1. DL manuals
  2. Access
  3. Synthesizer
  4. VIRUS C SERIES
  5. Owner's Manual

Access VIRUS C SERIES Owner's Manual

Other manuals for VIRUS C SERIES: Owner's Manual, User Manual

Summary of VIRUS C SERIES

  • Page 3: Http://www.Access-Music.De

    ©2000 access music gmbh, ger- many. Virus™ is a trademark of access music gmbh. All other trademarks contained herein are the property of their respective owners. All features and specifica- tions subject to change without notice. Written by christoph kemper, uwe g. Hönig, wiland samolak and marc sc...

  • Page 4: Content

    Content introduction - 15 the virus ..................................................16 the amplifier envelope ....................... 20 the first filter .........................................23 filter modulation ...................................25 the saturation stage ..........................

  • Page 5: Audio Inputs

    Audio inputs - 83 audio inputs........................................... 84 osc volume / input.............................. 85 input level indicator ............................86 internal audio routing - 87 aux buses................................................ 88 the audio outputs ..............

  • Page 6: Global-, Midi- and System

    Analog boost .........................................158 phaser .....................................................159 chorus..................................................... 161 delay/reverb.........................................162 global-, midi- and system parameters - 173 global paramet...

  • Page 7: Appendix

    Lfos ........................................................240 volume control ................................... 242 assign and the definable knobs. 243 arpeggiator ...................................... 244 midi ........................................................ 245 priority .................

  • Page 8

    6.

  • Page 9: Important Safety Remarks

    Access virus os4 7 important safety remarks please read and heed the follow- ing safety guidelines! A few fundamental rules on han- dling electrical devices follow. Please read all notes carefully before you power the device up. Set-up operate and store the device in enclosed rooms only. Never expos...

  • Page 10: Operation

    8 chapter 2 safety remarks always pull the actual plug, never the cord, when you’re unplugging the device. Operation don’t set beverages or any other receptacle containing liquids on the device. Make sure the device is placed on a solid base. Set it on a stable tabletop or mount it to a rack. Make s...

  • Page 11: Fitness For Purpose

    Access virus os4 9 do not use alcohol, solvents or similar chemicals. These can dam- age the surface of the housing. Fitness for purpose this device is designed exclusively to generate low-frequency audio signals for sound engineering- related purposes. Any other use is not permitted and automatical...

  • Page 12

    10 chapter 2 safety remarks.

  • Page 13: Prologue

    Access virus os4 11 prologue dear virus owner, congratulations on your choice, the new virus. You have purchased a cutting-edge synthesizer that comes fully loaded with several revolutionary features. Here are just a few of the highlights: the virus delivers the sound char- acteristics and tone of t...

  • Page 14

    12 chapter 3 prologue with the benefit of two external audio inputs, the virus may also serve as an fx device and signal processor that you can use cre- atively to come up with all kinds of effects. External signals can be processed with filter, gate and lo-fi effects, routed to the virus effects se...

  • Page 15

    Access virus os4 13 via the modulation matrix. For your modulation sources, you have lfos, velocity, the pitch bender, aftertouch, the modulation wheel, numerous midi controllers and other sources to chose from. For your modulation destinations, you can select any sound parameter of the virus that i...

  • Page 16

    14 chapter 3 prologue although far from complete, the features listed above give you some indication that you now own an exceptionally versatile, high- quality musical instrument that will give you plenty of joy for years to come. We certainly hope you can fully exploit the enormous potential of thi...

  • Page 17

    Introduction.

  • Page 18: The Virus

    16 chapter 4 introduction the virus this section provides deliberate, step-by-step guidelines on operat- ing and handling the virus for those of you who are new to the world of synthesizers and midi. The following covers basics such as how to connect the virus to an ac power supply, your midi system...

  • Page 19: Cable Connections

    Access virus os4 17 the virus cable connections before you connect the virus to an ac outlet and the rest of your equipment, ensure that all of the devices are switched off. If your virus does not have a build-in key- board, then connect the midi out of the desired midi send device (keyboard, comput...

  • Page 20: Grams

    18 chapter 4 introduction cate the the midi channel, the cur- rent program bank (a to d) as well as the number and name of the current sound program. Now if you play notes you should be able to hear this sound and a ≤ note (the round dot at the end of the note staff is solid black) should appear in ...

  • Page 21: Your First Sound Program

    Access virus os4 19 the virus (layered) on the keyboard. In other multi programs, the sounds are divided up over several midi chan- nels to make it easier to work with a sequencer. If you activate a multi program and hear a single sound only, then you can control this multi program via several chann...

  • Page 22: The Amplifier Enve-

    20 chapter 4 introduction the amplifier enve- lope long-term exposure to this sound will definitely grate on your nerves, so let’s get started with changing it into a signal you might enjoy hearing, beginning with the vol- ume characteristics. Locate the section labeled amplifier at the bottom right...

  • Page 23: Negated Completely By Other

    Access virus os4 21 the amplifier envelope the numeric equivalent to the value determined by the current position of the pot. Always keep in mind that for a programmable synthesizer the position of the control feature or pot does not necessarily indicate the actual value of the given func- tion. The...

  • Page 24

    22 chapter 4 introduction lower the level, the shorter the release phase. If you dialed in a brief decay or sustain - time phase and it ended while you held the key down then of course there will not be an audible release phase. The next phase of the amplifier envelope is determined by the sus- tain...

  • Page 25: The First Filter

    Access virus os4 23 the first filter the first filter now we will take a look at a com- ponent of a synthesizer that is generally regarded as the most important functional unit as it enables drastic sound shaping measures: the filter - or in the case of the virus, the two filters. But first we will ...

  • Page 26: H P

    24 chapter 4 introduction h h h h p p p p the high pass filter which works in the opposite manner of the low pass filter: it suppresses the lower frequencies in a signal and lets the higher frequencies pass. B b b b p p p p the band pass filter which suppresses both ends of the tonal spectrum and al...

  • Page 27: Filter Modulation

    Access virus os4 25 filter modulation filter modulation of course we don’t want to require you to execute every sound modifi- cation manually by twiddling pots. All kinds of sound modifications in the virus can be executed auto- matically much in the way of your previous experiments with the vol- um...

  • Page 28

    26 chapter 4 introduction open, the filter frequency cannot be increased regardless of how high you set the env amount. Go ahead and spend some experi- menting with different env amount , cutoff and reso- nance settings for the diverse fil- ter operating modes. Also try varying the settings for the ...

  • Page 29: The Saturation

    Access virus os4 27 the saturation stage maximum of -64 through 0 an on to the positive maximum of +63. Consequently, if this pot is set to the center position (12 o’clock or 0) the pitch of the notes correspond- ing to the keys on your keyboard has no effect on the cutoff fre- quency. If on the oth...

  • Page 30: The Second Filter

    28 chapter 4 introduction ter position (12 o’clock) determines the volume of the filter section’s input signal. The portion of the control range located to the right of the center position (12 o’clock) does not achieve any increase in volume; it simply intensifies the degree of saturation or distort...

  • Page 31

    Access virus os4 29 the second filter the technical design of this second filter is identical to the first, so we won’t discuss it in as much detail as we did the first filter. However, there are few differences in how you handle the second filter: only two control features of the virus are allocate...

  • Page 32

    30 chapter 4 introduction the reason for this effect is that when you turn the filter balance pot to the far left, only filter-1 is audible. When you rotate the pot to the right, filter-2 is blended in so that it follows filter-1 in the signal chain. When you turn the filter balance pot clockwise, f...

  • Page 33: Regardless of Which Filter

    Access virus os4 31 the second filter yet another experiment in which you can come up new filtering characteristics that are typical of the virus: set the filter balance pot to the center position (12 o’clock) and cutoff 2 to the maximum level. The filter routing operating mode must remain ser 6. Se...

  • Page 34: Filter Routing

    32 chapter 4 introduction filter routing the final parameter we’ll discuss for the time being is filter rout- ing. This feature offers several fil- ter routing options which allow you to operate the filters in series, i.E. Patch one after the other in the signal chain, or in parallel, which means si...

  • Page 35

    Access virus os4 33 filter routing here 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 attention exclusively to sound- shaping functions and have always started with the same basic mate- rial: a so-called sawtooth wave. This waveshape is especially well- suited as a neutral starting point as it contains a...

  • Page 37

    Access virus os4 35 the first oscillator pots labeled shape and wave sel/ pw. These enable you determine the waveshape and consequently the tonal spectrum of oscillator 1. In the sound program, shape is preset to the center position (12 o’clock), which is equivalent to a value of 64. On the pot, thi...

  • Page 38

    36 chapter 4 introduction you can continue modifying the sound by reducing the symmetri- cal width of the pulse wave. In the virus, you can execute this sound- shaping measure via the wave sel/pw (pw = pulse width) pot, provided the shape pot is set to a position in the right half of its control ran...

  • Page 39: The Second Oscilla-

    Access virus os4 37 the second oscillator the second oscilla- tor as we mentioned previously, in addition to the other sound sources, the virus is equipped with a second oscillator. Judging from the amount of control features on this oscillator’s section of the con- trol panel, you have probably alr...

  • Page 40

    38 chapter 4 introduction locate the pot labeled detune and slowly rotate it to the right from the far left position (which is preset in the sound program). You can hear the tone start to waver and as you turn the pot further to the right, how this vibrato effect increases until oscillator 2 sounds ...

  • Page 41: The Mixer Section

    Access virus os4 39 the mixer section featuring a frequency within the range of human hearing. This sig- nal is not actually audible as a vibrato effect. Instead, you’ll hear a sound modulation, in some cases, a very drastic one at that. Choose the pure sine waveshape for oscil- lator 2. In conjunct...

  • Page 42

    40 chapter 4 introduction of selecting a triangle or pulse waveshape (sub oscillator wave square/triangle). Another voice-internal signal source of the virus has no visible control features on the control panel: the noise generator. The dedicated sound parameters are its volume and coloration (noise...

  • Page 43: The Lfos

    Access virus os4 41 the lfos now we can go on and solve the mysteries of the signal flow as determined by the filter routing operating mode split: here oscil- lator 1 and the suboscillator are routed to filter-1, whereas oscilla- tor 2 and the noise generator are routed to filter-2. Although the sou...

  • Page 44: Lfo 1

    42 chapter 4 introduction control). Another option you might like to have at your disposal is ran- dom parameter control. In the virus, both of these tasks are executed by a so-called lfo (low frequency oscillator) that oscillates at frequencies below the audible range. An lfo is similar to the osci...

  • Page 45: The Modulation Targets:

    Access virus os4 43 the lfos modulation targets via the parameter button after you have pressed the amount button once.) once you have dialed in a value other than 0 for a modula- tion target, the corresponding led illuminates continually. This fea- ture tells you at a glance that a modulation is un...

  • Page 46

    44 chapter 4 introduction the sound, for instance if you mod- ulate the frequency of oscillator 2 although it is dialed out of the oscillator mix. When you run into this type of problem, check out the signal routing, if any configura- tions conflict with each other and memorize the situation, proble...

  • Page 47

    Access virus os4 45 the lfos lend it a certain vitality. The key to many great sounds are these types of minimal modulations. You may have gathered that the lfos of the virus are polyphonic: if several notes are played simulta- neously, these are controlled by dedicated lfos, each with a slightly va...

  • Page 48: Lfo 2

    46 chapter 4 introduction you can also use s&h and s&g in env mode to come up with some attractive results: s&h generates a single random value at the start of a note (in this case, the rate pot has no effect); s&g works in the same manner although in this case the rate value is crucial. It deter- m...

  • Page 49: Volume and Panorama Posi-

    Access virus os4 47 lfo 2 volume and panorama posi- tion you probably noticed that the many of the sound shaping options available in the virus occa- sionally influence the volume level. For instance, an unfiltered saw- tooth is naturally louder than a highly filtered sawtooth because whenever you b...

  • Page 50: Velocity

    48 chapter 4 introduction velocity velocity is one of the preferred modulation sources of keyboard players: a light key attack gener- ates a low velocity value for the given note, a heavy touch gener- ates a high velocity value. In the virus you have ten modulation tar- gets available for velocity. ...

  • Page 51: Unison Mode

    Access virus os4 49 unison mode unison mode when we talked about the oscilla- tors, we mentioned that by subtly detuning signals, you can beef up sounds and achieve string-like sounds. The virus is equipped with features that allow you to take this type of tonal manipulation a step further. On of th...

  • Page 52: The Chorus/flanger

    50 chapter 4 introduction the chorus/flanger effect another function that delivers great effects based on pitch fluctu- ation is the so-called chorus effect. Chorus actually consists of a brief delay (generally up to approx. 50 ms) which is varied periodically. By modulating the delay, the delayed s...

  • Page 53: The Delay Effect

    Access virus os4 51 the delay effect the delay effect a delay effect is traditionally used to generated an echo of the input signal. Locate the parameter group delay in the edit menu. 01111111111111111112 1 delay effectsend 0≤ 61111111111111111154 here you fill find parameters that are virtually ide...

  • Page 54: More To Come

    52 chapter 4 introduction more to come we have come to the end of these detailed instructions for novices. We hope we were able to help you become a bit more familiar with your new synthesizer and gain some confidence in how to handle it. As we mentioned earlier, this is just an introduction and doe...

  • Page 55

    Concept and operation.

  • Page 56: Operating Modes

    54 chapter 5 concept and operation operating modes in the virus you can select from two basic operating modes, sin- gle mode and multi mode. In single mode, the virus is able to generate a single sound pro- gram only. All 24 voices, all effects and most importantly, all control features (with the ex...

  • Page 57: The Multi-Single

    Access virus os4 55 the multi-single mode single program. If the led on the multi button lights up, the ctrl and edit menus will contain the appropriate ”administrative” parameters for the current multi program. For example, here you have the option of selecting the single program for each of the 16...

  • Page 58

    56 chapter 5 concept and operation features. The ctrl and edit menus let you access the usual single parameters. In this operating mode, you’ll find that the ctrl menu has been expanded to include some organizational parameters, for instance, the part’s volume level, panorama and output assignments....

  • Page 59: Edit Buffers

    Access virus os4 57 edit buffers in addition, you can activate another complete multi program in multi mode only. Edit buffers whenever you play or edit a sin- gle program, its current data is stored in an edit buffer. This is an individual memory slot for single programs that has nothing to do with...

  • Page 60

    58 chapter 5 concept and operation when you store a multi program, only the addresses of the single programs’ original slots are saved, but not, however, the sound data in the 16 single edit buffers. These must be stored separately in the single program banks. This type of edit buffer is used in mos...

  • Page 61

    Handling.

  • Page 62: Parameter Selec-

    60 chapter 6 handling parameter selec- tion and data entry in the virus, we distinguished between two types of parameters. On the one hand, it features parameters that are essential in generating or synthesizing sounds, on the other hand it has sound parameters and organizational parameters that are...

  • Page 63

    Access virus os4 61 parameter selection and data entry tem and so forth and are not stored with a single or a multi program. Located next to some of these parameters, you’ll see the abbrevi- ations ”ena” and ”dis”. The option ena means enable and dis means disable. Call up a menu by simply pressing ...

  • Page 64

    62 chapter 6 handling the menus, particularly the effects menu, contain parameter groups that are related by virtue of their function, for instance, all parameters that are used to con- trol the phaser. When you switch the phaser off (phaser dry/eff = off), all phaser parameters are of course irrele...

  • Page 65: Knob Modes

    Access virus os4 63 knob modes knob modes for all knobs with the exception of master volume, you can select from four operating modes in the ctrl menu. These are located under the menu item knob mode: off the knobs are inactive. Jump in jump mode, the parameter jumps directly and absolutely to the v...

  • Page 66: Display Of Values

    64 chapter 6 handling the full control range of the knob at your disposal. To counteract this situation, you have to turn the knob in the opposite direction to adjust the physical knob position so that it is equivalent to the actual parameter value. In rela- tive mode, the triangle to the right of t...

  • Page 67

    Access virus os4 65 display of values on the contents of the display are overwritten when you turn a knob; the original menu does not reappear in the display. 01111111111111111112 1 system knobdispl short≤ 61111111111111111154.

  • Page 68

    66 chapter 6 handling.

  • Page 69

    All about the memory.

  • Page 70: Store

    68 chapter 7 all about the memory store the mode structure of single, multi and multi single mode is mirrored in the store functions: in single mode, store saves the current single program; in multi mode, store saves the cur- rent multi program; and in multi single mode, the single program of the cu...

  • Page 71: Compare

    Access virus os4 69 compare if you want to store the single programs in the parts to their original slots in the single banks all at the same time, simply press store and 1 c126 - init 01111111111111111112 1 c126 - init [store] to... 61111111111111111154 compare when you press store and then edit or...

  • Page 72

    70 chapter 7 all about the memory.

  • Page 73

    Master clock and midi-clock.

  • Page 74: Master Clock and

    72 chapter 8 master clock and midi-clock master clock and midi-clock the virus is equipped with a global clock generator that lets you sync the lfos, arpeggiators and delay up to a common song tempo and rhythm. The clock generator works either internally with a freely vari- able speed or it can, in ...

  • Page 75: A Small

    Access virus os4 73 master clock and midi-clock this feature lets you control the lfos and arpeggiators of several multi parts in a common rhyth- mic context. A small ¶ will appear in the dis- play when the virus is receiving midi clock data. If you’re sure you do not want the device to be syn- chro...

  • Page 76

    74 chapter 8 master clock and midi-clock.

  • Page 77

    The modulation matrix and definable knob.

  • Page 78: Creating Modula-

    76 chapter 9 the modulation matrix and definable knob creating modula- tion configura- tions via assign as a rule, it is of course desirable to be able to create modulation rout- ing configurations on a synthe- sizer. In other words, you want to enjoy the freedom to combine dif- ferent modulation so...

  • Page 79: Page 251).

    Access virus os4 77 creating modulation configurations via assign a single parameter by using up to three modulation sources simulta- neously. For this purpose, the con- trol signals of the modulation sources are added up or over- lapped. Conversely, you can also modulate up to six parameters with j...

  • Page 80: The Definable Knobs

    78 chapter 9 the modulation matrix and definable knob the definable knobs the virus is equipped with two knobs that, rather than being dedi- cated to predefined tasks, may be assigned to different parameters by you, the user. This option is quite handy, for it lets you control directly the many menu...

  • Page 81

    Access virus os4 79 the definable knobs the setting for the actual defin- able mode is global. Under normal circumstances, you should set definable mode to ”single” because this is the most versatile mode. When you select a single sound whose definable mode is set to ”single”, this setting is of cou...

  • Page 82

    80 chapter 9 the modulation matrix and definable knob.

  • Page 83

    The effects section.

  • Page 84: The Effect Section

    82 chapter 10 the effects section the effect section for every single program and every part, you can access up to five different stereo effects individ- ually. You’ll find these effects – ring modulator, distortion, analog boost, phaser and chorus – in the aptly named effects menu. In multi mode, y...

  • Page 85

    Audio inputs.

  • Page 86: Audio Inputs

    84 chapter 11 audio inputs audio inputs you can also opt to use external audio signals in place of the on- board oscillators for the sound pro- grams or multi parts. The virus is equipped with two inputs for external signals. You can route these to its sound generating com- ponents (the filters, the...

  • Page 87: Osc Volume / Input

    Access virus os4 85 osc volume / input static in input static mode, the external audio signals are audible via the output without having to trigger a note. Bear in mind that the oscillators as well as all functions that have to do with trigger and pitch are disabled (envelopes, lfo env mode, keyfol-...

  • Page 88: Input Level Indica-

    86 chapter 11 audio inputs correlated because they are receiv- ing an identical input signal. In the event that the virus generates dis- tortion when you’re dealing with this type of signal routing set-up, be sure to back off the input level a tad via the osc vol knob. Input level indica- tor altern...

  • Page 89

    Internal audio routing.

  • Page 90: Aux Buses

    88 chapter 12 internal audio routing aux buses the virus is equipped with several analog outputs and inputs. We fig- ured that you might want to con- nect an input with an output via a patch cord so that you can process a part routed to this output via another part that is addressed by this input, f...

  • Page 91: The Audio Outputs

    Access virus os4 89 the audio outputs the audio outputs in multi mode, you can choose a mono or stereo audio output in the output select menu indepen- dently for every part. The signal can also be routed to the aux buses that were discussed earlier. In addition, you may also define a second mono or ...

  • Page 92

    90 chapter 12 internal audio routing in multi mode, the delay/reverb section feature its own output select that is independent of the parts..

  • Page 93

    Additional functions.

  • Page 94: Panic Function

    92 chapter 13 additional functions panic function the virus features a panic function to remedy stuck notes caused by midi transmission parity errors and the like. When you press the two transpose buttons simulta- neously, then all voices of the virus that are still sounding will be released. A doub...

  • Page 95

    The parameters.

  • Page 96: Sound Parameters

    94 chapter 14 the parameters the following section lists all parameters in the virus, each with a brief definition or explanation. For the purpose of clarity, we ordered the parameters with a dedicated control element accord- ing to the module you will find it in. Sound parameters with a dedicated c...

  • Page 97: Lfo 1 – Panel

    Access virus os4 95 lfo 1 – panel transpose transposes the entire single program by octaves. If your virus is equipped with a built-in keyboard, the selected single pro- gram is not transposed. Instead, the keyboard is transposed glo- bally. (see “the virus kb and the virus indigo” on page 190). Lfo...

  • Page 98: Amount This Button Does Not

    96 chapter 14 the parameters env mode activates an operating mode in which the lfo oscillates like an envelope: the lfo cycles once only following the start of the note; the response of the lfo shifts from bipolar to unipolar. If the lfo waveshape s&h (sample & hold) is active, then the lfo is assig...

  • Page 99: Lfo 1 – Edit Menu

    Access virus os4 97 lfo 1 – edit menu lfo 1 – edit menu lfo contour by lfo contour you can now bend or ”morph” (almost) all the lfo waveforms. A brief survey of the lfo contour options for the differ- ent lfo modes follows: 01111111111111111112 1 lfo 1 contour +0≤ 61111111111111111154 sine contour m...

  • Page 100: Mode

    98 chapter 14 the parameters master clock, you can also select the desired note value via the lfo rate knob. 01111111111111111112 1 lfo1 clock 1/24≤ 61111111111111111154 mode poly in polyphonic mode, each of the voices involved is assigned a dedicated lfo. The lfos oscillate in different phase posit...

  • Page 101: Filter Gain

    Access virus os4 99 lfo 1 – edit menu follow is deactivated. At a value of 127, the rate doubles with each octave. 01111111111111111112 1 lfo1 keyfollow off≤ 61111111111111111154 filter gain an additional modulation destina- tion of lfo 1. Here the input level of the filter section is modulated (and...

  • Page 102: Lfo 2 - Panel

    100 chapter 14 the parameters lfo 2 - panel rate same as lfo 1 shape same as lfo 1 env mode same as lfo 1 amount this button does not actu- ally control a parameter, it opens a local menu. This menu contains independent modulation intensi- ties for controlling the following parameters via lfo 2: 011...

  • Page 103: Lfo 2 Edit-Menu

    Access virus os4 101 lfo 2 edit-menu intensities of both oscillators. In this position, the filter-1 and fil- ter-2 leds flash. Lfo 2 edit-menu the parameters contour, clock, mode, trig phase and keyfol- low correspond with lfo-1 (see above). Amount fm amount. An addi- tional modulation destination ...

  • Page 104: Lfo 3

    102 chapter 14 the parameters lfo 3 rate determines the speed of the lfo. 01111111111111111112 1 lfo3 rate +92≤ 61111111111111111154 destination determines the modulation desti- nation of the lfo. You can select from: osc 1 the pitch of oscillator 1 osc 1+2 the pitch of both oscillators osc 2 the pi...

  • Page 105

    Access virus os4 103 lfo 3 fade in this parameter lets you automatically initiate a delayed fade-in the lfo3 modulation that you set up via osc amount (see the section above). Fade in con- trols the overall delay and fade-in time. 01111111111111111112 1 lfo3 fadein 0≤ 61111111111111111154 shape dete...

  • Page 106: Oscillator 1- Front

    104 chapter 14 the parameters oscillator 1- front panel shape this control feature lets you determine the waveshape for the wave section (one of 64 variable spectral waveshapes). The wave- shape is infinitely variable from sawtooth through to pulse waves. Wave or pulse width selection is executed vi...

  • Page 107: Oscillator 2 – Front

    Access virus os4 105 oscillator 2 – front panel oscillator 2 – front panel shape same as oscillator 1; see paragraph above. Wave sel/pw same as oscilla- tor 1; see paragraph above. Semitone determines the inter- val between the second oscillator and the first oscillator: control range +/-48 semitone...

  • Page 108: Oscillator  – Edit-

    106 chapter 14 the parameters fm amount controls the fre- quency modulation intensity of the second oscillator by the first. Depending on the selected fm amount and the interval between the oscillators, the fre- quency modulation generates everything from slightly to radi- cally enriched spectra. In...

  • Page 109: Key Follow Determines The

    Access virus os4 107 menu parameters for oscillator-2 key follow determines the intensity of the pitch control via the keyboard: at the value +32 (standard setting) the oscillator is controlled normally, i.E. The octave you are playing is identical to the oscillator octave; at +63 every ascending oc...

  • Page 110

    108 chapter 14 the parameters tri linear fm with a bipolar tri- angle generated by osc1. Wave the selected osc1 wave is the fm source. This lets you in some cases create typical dx7-fm sounds (here oscillator 1 shape should be set to wave). Noise the noise generator is the fm source (see also noise ...

  • Page 111: Menu-Parameter

    Access virus os4 109 menu-parameter for oscillator-3 menu-parameter for oscillator-3 mode the virus offers a third mas- ter oscillator per voice that you can activate whenever you need it. It lets you come up with even more complex sounds by adding more oscillations and spectra to the sig- nal. When...

  • Page 112

    110 chapter 14 the parameters volume the individual volume level of oscillator 3. Additionally the level is controlled by osc vol. (not available if oscillator 3 mode = “off” or “slave”.) 01111111111111111112 1 oscillator 3 volume 64≤ 61111111111111111154 semitone transposes oscillator 1 in semitone...

  • Page 113: Menu-Parameters

    Access virus os4 111 menu-parameters of the suboscillator oscillators phase init this fea- ture lets you select the oscillator phase position at the start of a note. At a value of 0, all oscillators oscillate freely much like in a tradi- tional analog synthesizer. At values of 1 and higher, oscillat...

  • Page 114: Mixer-Parameters

    112 chapter 14 the parameters mixer-parameters within then oscilla- tor-edit-menu ringmodulator volume the ring modulator multiplies the out- put of both oscillator 1 and 2 to cre- ate interesting sounds with rich enharmonic overtones. These over- tones are highly dependent on the frequency coherenc...

  • Page 115: Mixer

    Access virus os4 113 mixer mixer osc baldetermines the balance between the oscillators 1 and 2 vol- ume level. Sub oscdetermines the volume level of the suboscillator. Osc volthis knob has two func- tions: in the left half of its control range up to the center position (midi value 64), osc vol deter...

  • Page 116: Filters – Panel

    114 chapter 14 the parameters filters – panel cutoff determines the cutoff fre- quency of filter-1 and 2 (with exceptions; see cutoff 2). Resonance controls the reso- nance (also called filter feedback or q factor). Depending on the filt select setting, resonance affects the first filter, the second...

  • Page 117

    Access virus os4 115 filters – panel technically, in the serial filter routing operating modes ser 4 and ser 6, the left half and the right half of the control range address different parameters: when the knob is set to the far left position, you will hear filter-1/sat- uration exclusively, whereas ...

  • Page 118: Filter

    116 chapter 14 the parameters hp the high pass filter works in the opposite manner of the low pass filter: it suppresses the lower frequencies in a signal and lets the higher frequencies pass. Bp the band pass filter sup- presses both ends of the tonal spectrum and allows only a nar- rowly defined b...

  • Page 119

    Access virus os4 117 filters – panel filt 1 select & filt 2 select this control feature is used to allocate the three knobs resonance, env amount and key follow to the first filter, second filter or both fil- ters. The currently active assign- ments are indicated by the integrated leds. To control b...

  • Page 120: Filter-Edit-Menu

    118 chapter 14 the parameters time sets the bipolar time param- eter for the filter envelope. It determines the envelope’s response once it reaches the sus- tain phase (see appropriate sec- tion): if the knob is set to the center position (12 o’clock) indi- cated by the mathematical infinity symbol,...

  • Page 121: Light, Soft, Middle, Hard

    Access virus os4 119 filter-edit-menu lator signal conventionally with the first filter, distort the signal, and process the distorted signal via the second filter as you see fit. The effects section of the virus fea- tures a further distortion module called distortion. Its design is largely identic...

  • Page 122

    120 chapter 14 the parameters high+flw the high-pass filter with keyfollow; the cutoff fre- quency follows the played pitch. To reiterate the point, the amount of distortion, intensity of the dsp effects, and the cutoff frequencies of the 1- pole filter are controlled via the osc vol knob. 011111111...

  • Page 123

    Access virus os4 121 filter-edit-menu off now,the cutoff and cut- off 2 knobs are no longer linked and cutoff 2 operates absolutely in a control range of 0 to 127. In this case the cutoff and cutoff 2 knobs are two independent control features that determine the respective cutoff frequencies for fil...

  • Page 124: Amplifier

    122 chapter 14 the parameters amplifier attack determines the amount of time it takes for the amplifier envelope to rise to its maximum level. The higher the attack value, the longer it takes for the envelope to rise to maximum volume after the start of a note. Decay determines the amount of time it...

  • Page 125: Main Edit Menu

    Access virus os4 123 main edit menu (common) main edit menu (common) patch volume storable master volume for the single program. Its nominal value is set to 100 so that you have a reserve of 27 volume increments when you are dealing with exceptionally low-level sound settings. In addition to using p...

  • Page 126

    124 chapter 14 the parameters also serves as a back/front knob when you want to create a quadra- phonic signal. 01111111111111111112 1 second output select off≤ 61111111111111111154 balance with this parameter, you can mix the output signals of the parts individually to the second output that you ch...

  • Page 127: Key Mode

    Access virus os4 125 main edit menu (common) key mode determines how a sound responds to the notes being played. You can chose from: poly the sound is played poly- phonically. Mono 1 (multi-trigger): the sound is played monophonically. When you play in a smooth, even style (legato) the envelopes are...

  • Page 128: Portamento Determines The

    126 chapter 14 the parameters portamento determines the amount of time it takes for the pitch to glide from the current note to the next note played. Por- tamento is a significant feature of key mode (see paragraph above); the two are closely related. 01111111111111111112 1 common portamento 0≤ 6111...

  • Page 129: Auto    Adaptive Control

    Access virus os4 127 main edit menu (common) pitch is bent ever more radically. In this mode you can achieve slight fluctuations in pitch, for instance a manual vibrato, provided you can maintain a soft touch, yet still have the option of generating greater intervals because of the exponen- tial inc...

  • Page 130

    128 chapter 14 the parameters voices are played for every note. In the off position, one voice per note is played. 01111111111111111112 1 unison mode twin≤ 61111111111111111154 detune slightly detunes the voices involved in unison mode. 01111111111111111112 1 unison detune 48≤ 61111111111111111154 p...

  • Page 131: Assign

    Access virus os4 129 assign punch intensity here you can influence the attack of the ampli- fier envelope to enhance the sound with a more percussive, snappy kind of feel. You may have guessed that punch intensity determines the intensity of this effect. Punch is only effective when you have dialed ...

  • Page 132: Keyflw    The Note Number

    130 chapter 14 the parameters indigo are also considered to be external midi controllers since they are not actually component parts of the sound generation sys- tem). The second type comprises the sound generation system’s internal modulators, for example, lfos and envelopes. These also have fixed ...

  • Page 133: Sources and Destinations In

    Access virus os4 131 assign in addition to the three assign options, the user interface features – as discussed earlier – a freely definable modulation destination for lfo 1 and 2 called assign. You’ll find a list of available sources and destinations in “appendix” on page 251. Assign 1 source selec...

  • Page 134

    132 chapter 14 the parameters assign 2 amount 2 controls the intensity of the second modulation assignment for the second modu- lation destination. Assign 3 source selects the modulation source for the third modulation assignment. Assign 3 destination 1 selects the first modulation destination for t...

  • Page 135: Velocity

    Access virus os4 133 velocity velocity in addition to the following fixed destinations, any parameter can be controlled via velocity by way of the modulation matrix (assign). Velocity osc 1 shape deter- mines the intensity of the veloc- ity control for the first oscillator’s shape parameter (see app...

  • Page 136

    134 chapter 14 the parameters velocity filt 2 env amt deter- mines the intensity of the veloc- ity control for the modulation of filter-2’s cutoff frequency by the filter envelope. 01111111111111111112 1 velocity osc2shape -20≤ 61111111111111111154 velocity resonance 1 deter- mines the intensity of ...

  • Page 137

    Within the ctrl-menu.

  • Page 138: Common

    136 chapter 15 within the ctrl-menu common clock tempo the virus is equipped with a global clock gen- erator that lets you sync lfos, arpeggiators and delay effects up to a common song tempo and rhythm. The clock generator works either internally with a freely vari- able speed or it can in turn by s...

  • Page 139: Arpeggiator

    Access virus os4 137 arpeggiator to avoid confusion, please keep in mind that midi clock is not the same thing as midi time code. The latter doesn’t deal with tempo at all but with time-related informa- tion structured in hours, minutes, seconds, etc. Which is of no benefit to you in this context. A...

  • Page 140: Arpeggiator Hold When This

    138 chapter 15 within the ctrl-menu rather than arpeggios. 01111111111111111112 1 arpeggiator mode asplayed≤ 61111111111111111154 arpeggiator clock this parame- ter determines the basic tempo of the arpeggiator in reference to the clock generator. The standard set- ting is 1/8 and normally doesn’t n...

  • Page 141: Modulation Matrix.

    Access virus os4 139 arpeggiator arpeggiator note length this parameter changes the lengths of the rhythm patterns’ notes. The center position leaves the notes at their original length. Positive values lengthen the notes; nega- tive values shorten them relatively to their original lengths. 011111111...

  • Page 142: Definable 1 / Defina-

    140 chapter 15 within the ctrl-menu definable 1 / defina- ble 2 the virus is equipped with two knobs that, rather than being dedi- cated to predefined tasks, may be assigned to different parameters by you, the user. This option is quite handy, for it lets you control directly the many menu parame- t...

  • Page 143: Definable 2 Mode Same As

    Access virus os4 141 definable 1 / definable 2 definable 1 single this is where you enter the parameter assign- ment for the definable 1 knob. The entry is an element of the cur- rent single program and is stored along with it. The entry is only active when definable 1 mode is set to single. When de...

  • Page 144: Tured In The Ctrl Menu Are

    142 chapter 15 within the ctrl-menu definable 2 midi same as defin- able 1; see paragraph above. The following parameters fea- tured in the ctrl menu are described in greater detail below in the section global parameters / midi parameters / system parame- ters. These operate globally and are accessi...

  • Page 145

    Access virus os4 143 multi mode parameters part transpose transposes the part in semitone steps. 01111111111111111112 1 b36 101bass rp parttransp +0≤ 61111111111111111154 part detune fine-tunes the part. 01111111111111111112 1 b36 101bass rp partdetune +10≤ 61111111111111111154 part volume controls ...

  • Page 146: Out 1 L

    144 chapter 15 within the ctrl-menu 01111111111111111112 1 b36 101bass rp outsel out1 l+r≤ 61111111111111111154 if the selected output is monopho- nic, then the panorama settings and modulations in the sound pro- gram are inactive. Out 1 l the left jack of dual output 1 (mono) out 1 l+r both jacks o...

  • Page 147

    Access virus os4 145 multi mode parameters output select when you select an internal aux path as a signal output, you of course must route the signal of another part to this aux path via input select before you can establish a signal connec- tion between the two parts. Sev- eral parts can simultaneo...

  • Page 148

    146 chapter 15 within the ctrl-menu parameter. In this case, it wouldn’t have any effect since the priority of all voices is the same. 01111111111111111112 1 b36 101bass rp priority low≤ 61111111111111111154 keyrang in multi mode, you can limit the note range of individual parts. Use the lowkey and ...

  • Page 149: Of The Multi-Ctrl-Menu Have

    Access virus os4 147 multi mode parameters hold pedal enable switches a given part’s midi receive mode for the hold pedal (midi controller #64) on and off. 01111111111111111112 1 b36 101bass rp holdpedal ena≤ 61111111111111111154 prg chg enable switches a given part’s midi receive mode for midi prog...

  • Page 150

    148 chapter 15 within the ctrl-menu.

  • Page 151

    Parameter of the effects menu.

  • Page 152: The Internal Effects

    150 chapter 16 parameter of the effects menu the internal effects the effects menu contains the parameters of the effects section and audio inputs (input). The fol- lowing effects are available indi- vidually per part – i.E. You have 16 versions available, all in stereo: the vocoder and the delay/re...

  • Page 153: Input Mode

    Access virus os4 151 input the virus, so the noise level of the analog-digital converter increases automatically. Consequently you should dial in the cleanest, loudest possible signal at the external sound generator. The virus fea- tures a signal level indicator that allows you to monitor the signal...

  • Page 154: Input Select

    152 chapter 16 parameter of the effects menu the key you press. The sound pro- gram can still be played polyphoni- cally and you can allocate several different filter frequencies and independent envelopes simulta- neously (!) to the input signal via the keyboard. Static instead of the internal sound...

  • Page 155: Aux 1 L+R

    Access virus os4 153 input 01111111111111111112 1 input select in l+r≤ 61111111111111111154 if the selected signal source is a stereo source - i.E. In l+r, aux 1 l+r or aux 2 l+r - then the sound program is automatically switched internally to unison-mode = twin, regardless of the unison mode parame...

  • Page 156: Follower (Envelope-

    154 chapter 16 parameter of the effects menu follower (envelope- follower) the envelope follower generates a modulation signal from an audio signal. This modulation signal can be used to control sound parame- ters. When the envelope follower is activated, it takes the place of the filter envelope. T...

  • Page 157: Ringmodulator

    Access virus os4 155 ringmodulator envelope follower gain (knob: fil- ter sustain) it controls the input level of the envelope follower directly. The nominal value is the center position (64). 01111111111111111112 1 input follower mode off≤ 61111111111111111154 ringmodulator this allows you to ring-...

  • Page 158: Vocoder

    156 chapter 16 parameter of the effects menu you’ll find a further ring modulator in the oscillator section of the virus. It operates individually for each voice using the signals of oscillators 1 and 2. 01111111111111111112 1 input ringmod dir/eff off≤ 61111111111111111154 vocoder vocoder mode this...

  • Page 159: Distortion

    Access virus os4 157 distortion distortion curve here’s a rundown on the various distortion modes: off the signal is not processed. Light, soft, middle, hard different analog distortion curves with different characteristics and intensities. Digital digital distortion with hard clipping. Shaper sine ...

  • Page 160: Analog Boost

    158 chapter 16 parameter of the effects menu the effects section of the virus fea- tures a further distortion module called saturation. Its design is identical to that of the distor- tion module discussed here, except for one major difference: whereas saturation affects each voice separately, distor...

  • Page 161: Phaser

    Access virus os4 159 phaser phaser dir/eff controls the balance of volume levels between the direct signal and the phaser signal: at a value of 0, only the direct signal is audible, at a value of 127, only the phaser output signal is audible. The values between these two extremes determine the mix o...

  • Page 162

    160 chapter 16 parameter of the effects menu feedback controls the amount of feedback in the phaser. On the phaser, feedback lets you boost specific frequencies in the phase- shifted signal. The feedback parameter is bipolar; positive or negative feedback values let you dial in different phaser char...

  • Page 163: Chorus

    Access virus os4 161 chorus chorus dir/eff controls the balance of volume levels between the direct signal and the chorus signal: at a value of 0, only the direct signal is audible, at a value of 127, only the chorus output signal is audible. The values between these two extremes determine the mix o...

  • Page 164: Delay/reverb

    162 chapter 16 parameter of the effects menu feedback controls the amount of feedback in the chorus. On the chorus, feedback lets you boost specific frequencies in the delayed signal to create a flanger effect. The feedback parameter is bipolar; positive or negative feed- back values let you dial in...

  • Page 165: Effect Send

    Access virus os4 163 delay/reverb above to dial in the desired pre- delay for room simulations. The delay effect is located prior to the room simulation in the signal path. Delay time and feedback are infi- nitely variable and may be synced up to the global clock generator. This means that you can c...

  • Page 166: Mode

    164 chapter 16 parameter of the effects menu mode here’s where you select the algo- rithm for the delay/reverb sec- tion. Let’s take a tour of the different algorithms: off not surprisingly, this setting deactivates the delay/reverb sec- tion. Delay mono echo. Same delay time on the left and right s...

  • Page 167: Delay Time

    Access virus os4 165 delay/reverb ter clock. For this reason, you won’t find delay time or delay clock parameters here. Consequently, the absolute delay times are deter- mined by the tempo of the global clock generator (clock speed) or by the song tempo dictated by a connected sequencer that is send...

  • Page 168: Delay Clock

    166 chapter 16 parameter of the effects menu parameters are visible; in this case, the delay times are always synced up to the global clock generator. 01111111111111111112 1 delay time (ms) 349.5≤ 61111111111111111154 delay clock when you set it to off, the abso- lute delay time is determined in mil...

  • Page 169: Delay Rate

    Access virus os4 167 delay/reverb for a nice unnatural effect, to become thinner with increased harmonics (hipass). 01111111111111111112 1 delay color +10≤ 61111111111111111154 delay rate determines the speed of the delay lfo. 01111111111111111112 1 delay rate 5≤ 61111111111111111154 delay depth con...

  • Page 170: Reverb Type

    168 chapter 16 parameter of the effects menu you route the delay signal to the internal aux paths for further pro- cessing. 01111111111111111112 1 delay outsel out 1+2≤ 61111111111111111154 the following parameters will only appear in the display when you’re working with delay algorithms. Reverb typ...

  • Page 171: Reverb Damping

    Access virus os4 169 delay/reverb dial in the minimum value, the decay time is extremely short so you’ll hear just the early reflec- tions. At the peak value, no energy is lost so the decay time is infinite, which is of course physically impossible in the real world. 01111111111111111112 1 reverb de...

  • Page 172: Reverb Color

    170 chapter 16 parameter of the effects menu reverb color this parameters influences the room’s static frequency response. Natural reverb will always have some high-frequency attenuation since the sound bounces off at least one wall. Reverb color is identical to delay color; here you’re dealing with...

  • Page 173: Reverb Clock

    Access virus os4 171 delay/reverb the amount of pre-delay has a decisive impact on our perception of the size of a room. When you set a high pre-delay value - say some hundred millisec- onds - you’re actually creating an “unnaturally” large room. The room simulation will sound washed out or much lik...

  • Page 174: Reverb Feedback

    172 chapter 16 parameter of the effects menu reverb feedback available exclusively for the rev+feedb1 and rev+feedb2 algo- rithms, this parameter controls the amount of pre-delay feedback. Here the room signal is repeated at intervals that are determined by the pre-delay time. Note that the signal l...

  • Page 175

    Global-, midi- and system parameters.

  • Page 176: Global Parameters

    174 chapter 17 global-, midi- and system parameters global parameters the following parameters are glo- bal parameters and are accessible at any time in the ctrl menu regardless of the current operating mode. If you own a keyboard ver- sion of the virus, the parameters for the keyboard and other man...

  • Page 177: Arrangement    The Current

    Access virus os4 175 global parameters single bank a all 128 sound programs of bank a are sent. Single bank b all 128 sound programs of bank b are sent. Multi buffer this option dumps the data of the multi pro- gram that you are currently pro- cessing (the multi’s edit buffer). Please bear in mind t...

  • Page 178: Global Channel

    176 chapter 17 global-, midi- and system parameters force to bank a bank data is loaded to bank a exclusively. Force to bank b bank data is loaded to bank b exclusively force to edit loads the sin- gle programs of the bank to the edit buffer one by one, whereby the each preceding single sound is del...

  • Page 179: Arpeggsend

    Access virus os4 177 global parameters virus sound generation compo- nents and not to the midi out. Int+midi all types of control operations are sent directly to the virus sound generation compo- nents and simultaneously to midi out. Midi all types of control opera- tions are sent exclusively to mid...

  • Page 180: Midi Volume Enable

    178 chapter 17 global-, midi- and system parameters on, but to switch it off if you should feel that this is necessary (off). 01111111111111111112 1 midi clockrx auto≤ 61111111111111111154 midi volume enable globally switches the reception of volume data (controller #7) on (ena) or off (dis). 011111...

  • Page 181: Midi Control Low Page

    Access virus os4 179 global parameters i.E. To exchange system exclusive data - you must assign the same midi device id to both units. 01111111111111111112 1 midi deviceid omni≤ 61111111111111111154 midi control low page here you can determine if you want the first 128 parameters (page a) to be sent...

  • Page 182: System

    180 chapter 17 global-, midi- and system parameters system master tune determines the overall pitch of the virus. 0 = a 440 hz. You can detune the device a half-note up or down at the most. 01111111111111111112 1 system mastertune +0≤ 61111111111111111154 memory protect locks (on) or unlocks (off) t...

  • Page 183: Knob Display

    Access virus os4 181 system to the value as in jump mode. Relative (≤)when you adjust a knob in relative mode, the parameter is affected immediately but not absolutely. The value change from the original value to the new value reflects precisely the amount you adjusted via a given control. 011111111...

  • Page 184: Output1

    182 chapter 17 global-, midi- and system parameters by rapidly flashing leds. To achieve maximum sound qual- ity for the system, you should set the input signal to a level that is as close as possible to the saturation threshold. However you should avoid setting the level beyond the saturation thres...

  • Page 185

    Random patch generator.

  • Page 186: Random Patches

    184 chapter 18 random patch generator random patches the random patch generator can be used to generate a new sound automatically or a modify an existing sound at random. The par depth and amount parame- ters let you determine how radi- cally the sound is changed. Depending on the values that you se...

  • Page 187: Be Aware That Random Par

    Access virus os4 185 random patches higher values, the random patch generator tends to generate noise-like sounds or special effects. 01111111111111111112 1 random [store] paradepth 0≤ 61111111111111111154 amount this parameter deter- mines the intensity of the ran- dom patch generator’s effect on t...

  • Page 188

    186 chapter 18 random patch generator.

  • Page 189

    Categories.

  • Page 190: Sound Categories

    188 chapter 19 categories sound categories the virus gives you the option of classing the stored single sounds in categories. With the benefit of these categories, you’ll be able to find a desired sound much faster. You have the following categories at your disposal: off, lead, bass, pad, decay, plu...

  • Page 191

    The keyboard versions of the virus.

  • Page 192: The Virus Kb And The

    190 chapter 20 the keyboard versions of the virus the virus kb and the virus indigo although the virus kb or the virus indigo is merely a virus with a key- board, there are a few characteris- tics to be considered, which is what the following section deals with. Local off and “three in one” to be ab...

  • Page 193

    Access virus os4 191 local off and “three in one” other synthesizers: when activated the keyboard sends data to the midi-out, but not directly to the sound generator. This makes sense when you use a synthesizer along with a sequencer, and want to use the synthesizer as a masterkey- board in your set...

  • Page 194: Keyboard & Com-

    192 chapter 20 the keyboard versions of the virus were not at all intended - after all there is no standard allocation for control data to parameters. To make it short: it can be very practical and easier on the nerves, to be able to activate the local-off- mode for the keyboard, while the pots stil...

  • Page 195

    Access virus os4 193 keyboard & company tion for the modulation wheel is to blend in vibrato for a sound. As a standard it is usually assigned to midi-controller nr. 1 (“modula- tion”). Of course the modulation wheel can control other things instead of vibrato, e.G. The opening of a filter. As a mat...

  • Page 196: Aftertouch

    194 chapter 20 the keyboard versions of the virus pedals can be used to control dif- ferent parameters via the modula- tion matrix (assign). Switch and control pedals are available in your local music store. The only suitable control pedals are the typical synthesizer control pedals with a single th...

  • Page 197: The Keyboard-

    Access virus os4 195 the keyboard-modes user panel as well. By parameter keyb transpose button you can choose if the transpose buttons will switch the transpose of the single program (receiver posi- tion) or the keyboard (transmitter position). The keyboard- modes you will be especially interested i...

  • Page 198: The Keyboard Mode Function

    196 chapter 20 the keyboard versions of the virus data, and the various notes are dis- tributed to the correlating parts in the sound generator. With the help of the keyboard- mode-parameter, we can turn the entire thing around. It can relocate the multi’s note assignment back to the transmitter sid...

  • Page 199: The Passive Part

    Access virus os4 197 the keyboard-modes the part has (lowkey, highkey), and each individual part-transposi- tion (parttranspose). The current bank and program numbers and the parts’ volume settings are also transmitted via midi-out. The parameter formerly activated on the receiving side can now be u...

  • Page 200: Board Zone

    198 chapter 20 the keyboard versions of the virus the internal + external key- board zone partenable =off keybtomidi =on: the keyboard sends its signals to the sound generator and to midi- out. In a single keyboard zone you can combine a virus part and an external sound generator on the same midi ch...

  • Page 201: Keybtomidi (Per Part)

    Access virus os4 199 the keyboard-modes here an overview of the keyboard version’s special parameters: all these parameters exept keyb- tomidi are global parameters. These parameters are only visible in the keyboard version of the virus. Keybtomidi (per part) (off, on) keyboard local (off, on) keybo...

  • Page 202

    200 chapter 20 the keyboard versions of the virus.

  • Page 203

    The vocoder of the virus.

  • Page 204: Vocoder

    202 chapter 21 the vocoder of the virus vocoder although vocoder sounds have seen a comeback in the recent time, many musicians do not spe- cifically know how they work or even more importantly, how they sound! Various vocoder presets are stored in the last section of single bank b (grammalogue ”voc...

  • Page 205: The Modulator Bank

    Access virus os4 203 vocoder lowers of the modulator banks. This part of the vocoder is called the carrier bank or synthesis part. As soon as the modulator detects a signal in a certain frequency range, its envelope follower levels the cor- responding band in the synthesis part. In other words: just...

  • Page 206: The Carrier Bank

    204 chapter 21 the vocoder of the virus the carrier bank the signal is treated in a similar way to the signal which passes the modulator bank. In this case, the carrier signal is split by the band- pass filters. Each bandpass of the carrier bank corresponds to one of the modulator bank. Usually, bot...

  • Page 207

    Access virus os4 205 the parameters of the virus vocoder osc-hold this setting is iden- tical to ”osc” although the hold- mode (which also is available at common/keymode) is activated. Noise white noise is used as the carrier. The oscillator section is disabled. In (l / in l+r / in r / aux l ...) th...

  • Page 208

    206 chapter 21 the vocoder of the virus center frequency (knob: cutoff, default: 64 (middle)) the central frequency of the bandpass filters in the modulator- and carrier bank. Using a high q (filter quality parameter, which is controlled using keyfollow) you can adjust the central frequency of the s...

  • Page 209: Modulator Frequency Offset

    Access virus os4 207 the parameters of the virus vocoder this picture shows the filter section in vocoder mode. Modulator frequency offset (knob: cutoff 2, default: 0 (mid- dle)) a linear shift of the modula- tor bank’s central frequencies against the carrier bank, results in pitch-shifting and ”mic...

  • Page 210

    208 chapter 21 the vocoder of the virus ”gab,” it could lead to interesting changes, although in most cases this will result in a rather sublimi- nal change. Vocoder attack (knob: filter attack , default: 0 (left) the attack time of the envelope follower. This parameter controls how fast the carrier...

  • Page 211

    Access virus os4 209 the parameters of the virus vocoder rier signal to the vocoder signal. A turn to the right adds the modula- tor signal. Turning the filter balance hard left or right can be used to monitor the vocoder’s input signals only. Vocoder spectral balance (knob: filter sustain time, def...

  • Page 212: Notes About The

    210 chapter 21 the vocoder of the virus notes about the vocoder: the vocoder can also be controlled by any part of the multimode. If more than one part of the multi- mode contains an activated vocoder, only the vocoder of the part with the lowest part number is active. The vocoder takes a lot of com...

  • Page 213

    Access virus os4 211 notes about the vocoder: the vocoder is only active when an external signal is detected and switches itself off 10 seconds after the last input signal has ended. This assures that the virus has all of its polyphony available while the vocoder is switched on but no input signal i...

  • Page 214

    212 chapter 21 the vocoder of the virus.

  • Page 215

    The virus and sequencers.

  • Page 216: Parameter Control

    214 chapter 22 the virus and sequencers parameter control via midi virtually all parameters of the virus are accessible via midi so that, for example, you can manipu- late knobs and buttons and record these movements to a sequencer. You may then route these com- mands back to the virus, which will r...

  • Page 217: As The Modulation Wheel.

    Access virus os4 215 organizational information nal sound generation system. When this setting is enabled, data generated by knobs and buttons is only acknowledged by the virus when it is routed back in a round- about way via the computer/ sequencer (the virus must be selected as a track instrument ...

  • Page 218: Handling Midi

    216 chapter 22 the virus and sequencers as an alternative to parameter control via controller and polypres- sure data, you have the conven- tional system exclusive control option available (see ”midi imple- mentation” in the appendix, “the virus and sequencers” on page 213). This system exclusive co...

  • Page 219: Notes On Adaptive

    Access virus os4 217 notes on adaptive parameter smoothing if you wanted to take this an extreme, you could record the movements of every knob and but- ton to a separate track. Although this sounds like a classic case of overkill, it can facilitate the process of editing the recorded sequences: bear...

  • Page 220

    218 chapter 22 the virus and sequencers defeat the purpose of effects gen- erated by a step sequencer’s con- troller messages as well as gater effects that you programmed in your sequencer. You can adjust adaptive parameter smoothing via a function called control smooth mode (in the edit menu; commo...

  • Page 221

    Access virus os4 219 notes on adaptive parameter smoothing side effect: when you’re playing polyphonically, parameter jumps also affect notes that were played previously and are still sounding when a new note is played..

  • Page 222: Be Aware That Conventional

    220 chapter 22 the virus and sequencers the control smooth mode param- eter setting is considered a compo- nent part of a single sound and is thus stored with it. Step sequencers let you assign a new cutoff value for every note. You can create the same effect on a con- ventional sequencer. To this e...

  • Page 223: Problems Related To

    Access virus os4 221 problems related to parameter control problems related to parameter control if you enjoy experimenting with recording parameter changes, sooner or later, you will run into the following problem: when con- troller sequences are recorded to a sequencer, the last recorded value rem...

  • Page 224: Dump: The Sound In

    222 chapter 22 the virus and sequencers beginning the song, and you’d pre- vent hiccups such as the wrong sounds, ”stuck” values and jumps from the get-go. In the next sec- tion, you’ll find out just how you can do this. Dump: the sound in the song archiving all of the sounds used in a song is not o...

  • Page 225

    Access virus os4 223 dump: the sound in the song sisting of notes. For example, you can move a bulk dump to any posi- tion in the arrangement. To assure that the virus plays the song back using the right sounds, we recom- mend that you position stored data prior to the song. Move all components of t...

  • Page 226

    224 chapter 22 the virus and sequencers very extensive and takes quite some time. Alternatively, you can also send just individual sounds, multis or so-called ”arrange- ments”. The other truly reliable option for archiving sounds is dumping an arrangement (midi dump rx: arrangement). In this case, t...

  • Page 227: Proceed With Extreme Caution

    Access virus os4 225 dump: the sound in the song the virus in single mode and have opted not to use program change messages in the song. Proceed with extreme caution when you’re working with sysex data! If you send anything other than individual single sounds or individual multis from the sequencer ...

  • Page 228

    226 chapter 22 the virus and sequencers.

  • Page 229

    Tips, tricks and other words of wisdom.

  • Page 230: Multi Single Mode

    228 chapter 23 tips, tricks and other words of wisdom multi single mode in multi mode, the edit and ctrl menus are responsible for admin- istering the 16 parts. Conse- quently, you can’t access single program parameters directly here. Beyond that, you’re unable to change the single programs directly...

  • Page 231: Value Buttons

    Access virus os4 229 value buttons value buttons when you press the two value buttons simultaneously, the parameter is reset to its original value. You can increase the rate at which parameter values change by pressing and holding one value button and simultaneously press- ing the other value button...

  • Page 232: Input Level Indicator

    230 chapter 23 tips, tricks and other words of wisdom dealing with this type of signal routing set-up, be sure to back off the input level a tad via the osc vol knob. Input level indicator alternatively, the rate leds of lfo 1 and 2 can also serve as level indi- cators for the left and right exter- ...

  • Page 233: About The Delay/

    Access virus os4 231 about the delay/reverb about the delay/ reverb delay/reverb effect send the effect send parameter works like a classic aux send knob on a mixer (post-fader), i.E. It adjusts the level of the global delay/ reverb effect signal without influ- encing the dry signal. However, the dr...

  • Page 234: The Virus As An

    232 chapter 23 tips, tricks and other words of wisdom the virus as an effect device you’re free to install the virus into your studio environment and use it as an effect device or signal proces- sor. For example, simply connect its external inputs to any available aux send bus or effect send on your...

  • Page 235: Envelope Follower

    Access virus os4 233 envelope follower envelope follower this function of the virus is a spe- cial delicacy. It really upgrades the process of filtering (or any other processing) of an external audio signal. What we have here is a so called envelope follower that can evaluate the volume envelope of ...

  • Page 236: Envelope Follower Release:

    234 chapter 23 tips, tricks and other words of wisdom envelope follower release: knob: filter decay it controls the decay time of the envelope fol- lower. With this parameter, you can determine how swiftly the envelope follower will respond to a decrease in signal level. Higher val- ues let the foll...

  • Page 237: Oscillator Sync/fm

    Access virus os4 235 oscillators quency sounds than it is with higher-frequency sounds. This is due to the fact that the lfo fre- quency does not follow the pitch. You can compensate for this effect by activating and adjusting the function lfo1 keyfollow. When you set lfo1 keyfollow to a value of 12...

  • Page 238: Oscillator 3

    236 chapter 23 tips, tricks and other words of wisdom synchronization. An infinite num- ber of new harmonic spectra can be thus generated with the param- eters fm amount and osc2 semi- tone. Moreover, these spectra can be modulated continuously via envelopes and lfos. Fm and sync will of course also...

  • Page 239: Filters

    Access virus os4 237 filters below. All other parameters as well as the settings for the oscillator modulations (lfo pulse width modulation and so forth) are dic- tated by oscillator 2. This doesn’t limit the functionality of the third oscillator by much (if at all), but it certainly facilitates int...

  • Page 240: Filter Balance

    238 chapter 23 tips, tricks and other words of wisdom filter balance the filter section of the virus puts slopes of 12, 24 and 36 db/oct. At your disposal. In addition, the filt balance knob lets you morph smoothly from slope to another, which effectively makes it infi- nitely variable. Set the filt...

  • Page 241: Saturation For

    Access virus os4 239 saturation for added grit and dirt saturation for added grit and dirt saturation and osc vol in serial filter modes, the satura- tion unit is located between the filters. This configuration gives you the option of first filtering the oscillator signal in the conven- tional manne...

  • Page 242: Lfos

    240 chapter 23 tips, tricks and other words of wisdom lfos lfo env mode in addition to their standard func- tion as low frequency oscillators, lfo 1 and 2 can also serve as addi- tional, albeit simple, envelopes. When you activate env mode, the selected lfo waveform will cycle through just once when...

  • Page 243: Lfo Trig Phase

    Access virus os4 241 lfos mode, one lfo controls several voices so that the modulation will affect several voices in the same way. This which will make the effect stand out in the mix. 01111111111111111112 1 lfo1 mode poly≤ 61111111111111111154 lfo trig phase when this function is activate, the give...

  • Page 244: Filt Gain

    242 chapter 23 tips, tricks and other words of wisdom filt gain lfo1 lets you modulate the volume of a voice. You’ll find this function under lfo1 amount filt gain in the lfo 1 menu. We deliberately positioned the point of modula- tion prior to the filter section, so that the degree of distortion ca...

  • Page 245: Assign And The

    Access virus os4 243 assign and the definable knobs performance controllers, these are not stored with the sound pro- gram. The unit value is 127. A dou- ble-click on the two transpose buttons (panic function) resets channel volume and expression to this unit value. Assign and the definable knobs th...

  • Page 246: Arpeggiator

    244 chapter 23 tips, tricks and other words of wisdom instead, you are free to select one of the possible controllers as an assign source (e.G. The modula- tion wheel or controller #12). All you have to do is enter this control- ler as the parameter for the defin- able knob. This configuration is id...

  • Page 247: Midi

    Access virus os4 245 midi midi midi dump rx the virus lets you audition sound banks that are available as midi dumps on a sequencer individu- ally rather than loading them directly to the banks of the virus, where they would delete that the sounds that you have stored there. Set the midi dump rx par...

  • Page 248: Bank/program Change Via

    246 chapter 23 tips, tricks and other words of wisdom controller similar to channel vol- ume that can be used indepen- dently as a volume control or to create gate effects (controller #7). It is also reset by controller reset (double click on panic). The default setting is 127. Bank/program change v...

  • Page 249: Priority

    Access virus os4 247 priority priority this parameter lets you control how the virus“steals notes when its polyphonic performance is maxed out. In the first position, "low", the voices of all parts have the same priority when one voice is switched off to accommodate a new voice. When you set the pri...

  • Page 250

    248 chapter 23 tips, tricks and other words of wisdom ceed, press any key followed by store which will again enable the receive mode. In case that the load procedure simply stops at a certain position, the sequencer you use is not able to playback the file cor- rectly. In this case, you need to use ...

  • Page 251: Loading The Operat-

    Access virus os4 249 loading the operating system from one virus to another loading the operat- ing system from one virus to another 1 1 1 1 connect the sending virus’ (virus 1) midi out port to the receiving virus’ (virus 2) midi in port. 2 2 2 2 switch on virus 1 while you’re holding the [store] b...

  • Page 252: Software Updates

    250 chapter 23 tips, tricks and other words of wisdom software updates access is known for their policy of free software updates. Simply download the latest virus operat- ing system from our web site and enjoy new virus features. Maybe you are in need of some fresh sounds? In either way here’s the p...

  • Page 253

    Appendix.

  • Page 254: System Exclusive

    252 chapter 24 appendix system exclusive data virus midi system exclu- sive implementation the parameters of the virus are organized in three so-called pages a, b and c. Each page contains 128 parameters, addressed by numbers from 0 to 127. Each parameter is represented by one byte with a maximum va...

  • Page 255: Control Change Message

    Access virus os4 253 system exclusive data page c contains multi parameters and global parameters. These parameters are sent and received only by sysex parameter change. In the following, all bytes are shown in hexadecimal representa- tion. Control change message (only page a) bc status byte, c=midi...

  • Page 256: Polyphonic Pressure Message

    254 chapter 24 appendix polyphonic pressure message (only page b) ac status byte, c=midi channel nn parameter number 0..127 (see parameter list page b) vv :parameter value 0..127 see parameter list page b) example: a2,07,25 control lfo3 rate on midi channel 3 (!). System-exclusive-message f0 start o...

  • Page 257: Single Dump

    Access virus os4 255 system exclusive data value 95. (10: device id omni; 70: page a, 05: part 6; 28: parameter cutoff, 5f: decimal value 95) single dump [message]= 10 single dump bb bank number 00 single edit buffer 01..04: single bank a..D ss program number 0..127 [256 single bytes] cs checksum op...

  • Page 258: Single Request

    256 chapter 24 appendix [256 multi bytes] contains the multi parameters in a special suc- cession. See multi dump table. Checksum is the sum (deviceid + 11 + banknumber + programnumber + [256 multi bytes]) and 7f. A dump with a wrong checksum will be received, but an error message will appear on the...

  • Page 259: Multi Bank Request

    Access virus os4 257 system exclusive data multi bank request [message]= 33 multi bank request bb bank number 01:multi bank {f0,00,20,33,01,dd,33,bb,f7} arrangement request [message]= 34 arrangement request {f0,00,20,33,01,dd,34,f7} global request [message]= 35 global request {f0,00,20,33,01,dd,35,f...

  • Page 260: Parameters Describtion

    258 chapter 24 appendix parameters describtion no. Class name range value text page a a 0 p bank select 0..3 bank a..D a 1 p modulation wheel a 2 p breath controller a 3 p contr 3 a 4 p foot controller a 5 a portamento time 0..127 a 6 p data slider a 7 p channel volume 0..127 a 8 p balance a 9 p con...

  • Page 261

    Access virus os4 259 parameters describtion a 19 a osc1 wave select 0..64 sine, triangle, wave 3..64 a 20 a osc1 semitone 0..127 -64..+63 a 21 a osc1 keyfollow 0..127 -64..+63, default: 32 a 22 a osc2 shape 0..127 -64..0..+63: wave..Saw..Pulse a 23 a osc2 pulsewidth 0..127 a 24 a osc2 wave select 0....

  • Page 262

    260 chapter 24 appendix a 41 a cutoff2 0..127 -64..+63 a 42 a filter1 resonance 0..127 a 43 a filter2 resonance 0..127 a 44 a filter1 env amt 0..127 a 45 a filter2 env amt 0..127 a 46 a filter1 keyfollow 0..127 -64..+63 a 47 a filter2 keyfollow 0..127 -64..+63 a 48 a filter balance 0..127 -64..+63 a...

  • Page 263

    Access virus os4 261 parameters describtion a 63 a amp env release 0...127 a 64 p hold pedal a 65 p portamento pedal a 66 p sostenuto pedal a 67 a lfo1 rate 0..127 a 68 a lfo1 shape 0..5 0:sine 1:tri 2:saw 3:square 4:s&h 5:s&g .. A 69 a lfo1 env mode 0..1 0:off 1:on a 70 a lfo1 mode 0..1 0:poly 1:mo...

  • Page 264

    262 chapter 24 appendix a 84 a lfo2 keyfollow 0..127 a 85 a lfo2 keytrigger 0..127 0:off, 1..127:keytrigger phase a 86 a oscshape lfo2 amount 0..127 -64..+63 a 87 a fmamount lfo2 amount 0..127 -64..+63 a 88 a cutoff1 lfo2 amount 0..127 -64..+63 a 89 a cutoff2 lfo2 amount 0..127 -64..+63 a 90 a panor...

  • Page 265

    Access virus os4 263 parameters describtion a108 a chorus delay 0..127 a109 a chorus feedback 0..127 -64..+63 a110 a chorus lfo shape 0..5 0:sine 1:tri 2:saw 3:square 4:s&h 5:s&g .. A112 a delay/reverb mode 0..1 0:off 1:delay 2:reverb 3:rev+feedb1 a113 a,ms effect send 0..127 a114 a,ms, np delay tim...

  • Page 266

    264 chapter 24 appendix page b b 1 b arp mode 0..6 0:off 1:up 2:down 3:up&down 4:asplayed 5:random 6:chord b 2 b arp pattern select 0..31 b 3 b arp octave range 0..3 b 4 b arp hold enable 0..1 0:off 1:on b 5 b arp note length 0..127 -64..+63c b 6 b arp swing 0..127 50%..75% b 7 b lfo3 rate 0..127 b ...

  • Page 267

    Access virus os4 265 parameters describtion b 25 b control smooth mode 0..3 0:off, 1:on, 2:auto, 3:note b 26 b bender range up 0..127 -64..+63 b 27 b bender range down 0..127 -64..+63 b 28 b bender scale 0..1 0:linear 1:exponential b 30 b filter1 env polarity 0..1 0:negative 1:positive b 31 b filter...

  • Page 268

    266 chapter 24 appendix b 49 b pulsewidth velocity 0..127 -64..+63 b 50 b fm amount velocity 0..127 -64..+63 b 54 b filter1 envamt velocity 0..127 -64..+63 b 55 b filter1 envamt velocity 0..127 -64..+63 b 56 b resonance1 velocity 0..127 -64..+63 b 57 b resonance2 velocity 0..127 -64..+63 b 58 b seco...

  • Page 269

    Access virus os4 267 parameters describtion b 71 b assign2 amount2 0..127 -64..+63 b 72 b assign3 source see assign sources list b 73 b assign3 destination1 see assign destinations list b 74 b assign3 amount1 0..127 -64..+63 b 75 b assign3 destination2 see assign destinations list b 76 b assign3 amo...

  • Page 270

    268 chapter 24 appendix b 97 b,vb bass intensity 0..127 b 98 b,vb bass tune 0..127 b 99 b,vb input ringmodula- tor 0..127 0:off 1..127: direct..Ringmodula- tor..Input b100 b,vb distortion curve 0..6 0:off 1:light 2:soft 3:middle 4:hard 5:digital .. B101 b,vb distortion intensity 0..127 b112 b single...

  • Page 271

    Access virus os4 269 parameters describtion page c c 5 m,np multi name char1 32..127 ascii c 6 m,np multi name char2 32..127 ascii c 7 m,np multi name char3 32..127 ascii c 8 m,np multi name char4 32..127 ascii c 9 m,np multi name char5 32..127 ascii c 10 m,np multi name char6 32..127 ascii c 11 m,n...

  • Page 272

    270 chapter 24 appendix c 39 m part volume 0..127 -64..+63 0=unity gain c 40 m part midi volume init 0..127 off, 1..127 c 41 m part output select 0..14 0:out1l 1:out1l+r 2:out1r .. C 45 g second output sel- ect 0..15 0:off 1:out1l 2:out1l+r 3:out1r .. C 63 g keyb transpose buttons 0..1 0:patch 1:key...

  • Page 273

    Access virus os4 271 parameters describtion c 85 g glob prog change enable 0..1 0:off 1:on c 86 g multiprog change enable 0..1 0:off 1:on c 87 g glob midi volume enable 0..1 0:off 1:on c 90 g input thru level 0..127 c 91 g input boost 0..127 c 92 g master tune 0..127 -64..+63 c 93 g device id 0..16 ...

  • Page 274

    272 chapter 24 appendix c112 g definable1 global see definable list c113 g definable2 global see definable list c114 g definable1 midi 0..127 c115 g definable2 midi 0..127 c116 g expert mode 0..1 0:0ff 1:on c117 g knob mode 0..3 0:off 1:jump 2:snap 3:relative c118 g memory protect 0..1 0:0ff 1:on c1...

  • Page 275: Multi Dump Table

    Access virus os4 273 multi dump table multi dump table no ref name range value text 0..3 internal 4..13 multi name charac- ters 1..10 32..127 ascii 14 internal 15 multi clock tempo 0..127 63..190 bpm 16 multi delay mode 0..1 0:off 1:on 17 multi delay time 0..127 18 multi delay feed- back 0..127 19 m...

  • Page 276

    274 chapter 24 appendix 32..47 part 1..16 bank number 0..1 48..63 part 1..16 program number 0..127 64..79 part 1..16 midi channel 0..15 1..16 80..95 part 1..16 low key 0..127 c-1..G9 96..111 part 1..16 high key 0..127 c-1..G9 112..12 7 part 1..16 transpose 0..127 -64..+63 128..14 3 part 1..16 detune...

  • Page 277: Representation.

    Access virus os4 275 multi dump table all bytes are shown in decimal representation. Part state bitfield: bit 0 part enable 0:off 1:on bit 1 part midi volume enable 0:off 1:on bit 2 part hold pedal ena- ble 0:off 1:on bit 3 keyb to midi 0:off 1:on bit 4 internal bit 5 note steal priority 0:low 1:hig...

  • Page 278: Classes

    276 chapter 24 appendix classes classes p: performance controller accessi- ble by control message. Perfor- mance controllers are not stored with a single-sound. If more than one multi part is set to the same midi channel, all parts on this midi channel receive the same perfor- mance controllers. A: ...

  • Page 279: Bpc: Bank/program-Change

    Access virus os4 277 classes np: non-part-sensitive sound parameter when in multi mode, the parameter affects all multi parts. Bpc: bank/program-change parameter bank select selects the single bank accessed by a subse- quent program change, similar to the regular bank select.Bank change directly cha...

  • Page 280: The Virus Can Be Switched

    278 chapter 24 appendix on non-part-sensitive parame- ters the part number is ignored, but must still be sent as any value. The virus can be switched between multi mode and single mode by parameter c123 part num- ber. Remarks for editor/librarian pro- grams not all 256 bytes of a single or multi dum...

  • Page 281

    Access virus os4 279 classes.

  • Page 282: Mod Matrix

    280 chapter 24 appendix mod matrix sources all sources of the definable knobs 1/2 off pitchbnd chanpres modwheel breath contr3 foot data balance contr 9 express contr 12 contr 13 contr 14 contr 15 contr 16 holdped portasw sostped ampenv filtenv lfo 1 lfo 2 lfo 3 veloon velooff keyflw random.

  • Page 283: Mod Matrix Desti-

    Access virus os4 281 mod matrix destinations mod matrix desti- nations all destinations of the modulation matrix off patchvol channelvol panorama transpose portamento osc1shape osc1plswdh osc1wavsel osc1pitch osc1keyflw osc2shape osc2plswdh osc2wavsel osc2pitch osc2detune osc2fmamt osc2envamt fmenva...

  • Page 284: Definable Knobs

    282 chapter 24 appendix definable knobs destinations all destinations of the definable knobs 1/2 off modwheel breath contr3 foot data balance contr9 expression contr12 contr13 contr14 contr15 contr16 patchvolume channelvolume panorama transpose portamento unisondetune unisonpansprd unisonlfophase ch...

  • Page 285

    Access virus os4 283 definable knobs destinations phaserrate phaserdepth phaserfrequenc phaserfeedback phaserspread revdecaytime reverbdamping reverbcolor reverbfeedback secondbalance arpmode arppattern arpclock arpnotelength arpswing arpoctaves arphold all destinations of the definable knobs 1/2.

  • Page 286: Midi Implementa-

    284 chapter 24 appendix midi implementa- tion chart date: 6.9.2000 model: access virus synthesizer- version: 4.0 function transmitted recocgnized remarks basic default channel changed 1 1-16 1 1-16 default mode messages altered x x ************ x x x note number true voice 0-127 ************ 0-127 0...

  • Page 287

    Access virus os4 285 midi implementation chart mode 1: omni on, poly mode 2: omni on, mono o : yes mode 3: omni off, poly mode 4: omni off, mono x : no system exclusive o o system :song pos :song sel common :tune . O x x x x x system :clock realtime :commands x x x x start, stop continue aux- :local...

  • Page 288: Fcc Information (U.S.A)

    286 chapter 24 appendix fcc information (u.S.A) ii i i m m m m p p p p o o o o r r r r t t t t a a a a n n n n t t t t n n n n o o o o t t t t ii i i c c c c e e e e : do not modify this unit! This product, when installed as indicated in the instructions contained in this manual, meets fcc requireme...

  • Page 289

    Access virus os4 287 fcc information (u.S.A) in the case of radio or tv interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please con- tact the local ...

  • Page 290: Fcc Information (Canada)

    288 chapter 24 appendix fcc information (canada) the digital section of this apparatus does not exceed the „class b“ limits for radio noise emmissions from digital apparatus set out in the radio interfer- ence regulation of the canadian department of communications. Le present appareil numerique n’e...

  • Page 291

    Access virus os4 289 other standards (rest of world) other standards (rest of world) this product complies with the radio frequency interference requirements of the council directive 89/336/ec. Cet appareil est conforme aux prescriptions de la directive communautaire 89/336/ec. Dette apparat overhol...

  • Page 292: Declaration of Conformity

    290 chapter 24 appendix declaration of conformity eg-konformitätserklärung für das folgend bezeichnete erzeugnis/ for the following named product access virus synthesizer model b / kb / indigo wird hiermit bestätigt, daß es den schutzanforderungen entspricht, die in der richtlinie 89/336/fwg des rat...

  • Page 293

    Access virus os4 291 declaration of conformity diese erklärung wird verantwortlich für den hersteller abgegeben: this declaration has been given responsibly to the manufacturer: access music electronics trimburgstraße 11 36039 fulda fulda, 1.9.2000 guido kirsch, geschäftsführer guido kirsch, managin...

  • Page 294: Garantie Bestim-

    292 chapter 24 appendix garantie bestim- mung access music electronics leistet garantie für alle nachweisbaren material- und fertigungsfehler für eine dauer von 6 monaten ab ver- kauf oder aushändigung an den endverbraucher. Von der garantie ausgenommen sind alle schäden, die durch fal- sche oder un...

  • Page 295: Warranty

    Access virus os4 293 warranty warranty the access music electronics war- ranty covers all defects in material and workmanship for a period of six months from the date of origi- nal purchase. This warranty does not cover defects due to abuse, faulty con- nections or operation under other than specifi...

  • Page 296

    294 chapter 24 appendix.