switched internally...

  • Page 125: Vocoder

    ACCESS VIRUS RACK 123 EFX Section/Encoder TUNE Controls the frequency range of í Vocoder ANALOG BOOST. 01111111111111111112 1 ANALOG BOOST See [“The Vocoder” on page 161] Tune 32≤ 61111111111111111154 í Analog Boost This effect produces the typical bass punch on analog synthesizers, and with...

  • Page 126: Efx Section/Menu

    124 CHAPTER 16 The Parameters EFX SECTION/MENU [XP] SHAPE Determines the waveshape í Chorus of the chorus LFO. You can select from among 6 waveshapes. 01111111111111111112 1 CHORUS DIR/EFF Controls the balance of volume Shape Triangle≤ levels between the direct signal and the 61111111111111111154 Chorus signal: At a value of 0, only the direct signal is audible, at a value of 127,...

  • Page 127: Delay/Reverb

    However in MULTI MODE, all 16 PARTs Delay time can also be locked into sync access the same Delay or Reverb effect. with the global clock generator. As a In this case, the only dedicated parame-...
  • Page 128 126 CHAPTER 16 The Parameters EFFECT SEND The level at which the tions are independently variable given sound is patched to the DELAY or depending on the pre-delay time and REVERB effect is adjusted here. feedback intensity (FEEDBACK). 01111111111111111112 EFFECT SEND is identical to a post-fader effect bus on a mixing console.
  • Page 129 ACCESS VIRUS RACK 127 EFX Section/Menu echo, or for a nice unnatural effect, to s The following parameters will only become thinner with increased harmon- appear in the display when you’re ics (Hipass). working with REVERB algorithms. 01111111111111111112 1 DELAY...
  • Page 130 128 CHAPTER 16 The Parameters 01111111111111111112 In the signal path. the filter is located at 1 REVERB the output of the pre-delay. This means that the filter also influences pre-delay Type Ambience≤ feedback (REVERB FEEDBACK, see 61111111111111111154 below) when you use this parameter. 01111111111111111112 1 REVERB [XP] REVERB COLOR [XP] This parame-...

  • Page 131: Edit Section/Encoder

    ACCESS VIRUS RACK 129 Edit Section/Encoder EDIT SECTION/ENCODER CUTOFF Determines the cutoff frequency that under normal circumstances, you of Filter-1 and 2 (with exceptions; see should turn Master Volume all they way CUTOFF 2). up because you of course want the Virus...
  • Page 132 130 CHAPTER 16 The Parameters...

  • Page 133: Edit Section/Menu

    You However, these are not stored with the can chose from: SINGLE program.. In MULTI MODE, you can also access PART VOLUME (see POLY The sound is played polyphoni- appropriate section), which provides fur- cally.
  • Page 134 132 CHAPTER 16 The Parameters every time you play a note (Multi Trigger PORTAMENTO Determines the amount mode); Portamento is only active when of time it takes for the pitch to glide you play legato. from the current note to the next note played.
  • Page 135 ACCESS VIRUS RACK 133 Edit Section/Menu BEND DOWN Determines the interval of generating greater intervals because of the bend when the Pitch Bender is the exponential increase in range. moved downwards to the full extent of 01111111111111111112 its range. Control range: -64 semitones to +63 semitones.

  • Page 136: Unison

    134 CHAPTER 16 The Parameters jumps in steps when a new note is í Unison played. 01111111111111111112 1 COMMON SmoothMode On≤ MODE determines how many voices the Virus will use to render a played note. In 61111111111111111154 a nutshell, it determines how fat or big the sound will be.

  • Page 137: Punch

    ACCESS VIRUS RACK 135 Edit Section/Menu Moreover, PAN SPREAD lets you spread í Punch the stereo panorama of the two oscilla- tors or filter, provided that you select SPLIT as the FILTER ROUTING option (more on this in the section, ”FILTER ROUTING”).

  • Page 138: Assign

    136 CHAPTER 16 The Parameters (LFO AMOUNT, ENV AMOUNT), but are í Assign freely available along with the Modula- tion Matrix. Let’s take a look at the internal modula- The three ASSIGN options let you control tion sources: up to six modulation destinations via up to three modulation sources.
  • Page 139 ACCESS VIRUS RACK 137 Edit Section/Menu ture an infinitely variable control range – Controls the intensity of the first modu- ergo, you have more than 100 modula- lation allocation. tion destinations at your disposal. 01111111111111111112 1 ASSIGN 1 If you haven’t selected a source for one...

  • Page 140: Velocity

    138 CHAPTER 16 The Parameters ASSIGN 3 SOURCE Selects the modula- í Velocity tion source for the third modulation assignment. . In addition to the following fixed ASSIGN 3 DESTINATION 1 Selects the destinations, any parameter can be con- first modulation destination for the third trolled via velocity by way of the Modu- modulation assignment.
  • Page 141 ACCESS VIRUS RACK 139 Edit Section/Menu VELOCITY PULSE WIDTH Determines the VELOCITY FILT 2 ENV AMT Determines intensity of the VELOCITY control for the the intensity of the VELOCITY control for pulse width (see appropriate section) of the modulation of Filter-2’s cutoff fre- both oscillators.
  • Page 142 140 CHAPTER 16 The Parameters VELOCITY PANORAMA Determines the intensity of the VELOCITY control for the Panorama position. 01111111111111111112 1 VELOCITY Panorama +30≤ 61111111111111111154...

  • Page 143: Arpeggiator&Ctrl Section (Encoder)

    ACCESS VIRUS RACK 141 Arpeggiator&Ctrl Section (Encoder) ARPEGGIATOR&CTRL SECTION (ENCODER) ARPEGGIATOR MODE Selects the Arpeg- RANDOM Arpeggiates notes in ran- giator mode. You can chose from: dom sequence. Self-explanatory. The Arpeggiator CHORD Plays notes as chords rather is inactive. than arpeggios.
  • Page 144 142 CHAPTER 16 The Parameters ARPEGGIATOR PATTERN This parameter selects one of the rhythmic patterns for the Arpeggiator. 01111111111111111112 1 ARPEGGIATOR Pattern 2≤ 61111111111111111154 ARPEGGIATOR NOTE LENGTH This para- meter changes the lengths of the rhythm patterns’ notes. The center position lea- ves the notes at their original length.

  • Page 145: Arpg&Ctrl Section (Menu)

    ACCESS VIRUS RACK 143 Arpg&Ctrl Section (menu) ARPG&CTRL SECTION (MENU) CLOCK TEMPO The Virus is equipped SINGLE PROGRAMs are ignored. Instead, with a global clock generator that lets all involved SINGLE PROGRAMs are con- you sync LFOs, arpeggiators and delay trolled via the same clock generator.

  • Page 146: Arpeggiator

    144 CHAPTER 16 The Parameters When SWING is set to the lowest value í Arpeggiator (50%), the interval between the individ- ual sixteenth beats is identical and the length of an eighth note is divided into two identical beats; in other words, the rhythm is "binary".

  • Page 147: Random Patch Generator

    ACCESS VIRUS RACK 145 Arpg&Ctrl Section (menu) ARPEGGIATOR HOLD When this parame- í Random Patch Genera- ter is activate, the arpeggiator continues to play after you release the keys. Not until you release all keys and press a new key are the notes that were held up to this point released.

  • Page 148: Definable 1+2

    146 CHAPTER 16 The Parameters AMOUNT This parameter determines the í Definable 1+2 intensity of the RANDOM PATCH GENER- ATOR’s effect on the sound parameters. At lower values, sound changes are fairly subtle, but you can intensify the effect If none of the seven Edit sections is by repeatedly pressing the STORE but- active (Playmode) or EDIT is selected, ton.
  • Page 149 ACCESS VIRUS RACK 147 Arpg&Ctrl Section (menu) program may be. Comparable to a small [XP] DEFINABLE 1 GLOBAL This is where MIDI fader box, this mode is used to con- you enter the parameter assignment for trol connected MIDI devices. Note that the DEFINABLE 1 knob.
  • Page 150 148 CHAPTER 16 The Parameters [XP] DEFINABLE 2 GLOBAL Same as DEFINABLE 1; see paragraph above. [XP] DEFINABLE 2 MIDI Same as DEFIN- ABLE 1; see paragraph above.

  • Page 151: Midi

    ACCESS VIRUS RACK 149 MIDI MIDI sends the SINGLE program that you are í Midi Dump TX currently processing (the contents of the Edit buffer). The Controller Dump is not an alterna- This feature transfers the sound data of tive to a normal Single Dump since it one Virus to another Virus, a computer takes so much longer to transmit data.

  • Page 152: Midi Dump Rx

    150 CHAPTER 16 The Parameters ARRANGEMENT The current MULTI í Midi Dump RX and the SINGLE programs involved can be transmitted in one go with this option. To shorten the amount of time that this dump takes, only the sounds of If you want to send MIDI data to the those PARTs whose Part Enable option is Virus, you don’t have to log in first.
  • Page 153 ACCESS VIRUS RACK 151 MIDI MIDI PANEL DESTINATION VERIFY Compares an incoming MIDI dump to the memory content of the INTERNAL All types of control opera- Virus. It checks if a dump was recorded properly on the sequencer and if it can tions are sent directly to the Virus sound be played back correctly.
  • Page 154 152 CHAPTER 16 The Parameters the Arpeggiator may no longer be able PROGRAM CHANGE ENABLE Globally to play correctly under these conditions. swithes the reception of Program To avoid this situation, route data via Change Data for SINGLE programs on another MIDI channel or switch off the and off.
  • Page 155 ACCESS VIRUS RACK 153 MIDI exchange system exclusive data - you on the receive side; if you set it to must assign the same MIDI DEVICE ID to ”Contr”, both polypressure and SysEx both units. data are received. 01111111111111111112 01111111111111111112...

  • Page 156: System

    154 CHAPTER 16 The Parameters SYSTEM MASTER TUNE Determines the overall LCD CONTRAST Lets you adjust the con- pitch of the Virus. 0 = A 440 Hz. You can trast of the LC display to different light detune the device a half-note up or conditions and viewing angles.
  • Page 157 LEDs indicates the cur- rent input level; signal saturation is indi- cated by rapidly flashing LEDs. EXPERT MODE The Virus Rack features numerous parameters. Many of these To achieve maximum sound quality for you can occasionally do without because...

  • Page 158: Multimode Parameters

    The MULTI mode parameters feature a SELECT NUMBER Activates a SINGLE dedicated menu called the Multi Edit PROGRAM for the current PART. menu. Access it by pressing the Multi 01111111111111111112 button while the device is in MULTI 1 B36 101BASS RP mode.
  • Page 159 ACCESS VIRUS RACK 157 Multimode parameters OUTPUT SELECT Several PARTs can simul- preset.If the selected output is mono- taneously access the external outputs via phonic, then the Panorama settings and OUTPUT SELECT.In SINGLE MODE, OUT- modulations in the sound program are PUT SELECT does not appear in the inactive.
  • Page 160 158 CHAPTER 16 The Parameters (0 to +63), extremely low-level signals MULTI. This initial value may have been are amplified. When you set values determined by the expression pedal or greater than 0 for sounds that are by the most recently active MULTI patch. already fairly loud, you may hear unde- sirable digital distortion.
  • Page 161 ACCESS VIRUS RACK 159 Multimode parameters In other words, if you set all Parts to disabled and the PART will respond only High, you’re defeating the purpose of to notes the lie above and below this this parameter. In this case, it wouldn’t zone.
  • Page 162 160 CHAPTER 16 The Parameters HOLD PEDAL ENABLE Switches a given PART’s MIDI receive mode for the hold pedal (MIDI Controller #64) ON and OFF. 01111111111111111112 1 B36 101BASS RP HoldPedal Ena≤ 61111111111111111154 PRG CHG ENABLE Switches a given PART’s MIDI receive mode for MIDI Pro- gram Change messages ON and OFF.

  • Page 163: The Vocoder

    The Vocoder...

  • Page 164: Vocoder

    162 CHAPTER 17 The Vocoder VOCODER Although vocoder sounds have seen a signal is being send through several par- comeback in the recent time, many musi- allel bandpass filters, which only pass cians do not specifically know how they through a certain part of the whole spec- work or even more importantly, how trum.

  • Page 165: The Modulator Bank

    ACCESS VIRUS RACK 163 Vocoder All you need is the internal synthesizer parameter. These signals are no audio of the Virus. It is also possible to process signals, as they contain the envelope of external signals. The feature set of the the signal being analysed.

  • Page 166: The Parameters Of The Virus Vocoder

    164 CHAPTER 17 The Vocoder THE PARAMETERS OF THE VIRUS VOCODER OSC VOL (in the EFFECTS menu, . The Vocoder related parameters are Default: 0 (middle)) OSC VOL adjusts located in the EFFECT Menu the output level of the vocoder. This is independent of the signal source (which can be assigned using the vocoder mode parameter)
  • Page 167 ACCESS VIRUS RACK 165 The parameters of the Virus vocoder ity creates a higher resonance in the tain amount of the carrier signal to the filter bands, which therefore make the vocoder signal. A turn to the right adds overall sounds more artificial.

  • Page 168: Notes About The Vocoder

    166 CHAPTER 17 The Vocoder NOTES ABOUT THE VOCODER The vocoder can also be controlled by any part of the multimode. If more than one part of the multimode contains an activated vocoder, only the vocoder of the part with the lowest part number is active.

  • Page 169: The Virus And Sequencers

    The Virus and Sequencers...

  • Page 170: Parameter Control Via Midi

    168 CHAPTER 18 The Virus and Sequencers PARAMETER CONTROL VIA MIDI Virtually all parameters of the Virus are accessible via MIDI so that, for example, you can manipulate knobs and buttons and record these movements to a sequencer. You may then route these commands back to the Virus, which will respond to these automated instructions automatically.

  • Page 171: Organizational Information

    ACCESS VIRUS RACK 169 Organizational Information ORGANIZATIONAL INFORMATION In order to be able to record the move- Now scroll to the two parameters called ments of knobs and status changes of LoPage and HiPage: LoPage should be buttons on the Virus to a sequencer, you...
  • Page 172 170 CHAPTER 18 The Virus and Sequencers instrument to exploit this data type in MULTI PROGRAM as well as global and/ the interest of putting further control- or system parameters. This third PAGE is lers at your disposal.) addressed solely via system exclusive MIDI messages.
  • Page 173 ACCESS VIRUS RACK 171 Organizational Information...

  • Page 174: Handling Midi Parameter Control

    172 CHAPTER 18 The Virus and Sequencers HANDLING MIDI PARAMETER CONTROL If you have configured your MIDI system recording them to different tracks and in accordance with the instructions in giving these tracks names that give you the previous section, you may activate an idea of what they contain, you’ll find the sequencer’s recording mode and it much easier to work with these tracks.

  • Page 175: Notes On Adaptive Parameter Smoothing

    ACCESS VIRUS RACK 173 Notes on Adaptive Parameter Smoothing NOTES ON ADAPTIVE PARAMETER SMOOTHING We developed a feature called Adaptive Adaptive Control Smoothing Parameter Smoothing for the Virus that (parameter smoothing) is disabled. assures automated knob movements are carried out so that parameter changes...
  • Page 176 174 CHAPTER 18 The Virus and Sequencers Side effect: This analysis of radical The Control Smooth mode parameter parameter changes can’t cope with setting is considered a component part jumps that occur in rapid succession. of a SINGLE sound and is thus stored with it.

  • Page 177: Problems Related To Parameter Control

    ACCESS VIRUS RACK 175 Problems Related to Parameter Control PROBLEMS RELATED TO PARAMETER CONTROL If you enjoy experimenting with record- closes the filter again in a suitable posi- ing parameter changes, sooner or later, tion within the song, for instance, at you will run into the following problem: some point after the filter opens or at...

  • Page 178: Dump - The Sound In The Song

    176 CHAPTER 18 The Virus and Sequencers DUMP - THE SOUND IN THE SONG Archiving all of the sounds used in a to the Virus before the actual song song is not only a good idea to prevent begins. An individual sound dump is very potential problems that may occur when short;...
  • Page 179 ACCESS VIRUS RACK 177 Dump - The Sound in the Song takes quite some time. Alternatively, you tion if you are operating the Virus in SIN- can also send just individual sounds, GLE mode and have opted not to use MULTIs or so-called ”arrangements”.
  • Page 180 178 CHAPTER 18 The Virus and Sequencers...

  • Page 181: Tips, Tricks& Words Of Wisdom

    Tips, Tricks& Words Of Wisdom...

  • Page 182: Tips And Tricks

    180 CHAPTER 19 Tips, Tricks& Words Of Wisdom TIPS AND TRICKS were in SINGLE mode, except that you í Multi Single Mode have 16 sounds available simultaneously on 16 MIDI channels. Use the PART but- tons to select these sounds. In MULTI mode, you’re unable to change the SINGLE programs directly, which would admittedly be a handy option...
  • Page 183 ACCESS VIRUS RACK 181 Tips and Tricks rate at which parameter values change by pressing and holding one VALUE but- ton and simultaneously pressing the other VALUE button. If you release the first VALUE button while holding the other down, the parameter is set to its...

  • Page 184: All Abouts Inputs

    182 CHAPTER 19 Tips, Tricks& Words Of Wisdom ALL ABOUTS INPUTS í í Audio Inputs and Audio OSC Vol / Input Routing When one of the two INPUT modes is activated, the OSC VOL parameter rather The Virus is equipped with two inputs than the oscillators controls the level of for external signals.

  • Page 185: Input Level Indicator

    ACCESS VIRUS RACK 183 All abouts Inputs Signals within the Virus may also be í Input Level Indicator overloaded and may distort when their levels are too high. Inherently, a virtual analog synthesizer’s resonating filters and high level of polyphony lend signal Alternatively, the RATE LEDs of LFO 1 levels considerable dynamic potential.

  • Page 186: About Effects

    184 CHAPTER 19 Tips, Tricks& Words Of Wisdom ABOUT EFFECTS í í Delay/Reverb Effect The Virus as an Effect Send Device The Effect Send parameter works like a You’re free to install the Virus into your classic aux send knob on a mixer (post- studio environment and use it as an fader), i.e.

  • Page 187: Oscillators

    ACCESS VIRUS RACK 185 Oscillators OSCILLATORS this effect by activating and adjusting í Pulse Width Modulation the function LFO1 KEYFOLLOW. When you set LFO1 KEYFOLLOW to a value of 127, the LFO rate will follow whatever pitch you play precisely (in octaves).

  • Page 188: Oscillator Sync/Fm

    186 CHAPTER 19 Tips, Tricks& Words Of Wisdom í Oscillator Sync/FM On the Virus, Oscillator 1 is always the component that determines the fre- quency for the two functions oscillator synchronization (SYNC) and frequency modulation (FM). This means that you can use both of these options at the same time.

  • Page 189: Filters

    ACCESS VIRUS RACK 187 Filters FILTERS í í 24-dB Filter Variations Filter Balance You have two options for using the 24- The filter section of the Virus puts slopes dB filters of the Virus. of 12, 24 and 36 dB/oct. at your disposal.

  • Page 190: Filter Routing: Split

    188 CHAPTER 19 Tips, Tricks& Words Of Wisdom í Filter Routing: Split In Filter SPLIT mode, each of the two oscillators sends its signal into one of the two filters. Each filtered signal, in turn, is sent into a separate VCA. The two VCAs can be spread in the panorama via the UNISON Pan Spread parameter.

  • Page 191: Saturation For Added Grit And Dirt

    ACCESS VIRUS RACK 189 Saturation for Added Grit and Dirt SATURATION FOR ADDED GRIT AND DIRT í í Saturation and OSC Vol Saturation Curve: Shaper In serial filter modes, the SATURATION unit is located between the filters. This The Shaper’s saturation response differs configuration gives you the option of...

  • Page 192: Lfos

    190 CHAPTER 19 Tips, Tricks& Words Of Wisdom LFOS (decay). The LFO CONTOUR parameter í LFO Env Mode also lets you determine the relative rates of the attack and decay phases. The absolute rate of the envelope is deter- mined with the LFO RATE knob. In addition to their standard function as low frequency oscillators, LFO 1 and 2 can also serve as additional, albeit sim-...

  • Page 193: Lfo Mode

    ACCESS VIRUS RACK 191 LFOs í í LFO Mode LFO Trig Phase You can set the LFO Mode parameter so When this function is activate, the given that the LFOs are polyphonic or mono- LFO will no longer oscillate freely;...

  • Page 194: External Lfo Trigger

    192 CHAPTER 19 Tips, Tricks& Words Of Wisdom í í External LFO Trigger Filter Gain You can also trigger an LFO at any time LFO1 lets you modulate the volume of a by means of a controller, in other words, voice.

  • Page 195: Volume Control

    ACCESS VIRUS RACK 193 Volume Control VOLUME CONTROL Next to the Oscillator Volume parameter, í Channel Volume the Virus features four other volume stages for every SINGLE or PART: and ExpressionThese two performance controllers (Ctr. #7 and #11) can be used...

  • Page 196: Assign And The Definable Knobs

    194 CHAPTER 19 Tips, Tricks& Words Of Wisdom ASSIGN AND THE DEFINABLE KNOBS The ASSIGN section in the EDIT menu lets enough, you should set the controller you control up to six freely selectable number for the DEFINABLE knob under parameters via up to three modulation DEFINABLE Single because this setting sources.

  • Page 197: Arpeggiator

    ACCESS VIRUS RACK 195 Arpeggiator ARPEGGIATOR In AsPlayed mode, notes are played in the same sequence in which the Arpeg- giator receives them. As a rule, the Arpeggiator is able to store up to 16 notes. At first glance, it wouldn’t seem possible to play a pattern in which sev- eral notes have the same pitch.

  • Page 198: Midi

    196 CHAPTER 19 Tips, Tricks& Words Of Wisdom MIDI The two FORCE TO BANK A and “Force í MIDI Dump RX To Bank B” options send an incoming sound dump to the respective bank irre- spective of which bank the sounds were originally stored in.

  • Page 199: Expression Controller

    ACCESS VIRUS RACK 197 MIDI í í Expression Controller Bank/Program Change via SysEx The Virus is able to handle Expression Controller (Controller #11) commands. A bank or program change can be initi- Expression is a volume controller similar ated via a SysEx command. These com-...

  • Page 200: Priority

    198 CHAPTER 19 Tips, Tricks& Words Of Wisdom í Priority This parameter lets you control how the Virus“steals notes when its polyphonic performance is maxed out. In the first position, "LOW", the voices of all PARTs have the same priority when one voice is switched off to accommodate a new voice.
  • Page 201 ACCESS VIRUS RACK 199 MIDI...

  • Page 202: The Operating System (Os)

    Indigo Operating System into the rack. position, the sequencer you use is not We have a special OS for the VIRUS rack able to playback the file correctly. In this downloadable at our Website.

  • Page 203: Loading The Os From One Virus To Another

    Loading the OS from í Software Updates One Virus to Another Access is known for their policy of free 1 Connect the sending Virus’ (Virus 1) software updates. Simply download the MIDI Out port to the receiving Virus’ latest Virus operating system from our (Virus 2) MIDI In port.
  • Page 204 202 CHAPTER 19 Tips, Tricks& Words Of Wisdom...

  • Page 205: Appendix

    Appendix...

  • Page 206: System Exclusive Data

    204 CHAPTER 20 Appendix SYSTEM EXCLUSIVE DATA and receives both MIDI Control Change í System Exclusive Imple- and SysEx-Parameterchange on Page A. mentation s The default setting is Low- Page=Contr. The Parameters of the VIRUS are orga- nized in three so-called pages A, B and C. Each page contains 128 parameters, The remaining Single parameters in Page addressed by numbers from 0 to 127.

  • Page 207: Control Change Message (Only Page A)

    ACCESS VIRUS RACK 205 System Exclusive Data s The default setting is í Control Change mes- HiPage=SysEx.Page C contains Multi parameters and Global parameters. sage (only Page A) These parameters are sent and received only by SysEx Parameter Change. Status byte, c=MIDI channel Parameter Number 0..127...

  • Page 208: Polyphonic Pressure Message (Only Page B)

    Multi parameter is Start of System Exclusive accessed, which is not part-sensitive (e.g. Manufacturer ID 1 Input Boost or Multi Delay Time), the Access Music Electronics part number is ignored. Manufacturer ID 2 Access Music Electronics Manufacturer ID 3...

  • Page 209: Single Dump

    ACCESS VIRUS RACK 207 System Exclusive Data í í Single Dump Multi Dump [message]= [message]= Single Dump Multi Dump Bank Number Bank Number Single Edit buffer Multi Edit buffer; 01..04: Single Bank A..D multi bank Program Number Program Number 0..127 [256 single bytes] 0..127 [256 multi bytes]...

  • Page 210: Single Request

    208 CHAPTER 20 Appendix í í Single Request Multi Request [message]= [message]= Single Request Multi Request Bank Number Bank Number 00: Single Edit buffer 00:Multi Edit buffer; 01..04: Single Bank A..D 01:Multi Bank Program Number Program Number 0..127 0..127 {F0,00,20,33,01,dd,30,bb,ss,F7} {F0,00,20,33,01,dd,31,bb,mm,F7} .

  • Page 211: Multi Bank Request

    ACCESS VIRUS RACK 209 System Exclusive Data í í Multi Bank Request Total Request [message]= [message]= Multi Bank Request Total Request Bank Number 01:Multi Bank {F0,00,20,33,01,dd,36,F7} {F0,00,20,33,01,dd,33,bb,F7} í Controller Dump Request [message]= í Arrangement Request Controller Dump Request 00 Bank Number...

  • Page 212: Midi Implementation Chart

    210 CHAPTER 20 Appendix MIDI IMPLEMENTATION CHART Date: 6.9.2000 Model: Access VIRUS RACK SynthesizerVersion: 1.0 Function Transmitted Recocgnized Remarks Basic Default Channel Changed 1-16 1-16 Default Mode Messages Altered ************ Note 0-127 Number True Voice ************ 0-127 Velocity Note ON...
  • Page 213 ACCESS VIRUS RACK 211 MIDI Implementation Chart System Exclusive System :Song Pos :Song Sel Common :Tune System :Clock Start, Stop Realtime :Commands Continue Aux- :Local ON/OFF Mes- :All NotesOff Sages : ActiveSense : Reset * Note: See MIDI Controller Assignments for more Information.

  • Page 214: Fcc Information (U.s.a)

    FCC requirements. Modifications not expressly approved by Relocate either this product or the ACCESS MUSIC ELECTRONICS may void device that is being affected by the inter- your authority, granted by the FCC, to ference.
  • Page 215 ACCESS VIRUS RACK 213 FCC Information (U.S.A)

  • Page 216: Fcc Information (Canada)

    214 CHAPTER 20 Appendix FCC INFORMATION (CANADA) The digital section of this apparatus does not exceed the „Class B“ limits for radio noise emmissions from digital apparatus set out in the radio interference regula- tion of the Canadian Department of Communications.
  • Page 217 ACCESS VIRUS RACK 215 FCC Information (CANADA)

  • Page 218: Other Standards (Rest Of World)

    216 CHAPTER 20 Appendix OTHER STANDARDS (REST OF WORLD) This product complies with the radio fre- quency interference requirements of the Council Directive 89/336/EC. Cet appareil est conforme aux prescrip- tions de la directive communautaire 89/ 336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedrorendareadiostoj.
  • Page 219 ACCESS VIRUS RACK 217 Other Standards (Rest of World)

  • Page 220: Declaration Of Conformity

    EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , Für das folgend bezeichnete Erzeugnis/ EN 60065 : 1993 For the following named product Access VIRUS Synthesizer Model rack Wird hiermit bestätigt, daß es den Schut- zanforderungen entspricht, die in der...
  • Page 221 ACCESS VIRUS RACK 219 Declaration of Conformity Diese Erklärung wird verantwortlich für den Hersteller abgegeben: This declaration has been given responsi- bly to the manufacturer: Access Music Electronics Trimburgstraße 11 36039 Fulda Fulda, 16.12.2000 Guido Kirsch, Geschäftsführer Christoph Kemper, Geschäftsführer...

  • Page 222: Garantie Bestimmung

    220 CHAPTER 20 Appendix GARANTIE BESTIMMUNG TSI GmbH access Music Electronics leistet Garantie für alle nachweisbaren Material- und Fertigungsfehler für eine Dauer von 6 Neustraße 9-12 Monaten ab Verkauf oder Aushändi- D-53498 Waldorf gung an den Endverbraucher. Tel. 02636/976464 Von der Garantie ausgenommen sind Fax 02636/976499 alle Schäden, die durch falsche oder...
  • Page 223 ACCESS VIRUS RACK 221 Garantie Bestimmung...

  • Page 224: Warranty

    222 CHAPTER 20 Appendix WARRANTY TSI GmbH The access music electronics warranty covers all defects in material and work- manship for a period of six months from Neustraße 9-12 the date of original purchase. D-53498 Waldorf Tel. 02636/976464 This warranty does not cover defects due...
  • Page 225 ACCESS VIRUS RACK 223 Warranty...
  • Page 226 224 CHAPTER 20 Appendix...
  • Page 227 ACCESS VIRUS RACK 225 Warranty...

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