Access virus c руководство

1. Manuals
2. Brands
3. Access Manuals
4. Synthesizer
5. VIRUS C SERIES
6. User manual

• Page 1
  ACCESS VIRUS C SERIES USER MANUAL OS5 ENGLISH VERSION…
• Page 3
  ©2002 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 and Marc Schlaile.

• Page 4: Table Of Contents

  Content Handling…………… 44 All about the memory ……….. 47 The Modulation Matrix and Soft Knobs….48 Random Patch Generator……..50 Categories…………52 The Effects Section……….52 IMPORTANT SAFETY REMARKS Audio Inputs …………53 Internal Audio Routing ……….54 Additional functions ……….55 PROLOGUE SYNTHESIS PARAMETERS OSCILLATORS …………

• Page 5
  ACCESS VIRUS OS5 Problems Related to Parameter Control ….144 MAIN EDIT MENU Arrangement Dump — The Sound in the Song..145 Common ………….. 96 Unison Mode…………99 Punch Intensity ……….100 TIPS AND TRICKS Envelope Sustain Time……..100 Analog Inputs…………. 100 All abouts Inputs……….
• Page 6
  INDEX INDEX …………..192…

• Page 7: Important Safety Remarks

  Important Safety Remarks…

• Page 8
  Important Safety Remarks Please read all notes carefully before you power OPERATION the device up. A few fundamental rules on han- • Don’t set beverages or any other receptacle dling electrical devices follow. containing liquids on the device. • Make sure the device is placed on a solid base.
• Page 9
  These can damage the surface of the housing. FITNESS FOR PURPOSE This device is designed exclusively to generate low-frequency audio signals for sound engi- neering-related purposes. Any other use is not permitted and automatically invalidates the warranty extended by Access Music Electronics GmbH.
• Page 10
  Important Safety Remarks…

• Page 11: Prologue

  Prologue…

• Page 12
  CHAPTER 3 Prologue Dear VIRUS Owner, delay unit that lets you create high-quality re- verb effects and rhythmic delay taps. Delay Congratulations on your choice, the new VI- time can be synced up to MIDI clock. RUS. You have purchased a cutting-edge syn- thesizer that comes fully loaded with several With the benefit of two external audio inputs, revolutionary features.
• Page 13
  ACCESS VIRUS OS5 LFOs can run independently or in sync. A sponds just as smoothly as analog synthesizers number of keyboard trigger options enable you did prior to the introduction of digital sound start LFO waveshapes with variable phase storage lengths at the beginning of a note and/or to cy- cle once only, like an envelope.
• Page 14
  CHAPTER 3 Prologue…

• Page 15: Introduction

  Introduction…

• Page 16: The Virus

  CHAPTER 4 Introduction í THE VIRUS section is a brick that builds on a preceding brick and interlocks with those next to it. You want your knowledge base to be a sound struc- ture so you won’t run into problems when you This section provides deliberate, step-by-step find one of the “bricks”…

• Page 17
  ACCESS VIRUS OS5 The Virus MASTER VOLUME and so on, simply use the PARAMETER/BANK buttons to step from one program bank to an- Controls the overall volume of the VIRUS. This other. control determines the volume of the signal pair piped through Output 1 before it is converted You’ll find that some sound programs are la-…
• Page 18
  CHAPTER 4 Introduction SOUND CATEGORIES lect these combination programs via the VALUE button. The VIRUS features “only” 128 MULTI To help you find the type of SINGLE sound you PROGRAMs, so you don’t have to switch back are looking for more quickly, the Virus operating and forth between banks they way you just did system lets you define so-called „categories“…

• Page 19: The Amplifier Envelope

  ACCESS VIRUS OS5 The Amplifier Envelope í THE AMPLIFIER ENVELOPE Take a look at the display of the VIRUS to gain an impression of the difference between these two values. It shows two numeric values when you dial a pot: at the left you can see the value Long-term exposure to this sound will definitely…

• Page 20: The First Filter

  CHAPTER 4 Introduction í to others, i.e. the effectiveness of a control fea- THE FIRST FILTER ture is altered, modified or even negated com- pletely by other related functions. Now we will take a look at a component of a synthesizer that is generally regarded as the The final pot, RELEASE, determines the speed most important functional unit as it enables…

• Page 21: Filter Modulation

  ACCESS VIRUS OS5 Filter Modulation Now locate the FILT 1 MODE switch, which is resonance up. Experiment by varying the RES- also located in the FILTERS section. It enables ONANCE setting in the different operating you to select a filter operating mode from the…

• Page 22
  CHAPTER 4 Introduction highly desirable that your box is silent. With the For your next experiment set the amplifier enve- filter envelope, the situation is somewhat differ- lope so that you hear a constant level when you ent: It always starts at the Cutoff value that you press and hold a note.

• Page 23: The Saturation Stage

  ACCESS VIRUS OS5 The Saturation Stage wards the negative control range, the KEY position (12 o’clock) determines the volume of FOLLOW effect is reversed. With the VIRUS, the filter section’s input signal. The portion of you will encounter this feature — intensity control…

• Page 24
  CHAPTER 4 Introduction The technical design of this second filter is 1 (we’ll explain Cutoff 2 a bit later). Set Cutoff to identical to the first, so we won’t discuss it in a medium or middle value and turn the RESO- as much detail as we did the first filter.
• Page 25
  ACCESS VIRUS OS5 The Second Filter In other words, at the center position (12 Now experiment with the diverse filter modes o’clock) the manually selected frequency of Fil- and listen closely to the effect of the parame- ter-2 is identical to that of Filter-1. When you ro-…

• Page 26: Filter Routing

  CHAPTER 4 Introduction í FILTER ROUTING The final parameter we’ll discuss for the time being is FILTER ROUTING. This feature offers several filter routing options which allow you to operate the filters in series, i.e. patch one after the other in the signal chain, or in parallel, which means side by side in the signal chain: — SER-4 The filters are switched in series;…

• Page 27: The First Oscillator

  ACCESS VIRUS OS5 The First Oscillator í THE FIRST OSCILLATOR The filters, with the exception of a notch filter or band stop (BS), trim the far reaches of the tonal spectrum, so for instance a signal sounds mud- dier after it has been routed through a low pass To this point, we have turned our attention ex- filter.

• Page 28
  CHAPTER 4 Introduction What you need is a sound-shaping option for the portion of a signal that a filter allows to OSCILLATORS OSCILLATORS pass. And of course you also need a tool for de- termining the pitch of a signal. In synthesizers, both of these tasks are executed by oscillators.

• Page 29: The Second Oscillator

  ACCESS VIRUS OS5 The Second Oscillator í (PW = pulse width) pot, PROVIDED THE SHAPE THE SECOND OSCILLATOR POT IS SET TO A POSITION IN THE RIGHT HALF OF ITS CONTROL RANGE (LATER THAN 12 O’CLOCK). Rotate the WAVE SEL/PW pot…

• Page 30
  Locate and activate the SYNC button in the oscillator that lets you create further oscillations OSCILLATORS section (the LED must illumi- and spectra. You can access the parameters of nate). The synchronization function forces Os- this oscillator, which are described in a later cillator 2 to restart its wave cycle at the same chapter, via the OSCILLATOR EDIT menu.

• Page 31: The Third Oscillator

  ACCESS VIRUS OS5 The Third Oscillator í THE THIRD OSCILLATOR Now we’ll take a closer look at the final control element, the SUB OSC pot: It controls the vol- ume of the fourth oscillator, the so-called Sub- Oscillator, which always operates an octave The VIRUS also has a third main oscillator, below Oscillator 1.

• Page 32: The Lfos

  CHAPTER 4 Introduction the ring modulator. Be sure to check out what In the VIRUS, both of these tasks are executed the ring modulator does when you select a sine by a so-called LFO (low frequency oscillator) wave for Oscillator 1 and 2. that oscillates at frequencies below the audible range.

• Page 33
  In order to change this set- saturation stage is not used, you will only ting, you must access the second SELECT but- hear tremolo. The position within the signal ton which works in conjunction with fi ve chain (at the input of the filter section) has…
• Page 34
  (AMOUNT). erate faster LFO rates. As result, when you press and hold several notes you will hear all In the WAVE setting, you have access to 64 kinds of substantially different periodic fluctua- LFO waveshapes. Select these in the display tions.

• Page 35: The Mod Section

  Select button. This no Edit menu is selected. For each SOFT gives you access to the Virus modulation ma- KNOB, you can choose a short description from trix. The six ASSIGN entries (selectable via the a list in the menu, and this will be saved as part SELECT button) represent six freely definable…

• Page 36: Volume And Panorama Position

  CHAPTER 4 Introduction í í VOLUME AND PANORAMA VELOCITY POSITION Velocity is one of the preferred modulation sources of keyboard players: A light key attack You probably noticed that the many of the generates a low velocity value for the given sound shaping options available in the VIRUS note, a heavy touch generates a high velocity occasionally influence the volume level.

• Page 37: Unison Mode

  ACCESS VIRUS OS5 Unison Mode í UNISON MODE where two voices are played for every note. In the ”OFF” position, one voice per note is played. When we talked about the oscillators, we men- tioned that by subtly detuning signals, you can beef up sounds and achieve string-like sounds.

• Page 38: The Effects

  EFFECTS and a DELAY/ clock, DELAY/REV TIME controls the time ex- REVERB block. This gives you access to Distor- pressed as a note value (1/16, 1/8, etc.). tion, Phaser and Chorus effects as well as De- lay and Reverb.

• Page 39
  ACCESS VIRUS OS5 The Effects — RATEREDUCER Variable reduction of the phaser‘s own LFO. The other three parameters sampling rate; generates digital aliasing ef- affect the general sound of the phaser: FRE- fects. QUENCY determines the average frequency of resonant peaks, STAGES is the number of reso- — LOWPASS 1-pole lowpass filter;…

• Page 40: The Arpeggiator

  CHAPTER 4 Introduction the DEPTH i.e. modulation intensity of the LFO. Please note that signal paths in the Virus Cho- DELAY / REVERB DELAY / REVERB rus/Flanger are stereo throughout: The stereo position and any panorama modulation or ster- eo spread values are preserved in the proc- 12 12 12 12 12 12…

• Page 41: More To Come

  ACCESS VIRUS OS5 More to ComeSoundDiver Virus from the computer (Mac or PC). Even if you pre- software. SoundDiver has an integrated Help fer to control your Virus with its own knobs and system, which includes extensive information buttons most of the time, SoundDiver still has…

• Page 42
  CHAPTER 4 Introduction…

• Page 43: Concept And Operation

  Concept and Operation…

• Page 44: Operating Modes

  The PART buttons don’t actually change sounds, they simply set The VIRUS provides access to up to 1024 SIN- the user interface of the VIRUS to the desired GLE sounds. Next to the 256 RAM sounds PART.

• Page 45
  ACCESS VIRUS OS5 Operating Modes the PART numbers are identical to the MIDI In MULTI mode, you have one MULTI edit buffer channels of the PARTs. Now when you work in and 16 SINGLE edit buffers for the PARTs at MULTI SINGLE mode, the VIRUS responds as if your disposal.

• Page 46: Master Clock And Midi-Clock

  CHAPTER 5 Concept and Operation í MASTER CLOCK AND MIDI- GRAMs are ignored. Instead, all involved SIN- GLE PROGRAMs are controlled via the same CLOCK clock generator. Its CLOCK TEMPO is saved in the MULTI PROGRAM (as are the settings for the global delay effect).

• Page 47
  ACCESS VIRUS OS5 Handling that you can access these directly — especially If you press the PARAMETER buttons briefly, while you are playing!. In just a few cases the you can scroll through the parameters con- control features have dual functions.
• Page 48
  CHAPTER 5 Concept and Operation (mostly zero). This pertains to unipolar parame- — ISNAP The modal controls (for instance ters (value range of 0 to 127) as well as bipolar those whose functions apply to one oscillator parameters (value range of -64 to +63). or LFO at a time) will be in SNAP mode, whereas all the others will be in JUMP mode.

• Page 49: All About The Memory

  Press STORE. You when you turn a knob. then gain access to the STORE menu. There you can use the PARAMETER buttons to move — ON The lower row of the display is being among the individual letters in the lower name overwritten by the parameter’s value.

• Page 50: The Modulation Matrix And Soft Knobs

  CHAPTER 5 Concept and Operation Compare mode lets you hear the unedited so it is not lost even after several program sound that was originally stored in this memory change messages (as long as none of the other slot. Press EDIT or UNDO repeatedly to switch programs are edited in any way).

• Page 51
  For your target parameters, you can wise only available from within the menus. The chose from among virtually all sound parame- destination parameters are defined in the Edit…

• Page 52: Random Patch Generator

  CHAPTER 5 Concept and Operation For each SOFT KNOB, you can choose a short description from a list in the menu, and this will MULTISINGLE MULTISINGLE be saved as part of the SINGLE program. In Play mode, this will appear in the display – sim- ply to remind you of what each SOFT KNOB does while you are playing your Virus.

• Page 53
  ACCESS VIRUS OS5 Random Patch Generator The RANDOM PATCH GENERATOR is ac- This simply means that it isn’t bent radically so cessed by pressing the RANDOM button. The that, for example, the given sound can still be results of randomization are sent directly to the played “tonally”.

• Page 54: Categories

  Classic, Arpeggiator, Effects, Drums, Percus- sion, Input, Vocoder, Favourite 1, Favourite 2, Favourite 3 For every SINGLE program and every PART, you can access up to six different stereo effects individually. You’ll find these effects – RING- MULTISINGLE MULTISINGLE MODULATOR, DISTORTION, ANALOG BOOST, EQUALIZER, PHASER and CHORUS –…

• Page 55: Audio Inputs

  ACCESS VIRUS OS5 Audio Inputs í AUDIO INPUTS In this case, you can also use the UNISON Pan Spread parameter to determine the basic width of the panorama and UNISON LFO Phase to shift the LFO phase position be- You can also opt to use external audio signals tween the voices.

• Page 56: Internal Audio Routing

  CHAPTER 5 Concept and Operation ically switches to this level indicator mode when ic). You can then process the signal patched in the selected SINGLE program accesses the ex- to this PART via the aux bus exactly the same ternal audio inputs. The LEDs will flash rapidly way you would process conventional analog to indicate that the inputs are being overloaded.

• Page 57: Additional Functions

  ACCESS VIRUS OS5 Additional functions In contrast to the majority of other effects, the such as the modulation wheel, channel volume delay/reverb section is not available individually and pitch bender are reset to the default set- for each PART. Instead, it processes the signals tings.

• Page 58
  CHAPTER 5 Concept and Operation…

• Page 59: Synthesis Parameters

  Synthesis Parameters…

• Page 60: Oscillators

  CHAPTER 6 Synthesis Parameters Oscillators 1 is a sine wave; No. 2 a triangle, the remainder of the waves feature different combinations of frequencies. • When the SHAPE value is higher than that of í The following section lists all parameters in the center position, then WAVE SEL/PW deter- the VIRUS, each with a brief definition or expla- mines the pulse width: At the far left position…

• Page 61: Oscillator (Edit-Menu)

  ACCESS VIRUS OS5 Oscillator (Edit-Menu) í FM AMOUNT OSCILLATOR (EDIT-MENU) Controls the frequency modulation intensity of the second oscillator by the first. Depending on the selected FM AMOUNT and the interval be- tween the oscillators, the frequency modulation OSCILLATOR-1 WAVE generates everything from slightly to radically Selects among of 64 spectral waveshapes.

• Page 62
  CHAPTER 6 Synthesis Parameters OSCILLATOR-2 WAVE — NOISE The noise generator is the FM source (see also NOISE Color). Excellent for drum Selects among of 64 spectral waveshapes. This sounds. parameter is identical to WAVE SEL/PW (see appropriate section) when SHAPE (see appro- — INPUT Here the mono or stereo signal from priate section) is set to the left half of its control external analog inputs or from an internal aux…
• Page 63
  ACCESS VIRUS OS5 Oscillator (Edit-Menu) FILT ENV -> FM in for Oscillator 2 apply to Oscillator 3, with one exception – DETUNE. This parameter runs It determines the intensity at which the filter en- counter to that of Oscillator 2.

• Page 64: Sub Oscillator

  CHAPTER 6 Synthesis Parameters OSCILLATOR-3 SEMITONE junction with Oscillator 3 and PHASE INIT, you can create prominent overtones that are initiat- Transposes Oscillator 3 in semitone steps. Con- ed at the beginning of a note. trol range: +/-4 octaves. (Not available if OS- CILLATOR 3 MODE = “OFF”…

• Page 65: Filter

  first filter, the second filter or both filters. In con- filters have the same CUTOFF frequency. In trast to virtually all other modulation intensity FILTER EDIT Menu, you can access CUTOFF parameters in the VIRUS, ENV AMOUNT is a LINK ON/OFF to sever the link between CUT- unipolar parameter.

• Page 66: Filter Envelope

  CHAPTER 6 Synthesis Parameters FILT 1 MODE & FILT 2 MODE SELECT only determines if the knob in question sends its value to the first filter, second filter or Selects the operating mode of the indicated fil- both filters. ter: — LP The low pass filter suppresses frequen- cies higher than the CUTOFF frequency (see appropriate section) and allows the lower fre-…

• Page 67: Filter-Edit-Menu

  ACCESS VIRUS OS5 Filter-Edit-MenuFilter Envelope longer it takes for the envelope to fall from its ”Digital” curve as much as 24 decibels. A spe- current level to the minimum level, when the key cial feature of the VIRUS’ SATURATION stage is is released.

• Page 68
  CHAPTER 6 Synthesis Parameters — RATEREDUCER Continuous reduction of — SER-6 The filters are switched in series; Fil- the digital sampling rate; generates digital ter-1 has four poles (24dB), Filter-2 has two aliasing. poles (12dB) so the overall slope is equivalent to six poles (36dB).
• Page 69
  ACCESS VIRUS OS5 Filter-Edit-MenuFilter Envelope at this pitch. In the FILTER EDIT menu you have FILTER-2 CUTOFF LINK the option of freely defining the base note under Switches the knob and the parameter CUTOFF KEYTRACK BASE. 2 (see appropriate section) back and forth be-…
• Page 70
  CHAPTER 6 Synthesis Parameters note; if you turn it counter-clockwise to the left (towards FALL), then the level drops off at an in- creasing rate towards the minimum level; If you turn the knob clockwise to the right (towards RISE), the level rises at an increasing rate to maximum.

• Page 71: Envelopes

  í The Sustain Time parameter can be access- ed from the main Edit menu as well as from the DECAY filter EDIT menu..

• Page 72: Mixer

  CHAPTER 6 Synthesis Parameters Mixer NOISE VOLUME The volume of the noise generator. As with the ring modulator, the volume is idependent off the OSC VOL parameter. OSC BALANCE Determines the balance between the Oscillators RINGMODULATOR VOLUME 1 and 2 volume level. The ring modulator multiplies the output of both oscillator 1 and 2 to create interesting sounds with rich enharmonic overtones.

• Page 73: Lfo And Modmatrix

  ACCESS VIRUS OS5 LFO (Panel)Filter Envelope LFO and ModMa- AMOUNT (LFO-1) After selecting LFO 1 (via the SELECT button) trix you can use the lower SELECT button to scroll down through the modulation destinations for LFO 1. If you press and hold the EDIT button at the same time, you can scroll in the other direc- tion.

• Page 74
  CHAPTER 6 Synthesis Parameters If the modulation intensity for the selected des- AMOUNT (LFO-3) tination is not „0“, its LED stays lit after you quit After selecting LFO 3 (via the SELECT button) the menu. you can use the lower SELECT button to scroll down through the modulation destinations for 01111111111111111112 LFO 3.

• Page 75: Lfo (Edit Menu)

  ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope Between the two positions Filter-1 and FILTER- LFO-1CLOCK 2 you will find the position Filter-1+2, which lets When you set it to OFF, the LFO oscillates in the you jointly control the modulation intensities of normal manner, independently of the global both oscillators.

• Page 76
  CHAPTER 6 Synthesis Parameters — SQUARE Contour modulates the pulse LFO-2 ENV MODE width of the square wave. Activates an operating mode in which the LFO oscillates like an envelope: The LFO cycles — WAVES Contour ”zooms” into the wave, once only following the start of the note;…
• Page 77
  ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope MIDI clock. When the LFO is synced up to the LFO-2TRIGGER PHASE master clock, you can also select the desired Selects the position in the wave cycle — i.e. the note value via the LFO RATE knob.
• Page 78
  CHAPTER 6 Synthesis Parameters LFO-3 FADE IN — SINGLE In polyphonic mode, all voices are assigned the same LFO. This parameter lets you automatically initiate a delayed fade-in the LFO3 modulation that you set up via OSC AMOUNT (see the section above).
• Page 79
  ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope For your SOURCEs, you have two different types of modulation sources to chose from. The The control range of the source may be limited first type comprises external MIDI controllers via the AMOUNT values or inverted so that the…
• Page 80
  CHAPTER 6 Synthesis Parameters ASSIGN 1 AMOUNT Controls the intensity of ASSIGN 3 DESTINATION 2 Selects the sec- the first modulation allocation. ond modulation destination for the third modu- lation assignment. 01111111111111111112 1 ASSIGN 1 ASSIGN 3 AMOUNT 2 Controls the intensity Amount +10≤…
• Page 81
  ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope ASSIGN 6 SOURCE Selects the modulation source for the first modulation assignment. ASSIGN 6 DESTINATION Selects the modu- lation destination for the first modulation as- signment. ASSIGN 6 AMOUNT Controls the intensity of…

• Page 82: Arpeggiator Edit

  CHAPTER 6 Synthesis Parameters Arpeggiator Edit ARPEGGIATOR OCTAVES Controls the ascending transposition of arpeg- gios by octaves. Control range: 1 to 4 octaves. The controls in the Arpeggiator section only 01111111111111111112 consists of two buttons: ARP ON switches it on 1 ARPEGGIATOR or off, and EDIT opens up the arpeggiator Octaves…

• Page 83
  ACCESS VIRUS OS5 LFO (Edit Menu)Filter Envelope When SWING is set to the lowest value (50%), PO (see the section on CLOCK TEMPO). More- the interval between the individual sixteenth over, the clock generator can be synced up to beats is identical and the length of an eighth the external MIDI Clock.

• Page 84: The Internal Effects

  CHAPTER 6 Synthesis Parameters The internal — LIGHT, SOFT, MIDDLE, HARD Different an- alog distortion curves with different charac- teristics and intensities. Effects — DIGITAL Digital distortion with hard clipping. — SHAPER Sine characteristic curve with sev- eral wave cycles. With the Shaper, you can The Effects menu contains the parameters of drastically warp signals.

• Page 85: Chorus (Panel)

  ACCESS VIRUS OS5 Chorus (Panel)Filter Envelope The Effects section of the VIRUS features a fur- The LFO modulates the left and right sides of ther distortion module called SATURATION. Its the Chorus signal antiphase, which generates a design is identical to that of the DISTORTION true stereo effect.

• Page 86: Phaser (Panel)

  CHAPTER 6 Synthesis Parameters FEEDBACK The pure phaser signal is generated by frequen- cy-dependent phase shifting (PHASER Fre- Controls the amount of feedback in the Chorus. quency) and pitch modulation of the phaser’s On the chorus, FEEDBACK lets you boost spe- own LFOs (PHASER Rate and Depth).

• Page 87: Delay / Reverb

  ACCESS VIRUS OS5 Delay / ReverbFilter Envelope DEPTH SPREAD Controls the intensity of the Phaser frequency Use SPREAD to increase or decrease the dis- modulation by the LFO. tance between the notches and peaks in the frequency spectrum. In other words, here you can adjust bandwidth of the phaser effect.

• Page 88: Delay / Reverb (Panel)

  DELAY TIME (DELAY) MODE program. This is the absolute delay time of the delay ef- However in MULTI MODE, all 16 PARTs access fect in milliseconds (ms). Use it to determine the the same Delay or Reverb effect. In this case,…

• Page 89: Delay / Reverb (Menu)

  ACCESS VIRUS OS5 Delay / Reverb (Menu)Filter Envelope DELAY FEEDBACK (DELAY MODE) In a real room, walls don’t reflect high frequen- cies as well as they do lower frequencies, an ef- Controls the amount of feedback of the Delay. fect that can be likened to natural low-pass filtering of the sound.

• Page 90
  CHAPTER 6 Synthesis Parameters — REV+FEEDB1 This the VIRUS’ trademark room simulation. Here you can use the FEED- The unique sonic character of the PATTERN de- BACK control to generate pre-delay feed- lay algorithms is due to — among other things — back.
• Page 91
  ACCESS VIRUS OS5 Delay / Reverb (Menu)Filter Envelope DELAY COLOR ing eingestellt werden oder auf Null gestellt werden, da die LFO-Modulation das Timing des A filter is placed in the delay effect’s output, Delays beeinflusst that also effects the feedback path. It can be…
• Page 92
  CHAPTER 6 Synthesis Parameters REVERB TYPE a variable filter that can act as a low-pass filter (negative control range) as well as a high-pass This parameter lets you select from among four filter (positive control range). For a natural- different room sizes to create the type of simu- sounding room simulation, you should always lation that you want.
• Page 93
  ACCESS VIRUS OS5 Delay / Reverb (Menu)Filter Envelope REVERB parameters, the amount of pre-delay CLOCK TEMPO in the global clock generator has a decisive impact on our perception of the (refer to this section). In this case, the absolute size of a room.

• Page 94: Vocoder

  CHAPTER 6 Synthesis Parameters í VOCODER TUNE Controls the frequency range of ANALOG BOOST. For more information on the Vocoder see “The 01111111111111111112 Vocoder of the VIRUS” on page 131 1 ANALOG BOOST Tune 32≤ 61111111111111111154 í ANALOG BOOST í This effect produces the typical bass response EQUALIZER of analog synthesizers.

• Page 95
  ACCESS VIRUS OS5 EqualizerFilter Envelope MID-EQ FREQUENCY Center frequency of the midrange bandpass fil- ter. Please note that this can actually be set an- ywhere between 20 Hz and 24 kHz, i.e. it is not necessarily restricted to what is usually consid- ered “midrange”.
• Page 96
  CHAPTER 6 Synthesis Parameters…

• Page 97: Main Edit Menu

  Main Edit Menu…

• Page 98: Common

  CLOCK LFO 2, CLOCK LFO 3, DELAY CLOCK, and #11 (Expression). However, these are not see the respective sections). stored with the SINGLE program.. In MULTI MODE, you can also access PART VOLUME 01111111111111111112 (see appropriate section), which provides fur- 1 CLOCK ther volume reserves (headroom).

• Page 99
  ACCESS VIRUS OS5 Common PANORAMA continue to run through their phases when you play other notes (Single Trigger mode); Determines the Panorama position of the SIN- Portamento is only active when you play GLE program. Dieser Parameter kann auch legato.
• Page 100
  CHAPTER 7 Main Edit Menu ( s e e “ T h e V I R U S k c a n d t h e i n d i g o ” o n — LIN Starting from the 0 value, (center posi- page 126).

• Page 101: Unison Mode

  ACCESS VIRUS OS5 Unison Mode — NOTE Adaptive Control Smoothing is carried DETUNE out continuously (smoothed), but jumps in Slightly detunes the voices involved in UNISON steps when a new note is played. mode. 01111111111111111112 01111111111111111112 1 COMMON 1 UNISON SmoothMode On≤…

• Page 102: Punch Intensity

  CHAPTER 7 Main Edit Menu PHASE pertains to all LFOs and does not impair mathematical infinity symbol, then the SUSTAIN the phase response of the LFOs within either of level remains constant through to the end of the the two voices. note;…

• Page 103
  ACCESS VIRUS OS5 Envelope Sustain TimeAnalog Inputs gate does. If you turn FILTER KEY FOLLOW The signal source that you select here is used up, the input signal is filtered by a different fil- for both the vocoder and the ring modulator in ter frequency depending on the key you the effects section.

• Page 104: Follower (Envelope-Follower)

  SELECT before you can establish a signal con- nection between the two PARTS. Several PARTs ENVELOPE FOLLOWER ATTACK can simultaneously access the external input or (Knob: FILTER ATTACK) It controls the attack the internal aux paths via INPUT SELECT. rate of the envelope follower. With this parame- ter, you can determine how fast the envelope follower will respond to the rise in signal level.

• Page 105: Second Output/Surround

  ACCESS VIRUS OS5 Second Output/SurroundAnalog Inputs tudes of both signals, which provides the fre- SELECT quencies’ sums and differences. The more This parameter controls the balance of levels harmonics in the incoming signal, the more dis- between the normal and the second audio out- tinct the modulation.

• Page 106: Velocity

  CHAPTER 7 Main Edit Menu you opt to use one of the aux buses as a sec- VELOCITY OSC 2 SHAPE ond output, the aux bus can also serve as an FX Determines the intensity of the VELOCITY con- loop. You can route the aux signal to a PART trol for the second oscillator’s SHAPE parame- and have the PART process this signal further.

• Page 107
  ACCESS VIRUS OS5 VelocityAnalog Inputs VELOCITY FILT 1 ENV AMT VELOCITY RESONANCE 2 Determines the intensity of the VELOCITY control for the reso- Determines the intensity of the VELOCITY con- nance of Filter-2. trol for the modulation of Filter-1’s cutoff fre- quency by the filter envelope.

• Page 108: Sound Category

  SOFT KNOB mode to ”Single” be- ometers which are particularly useful for giving cause this is the most versatile mode. When direct access to parameters which are other- you select a SINGLE sound whose SOFT KNOB wise only available from within the menus. The mode is set to ”Single”, this setting is of course…

• Page 109
  ACCESS VIRUS OS5 Soft Knob-1/2Analog Inputs and is stored along with it. The entry is only ac- SOFT KNOB-1 NAME tive when SOFT KNOB-1 MODE is set to SIN- For each SOFT KNOB, you can choose a short GLE. When SOFT KNOB-1 SINGLE is set to…
• Page 110
  CHAPTER 7 Main Edit Menu ate globally and are accessible in the SYSTEM menu at any time irrespective of the given oper- ating mode.

• Page 111: Multi Mode & System Setup

  Multi Mode & System Setup…

• Page 112: Multi Mode Parameters

  CHAPTER 8 Multi Mode & System Setup Multi Mode PART DETUNE Fine-tunes the PART. Parameters 01111111111111111112 1 B36 101BASS RP PartDetune +10≤ í Please bear in mind the PART- and/or 61111111111111111154 MULTI-related parameters described in the fol- lowing are available in MULTI mode only. PART VOLUME SELECT BANK Controls the volume level of the PART.

• Page 113
  ACCESS VIRUS OS5 tion between the two PARTS. Several PARTs If the selected output is monophonic, then the can simultaneously access the external input or Panorama settings and modulations in the the internal aux paths via OUTPUT SELECT. sound program are inactive.
• Page 114
  CHAPTER 8 Multi Mode & System Setup date a new voice. When you set the Priority of a HIGH KEY PART to ”High”, the VIRUS will not ”steal” any Determines the highest MIDI note that the PART notes from the voices of this PART. Use this pa- responds to.
• Page 115
  ACCESS VIRUS OS5 PRG CHG ENABLE Switches a given PART’s MIDI receive mode for MIDI Program Change messages ON and OFF. 01111111111111111112 1 B36 101BASS RP ProgChange Ena≤ 61111111111111111154 í The following parameter groups of the MULTI-EDIT-Menu have already been de-…

• Page 116: System

  CHAPTER 8 Multi Mode & System Setup SYSTEM This simply means that it isn’t bent radically so that, for example, the given sound can still be played “tonally”. As you increase the values for PAR DEPTH, oth- The following parameters are global parameters er parameters that have a greater impact on the and are accessible at any time in the SYSTEM timbre of the sound are changed.

• Page 117
  ACCESS VIRUS OS5 Keyboard KEYBOARD MODE KEYBOARD TRANSPOSE The Keyboard Mode function enables you to The VIRUS keyboard can be transposed in select OneChannel or Multichannels and this is semitones. Note that this transposition applies how it works: to the output of the keyboard, it is not generat- ed within the Virus itself.

• Page 118: Input

  CHAPTER 8 Multi Mode & System Setup í PEDAL-1 INPUT Selects the MIDI controller number of the first pedal. The default value is CC#64 (sustain ped- al). INPUT DIRECT THRU 01111111111111111112 The stereo signal patched to the external inputs 1 KEYB PEDAL-1 can be routed to the dual-jack Output 1 without being processed in any manner.

• Page 119: Midi

  ACCESS VIRUS OS5 MIDI This is a global parameter, i.e. it affects all in- INPUT PHONO volved PARTs and INPUT DIRECT THRU (see Since record players have a characteristic fre- paragraph below). It is not stored along with the quency response, we equipped the Virus Rack SINGLE PROGRAM.

• Page 120
  CHAPTER 8 Multi Mode & System Setup CONTROL LoPage / HiPage. This function Once you have selected the desired data sends the SINGLE program that you are cur- type, the dump is initiated via STORE. rently processing (the contents of the Edit buffer).
• Page 121
  ACCESS VIRUS OS5 MIDI — VERIFY Compares an incoming MIDI dump — INT+MIDI All types of control operations are to the memory content of the VIRUS. It sent directly to the VIRUS sound generation checks if a dump was recorded properly on components and simultaneously to MIDI Out.
• Page 122
  CHAPTER 8 Multi Mode & System Setup ARPEGGSEND MIDI VOLUME ENABLE This parameter determines whether or not (ON Globally switches the reception of Volume data or OFF, respectively) the arpeggiator sends the (Controller #7) on (ENA) or off (DIS). notes it generates to the MIDI Out. This function is a feasible option only when you want to ad- 01111111111111111112 dress further sound generators via MIDI.

• Page 123: System

  ACCESS VIRUS OS5 System MIDI DEVICE ID polypressure data is disabled on the receive side; if you set it to ”Contr”, both polypressure Here you can enter the identification number for and SysEx data are received. system exclusive data transfer. To enable com- munication between two VIRUS units — i.e.

• Page 124
  CHAPTER 8 Multi Mode & System Setup To emulate the behavior of earlier operating sy- — WARN Patches and Multis can be stored. stem version, you need to switch ON the opti- Furthermore the “SOUND EDITED! Remem- ber storing” alert in the multimode is disa- bled.
• Page 125
  ACCESS VIRUS OS5 System ly to reflect the current SEND value of the Im SNAP-Mode tritt rechts neben der Zahl ein phaser. To avoid unwanted value jumps in ®-symbol hinzu, das anzeigt, in welche Rich- these parameters, you can activate the Show…
• Page 126
  CHAPTER 8 Multi Mode & System Setup — ON The contents of the display are overwrit- — AUX2 Much like when the setting «ExtIn» is ten when you turn a knob; the original menu enabled, you can have the two LFO Rate does not reappear in the display.

• Page 127: The Keyboard Versions Of The Virus

  The keyboard versions of the Virus…

• Page 128: The Virus Kc And The Indigo

  CHAPTER 9 The keyboard versions of the Virus í THE VIRUS KC AND THE (directly as well as through the sequencer), nor do you want the internal sound generator to INDIGO play along when you are trying to play the sounds on a different synthesizer.

• Page 129
  ACCESS VIRUS OS5 The VIRUS kc and the indigo pots still control only the VIRUS — and nothing the other control features. These multiple as- else. Only if you want to record the control data signment capabilities enable you to create very in a sequencer, or definitely want to influence…

• Page 130: The Keyboard-Modes

  CHAPTER 9 The keyboard versions of the Virus Switch and control pedals are available in your Transpose (-64…+63). The KEYBOARD Trans- local music store. The only suitable control ped- pose can be switched in octaves by the als are the typical synthesizer control pedals TRANSPOSE buttons on the user panel as well.

• Page 131
  ACCESS VIRUS OS5 The Keyboard-Modes are checked and assigned in the keyboard and hereby taken into consideration which keyboard not in the sound generator. The idea behind this area the part has (LowKey, HighKey), and each option is that it is an easy and elegant way to in- individual part-transposition (PartTranspose).
• Page 132
  CHAPTER 9 The keyboard versions of the Virus The keyboard sends its signals to MIDI-Out, but Here an overview of the keyboard version’s not to the sound generator of the correspond- special parameters: ing part. This enables you to control an external machine with the appropriate keyboard zone.

• Page 133: The Vocoder Of The Virus

  The Vocoder of the VIRUS…

• Page 134: Vocoder

  filtered or combined (see above). The vocoder substitutes the whole filter section of a The sound characteristic is being rendered into single sound. Therefore, you can access the the new sound by two cascades of bandpass vocoder’s parameters via the filter section on filters: The modulator signal is being send…

• Page 135
  ACCESS VIRUS OS5 Vocoder THE MODULATOR BANK This cascade of bandpass filters split the fre- quency spectrum of the modulator into slices, quite similar to the way a studio frequency ana- lyser would. THE ENVELOPE FOLLOWER The level at the output of each bandbass filter is measured by the modulator bank.

• Page 136: The Parameters Of The Virus Vocoder

  CHAPTER 10 The Vocoder of the VIRUS í THE PARAMETERS OF THE OSC VOL VIRUS VOCODER DEFAULT: 0 (MIDDLE) OSC VOL adjusts the output level of the vocod- er. This is independent of the signal source (which can be assigned using the vocoder í…

• Page 137
  ACCESS VIRUS OS5 The parameters of the VIRUS Vocoder FREQUENCY SPREAD A linear shift of the modulator bank’s central fre- quencies against the carrier bank, results in KNOB: KEYFOLLOW pitch-shifting and ”mickey mouse” effects. DEFAULT: +63 (RIGHT) CUTOFF2 creates an offset of the modulator to the carrier bank.
• Page 138
  CHAPTER 10 The Vocoder of the VIRUS VOCODER RELEASE Several vocoder related parameters can be modulated by LFO-1 and LFO-2 KNOB: FILTER DECAY DEFAULT: 0 (LEFT) — LFO 1 RESO 1+2 modulates the bandpass filter quality of the modulator and carrier The release time of the envelope follower.

• Page 139: Notes About The Vocoder

  ACCESS VIRUS OS5 Notes about the vocoder: í NOTES ABOUT THE VOCODER: can be used at once to drive the vocoder’s in. Using FILTER BALANCE you can balance the level of the original signal. The vocoder can also be controlled by any part The effect section (chorus, delay) and the out- of the multimode.

• Page 140
  CHAPTER 10 The Vocoder of the VIRUS…

• Page 141: The Virus And Sequencers

  The VIRUS and Sequencers…

• Page 142
  M0, but this now appears in a form which gives nection also makes sense for Virus C or Virus you full access to all 16 individual sounds Rack users: All Virus controls and parameters (switchable using the Part buttons). Just like in…
• Page 143
  ACCESS VIRUS OS5 using the channel of the currently selected track mands – in contrast to system exclusive data – instead. This way you will hear the same sound are transported very swiftly. Beyond that, during recording and playback. they’re easy to edit graphically in all standard sequencer programs.
• Page 144
  CHAPTER 11 The VIRUS and Sequencers solved by splitting up its parameters into three only type of remote control option that is active Parameter PAGEs for data transport purposes. – you get exclusively system exclusive control, Each of these three PAGEs can contain up to as it were.
• Page 145
  ACCESS VIRUS OS5 Bear in mind that the sequencer doesn’t indi- Application: Parameter jumps are carried out cate the parameters addressed via the control without glitches. This option is ideal when you features of the VIRUS by their names; instead, it want to create gating and similar effects (e.g.

• Page 146: Problems Related To Parameter Control

  CHAPTER 11 The VIRUS and Sequencers í Side effect: When you’re playing polyphoni- PROBLEMS RELATED TO cally, parameter jumps also affect notes that PARAMETER CONTROL were played previously and are still sounding when a new note is played. The Control Smooth mode parameter setting is considered a component part of a SINGLE If you enjoy experimenting with recording pa- sound and is thus stored with it.

• Page 147: Arrangement Dump — The Sound In The Song

  ACCESS VIRUS OS5 Arrangement Dump — The Sound in the Song however, you change or replace the sound in sure that the VIRUS plays the song back using the VIRUS at some point? The program change the right sounds, we recommend that you posi- message in the song would call up the wrong tion stored data prior to the song.

• Page 148
  CHAPTER 11 The VIRUS and Sequencers the arrangement rather than the actual SIN- You’ll find a summary of all dump options and GLEs, the sounds of all active PARTs are sent an explanation of these in the comprehensive separately (for more info on this, see the section overview of parameters, specifically, under the on MULTIMODE).

• Page 149: Tips And Tricks

  Tips and tricks…

• Page 150: All Abouts Inputs

  When you press the two VALUE buttons simul- ble for administering the 16 PARTs. Conse- taneously, the parameter is reset to its original quently, you can’t access SINGLE program value. You can increase the rate at which pa- parameters directly here. Beyond that, you’re…

• Page 151: About The Delay/Reverb

  ACCESS VIRUS OS5 About the Delay/Reverb OSC VOL / INPUT est possible clean signal level to the analog-to- digital converters of the VIRUS so that they will When one of the two INPUT modes is activated, deliver the best possible performance. You…

• Page 152: The Virus As An Effect Device

  CHAPTER 12 Tips and tricks patch just the pure effect signal of a MULTI Part its external inputs to any available aux send bus through as you would it you were using a con- or effect send on your mixer or to the individual ventional dry/wet effect knob.

• Page 153: Oscillators

  ACCESS VIRUS OS5 Oscillators trols the filters cutoff frequency and creates a typical «Autowah» effect, whereby the filter is opened according to the drumloop’s volume (respectively its beats). In addition to this, or as 12 12 12 12 12 12…

• Page 154
  CHAPTER 12 Tips and tricks these spectra can be modulated continuously via envelopes and LFOs. FM and SYNC will of OSCILLATORS OSCILLATORS course also work with the 64 digital waveforms. 12 12 12 12 WAVE WAVE OSCILLATOR 3 / PW / PW SEMITONE SEMITONE…

• Page 155: Filters

  ACCESS VIRUS OS5 Filters Like all other oscillators, the level of Oscillator 3 36 dB/oct. As you turn the knob to the left, is controlled via OSC VOL.. you’re fading Filter-2 out and consequently steadily reducing the slope until you arrive at 24 dB/oct.

• Page 156: Lfos

  CHAPTER 12 Tips and tricks TION) within a wide range of 12 decibels, , with- the shape of which you can vary from linear to out increasing the volume level. At 24 decibels, exponential by means of LFO Curve in the LFO the control range of the «Digital»…

• Page 157: Volume Control

  ACCESS VIRUS OS5 Volume Control In contrast to ENV mode (which is available in- case, the filters will fade out freely since their dependently of KEY TRIG PHASE), an LFO with output signals are not affected by the FILT GAIN KEY TRIG PHASE will continue to oscillate once volume modulation.

• Page 158: Assign And The Soft Knobs

  CHAPTER 12 Tips and tricks ble-click on the two Transpose buttons (Panic ed and sent back to the VIRUS. Reasonably function) resets Channel Volume and Expres- enough, you should set the controller number sion to this unit value. for the SOFT KNOB under SOFT KNOB-1/2 Single because this setting (like the ASSIGN settings) is stored with the SINGLE program and doesn’t apply to all SINGLEs (as is the case…

• Page 159: Midi

  ACCESS VIRUS OS5 MIDIHow to modulate the Vocoder parameters For example: To modulate the CARRIER CEN- Set the MIDI DUMP RX parameter to Force To TER FREQUENCY you need to choose FILTER- Edit Buffer. With this option, sounds that would…

• Page 160: How To Install Updates

  CHAPTER 12 Tips and tricks BANK/PROGRAM CHANGE VIA SYSEX Parts to High, you’re defeating the purpose of this parameter. In this case, it wouldn’t have any A bank or program change can be initiated via a effect since the priority of all voices is the same. SysEx command.

• Page 161
  ACCESS VIRUS OS5 How to install UpdatesHow to modulate the Vocoder parameters INSTALLING A NEW OPERATING SYS- There’s no danger of a flawed MIDI transmis- sion burning faulty software into the VIRUS’ memory. When the device receives MIDI data, The Virus C, kc and indigo use an identical op- this information is first buffered in the delay…
• Page 162
  [Store] on VIRUS 2; the software will now be burned to the Flash Rom. SOFTWARE UPDATES Access is known for their policy of free software updates. Simply download the latest VIRUS op- erating system from our web site and enjoy new VIRUS features.

• Page 163: Appendix

  Appendix…

• Page 164: System Exclusive Data

  CHAPTER 13 Appendix í SYSTEM EXCLUSIVE DATA When disabled (HiPage=SysEx), the VIRUS only sends and receives SysEx Parameter Change on Page B. When enabled (HiPage=PolyPrs), the VIRUS sends MIDI Poly Pressure on param- eter movements, and receives both MIDI Poly VIRUS MIDI SYSTEM EXCLUSIVE Pressure and SysEx Parameter Change on Page B.

• Page 165
  ACCESS VIRUS OS5 System Exclusive Data CONTROL CHANGE MESSAGE (ONLY SYSTEM-EXCLUSIVE-MESSAGE PAGE A) Start of System Exclusive Manufacturer ID 1 Status byte, Access Music Electronics c=MIDI channel Manufacturer ID 2 Parameter Number 0..127 Access Music Electronics (see parameter list Page A)
• Page 166
  CHAPTER 13 Appendix Example: F0,00,20,33,01,10,70,05,28,5F,F7 Program Number Set Cutoff on Part 6 to decimal 0..127 [256 multi bytes] value 95. (10: device ID omni; 70: page A, 05: Checksum part 6; 28: parameter Cutoff, 5F: decimal value optional {F0,00,20,33,01,dd,11,bb,mm,[256 multi bytes],cs,F7} SINGLE DUMP í…
• Page 167
  ACCESS VIRUS OS5 System Exclusive Data MULTI REQUEST GLOBAL REQUEST [message]= [message]= Multi Request Global Request Bank Number 00:Multi Edit buffer; {F0,00,20,33,01,dd,35,F7} 01:Multi Bank Program Number 0..127 TOTAL REQUEST [message]= {F0,00,20,33,01,dd,31,bb,mm,F7} Total Request í {F0,00,20,33,01,dd,36,F7} When bank number 00, the dump destina- tion is the Multi Edit buffer.

• Page 168: Parameter Descriptions

  CHAPTER 13 Appendix í PARAMETER DESCRIPTIONS Class Name Range Value Text PAGE A Bank Select 0..3 Bank A..D Modulation Wheel Breath Controller Contr 3 Foot Controller Portamento Time 0..127 Data Slider Channel Volume 0..127 Balance Contr 9 A 10 Panorama 0..127 -64..0..+63: Left..Center..Right…

• Page 169
  ACCESS VIRUS OS5 Parameter Descriptions Class Name Range Value Text A 27 Osc2 FM Amount 0..127 A 28 Osc2 Sync 0..1 0:Off 1:On A 29 Osc2 Filt Env Amt 0..127 -64..+63 A 30 FM Filt Env Amt 0..127 -64..+63 A 31 Osc2 Keyfollow 0..127…
• Page 170
  CHAPTER 13 Appendix Class Name Range Value Text A 59 Amp Env Attack 0..127 A 60 Amp Env Decay 0..127 A 61 Amp Env Sustain 0..127 A 62 Amp Env Sustain Time 0..127 -64..+63: Fall..Infinite..Rise A 63 Amp Env Release 0…127 A 64 Hold Pedal…
• Page 171
  ACCESS VIRUS OS5 Parameter Descriptions Class Name Range Value Text A 88 Cutoff1 Lfo2 Amount 0..127 -64..+63 A 89 Cutoff2 Lfo2 Amount 0..127 -64..+63 A 90 P a n o r a m a L f o 2 0..127 -64..+63…
• Page 172
  CHAPTER 13 Appendix Class Name Range Value Text A118 a,ms,n Delay Lfo Shape 0..5 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G .. Reverb Damping 0..127 A119 a,ms,n Delay Color 0..127 -64..+63 A122 Keyb Local 0..1 0:Off 1:On A123 All Notes Off…
• Page 173
  ACCESS VIRUS OS5 Parameter Descriptions Class Name Range Value Text PAGE B Arp Mode 0..6 0:Off 1:Up 2:Down 3:Up&Down 4:As- Played 5:Random 6:Chord Arp Pattern Select 0..31 Arp Octave Range 0..3 Arp Hold Enable 0..1 0:Off 1:On Arp Note Length 0..127…
• Page 174
  CHAPTER 13 Appendix Class Name Range Value Text B 34 b,Vb Osc FM Mode 0..12 0:Pos-Tri 1:Tri 2:Wave 3:Noise 4:In L 5:In L+R .. B 35 Osc Init Phase 0..127 0:Off 1..127 B 36 Punch Intensity 0..127 B 38 b,Vb Input Follower Mode 0..9 0:Off 1:In L 2:In L+R …
• Page 175
  ACCESS VIRUS OS5 Parameter Descriptions Class Name Range Value Text B 67 Assign2 Source see Assign Sources List B 68 Assign2 Destination1 see Assign Destinations List B 69 Assign2 Amount1 0..127 -64..+63 B 70 Assign2 Destination2 see Assign Destinations List…
• Page 176
  CHAPTER 13 Appendix Class Name Range Value Text 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 B102 b,Vc Assign 4 Source 0..27 see Assign Sources List B103 b,Vc Assign 4 Destination 0..122 see Assign Destinations List B104…
• Page 177
  ACCESS VIRUS OS5 Parameter Descriptions Class Name Range Value Text Page C m,np Multi Name Char1 32..127 ASCII m,np Multi Name Char2 32..127 ASCII m,np Multi Name Char3 32..127 ASCII m,np Multi Name Char4 32..127 ASCII m,np Multi Name Char5 32..127…
• Page 178
  CHAPTER 13 Appendix Class Name Range Value Text C 69 Keyb Pedal 2 Contr see Keyboard Destination List C 70 Keyb Pressure Sens 0..127 0:Off 1..127 C 72 Part Enable 0..1 0:Off 1:On C 73 Part Midi Volume Ena- 0..1 0:Off 1:On C 74 Part Hold Pedal Enable…
• Page 179
  ACCESS VIRUS OS5 Parameter Descriptions Class Name Range Value Text C115 Soft Knob-2 Midi 0..127 C116 Expert Mode 0..2 0:0ff 1:On 2:All C117 Knob Mode 0..5 0:Off 1:Jump 2:Snap 3:Relative (…) C118 Memory Protect 0..1 0:0ff 1:On 2:Warn C120 Soft Thru 0..1…

• Page 180: Multi Dump Table

  CHAPTER 13 Appendix í MULTI DUMP TABLE NAME RANGE VALUE TEXT 0..3 Internal 4..13 Multi Name Charac- 32..127 ASCII ters 1..10 Internal Multi Clock Tempo 0..127 6 3 . . 1 9 0 Multi Delay Mode 0..1 0:Off 1:On Multi Delay Time 0..127 Multi Delay Feedback 0..127…

• Page 181
  ACCESS VIRUS OS5 Multi Dump Table NAME RANGE VALUE TEXT 128..1 P a r t Detune 0..127 -64..+63 1..16 144..1 P a r t Part Volume 0..127 -64..+63; 0=Unity Gain 1..16 160..1 P a r t Midi Volume Init 0..127 Off, 1..127…

• Page 182: Classes

  CHAPTER 13 Appendix NAME RANGE VALUE TEXT Part State Bitfield: Bit 0 Part Enable 0:Off 1:On Bit 1 Part Midi Volume Ena- 0:Off 1:On Bit 2 Part Hold Pedal Ena- 0:Off 1:On Bit 3 Keyb To Midi 0:Off 1:On Bit 4 Internal Bit 5 Note Steal Priority…

• Page 183
  ACCESS VIRUS OS5 Classes í MS: MULTI/SINGLE PARAMETER W h e n i n The VIRUS can be switched between Multi Single Mode, the parameter is received and Mode and Single Mode by parameter C123 Part stored with the Single Sound.When in Multi Number.

• Page 184: Mod Matrix Sources

  CHAPTER 13 Appendix í MOD MATRIX SOURCES All sources of the SOFT KNOBS-1/2 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…

• Page 185: Mod Matrix Destinations

  ACCESS VIRUS OS5 Mod Matrix Destinations í MOD MATRIX DESTINATIONS All destinations of the Modulation Matrix PatchVol ChannelVol Panorama Transpose Portamento Osc1Shape Osc1PlsWdh Osc1WavSel Osc1Pitch Osc1Keyflw Osc2Shape Osc2PlsWdh Osc2WavSel Osc2Pitch Osc2Detune Osc2FmAmt Osc2EnvAmt FmEnvAmt Osc2Keyflw OscBalance SubOscVol OscMainVol NoiseVol Cutoff…

• Page 186: Soft Knob Destinations

  CHAPTER 13 Appendix í SOFT KNOB DESTINATIONS All destinations of the SOFT KNOBS-1/2 ModWheel Breath Contr3 Foot Data Balance Contr9 Expression Contr12 Contr13 Contr14 Contr15 Contr16 PatchVolume ChannelVolume Panorama Transpose Portamento UnisonDetune UnisonPanSprd UnisonLfoPhase ChorusMix ChorusRate ChorusDepth ChorusDelay ChorusFeedback EffectSend DelayTime(ms) DelayFeedback DelayRate…

• Page 187: Midi Implementation Chart

  ACCESS VIRUS OS5 MIDI Implementation Chart í MIDI IMPLEMENTATION CHART Function Transmitted Recocgnized Remarks Basic Default Channel Changed 1-16 1-16 Default Mode Messages Altered ************ Note 0-127 0-127 Number True Voice ************ 0-127 Velocity Note ON Note OFF After- Key’s Touch Ch‘s…

• Page 188: Fcc Information (U.s.a)

  FCC requirements. Modifications not ex- tailer authorised to distribute this type of prod- pressly approved by ACCESS MUSIC ELEC- uct. TRONICS may void your authority, granted by the FCC, to use this product.

• Page 189: Fcc Information (Canada)

  ACCESS VIRUS OS5 FCC Information (CANADA) í FCC INFORMATION (CANADA) The digital section of this apparatus does not exceed the „Class B“ limits for radio noise em- missions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications.

• Page 190: Declaration Of Conformity

  Hersteller abgegeben: EG-KONFORMITÄTSERKLÄRUNG This declaration has been given responsibly to the manufacturer: Für das folgend bezeichnete Erzeugnis/ For the following named product Access Music Electronics GmbH ACCESS VIRUS SYNTHESIZER Am Stadion 10 45659 Recklinghausen Germany MODEL C / KC / INDIGO Recklinghausen, 1.2.2002…

• Page 191: Garantie Bestimmung

  GARANTIE BESTIMMUNG Ferner müssen folgende Voraussetzungen er- füllt sein: — Das Gerät befindet sich in der Originalverpak- access Music Electronics leistet Garantie für al- kung oder zumindest gleichwertiger Verpak- le nachweisbaren Material- und Fertigungsfeh- kung. ler für eine Dauer von 24 Monaten ab Verkauf oder Aushändigung an den Endverbraucher.

• Page 192: Warranty

  The following stipulations also apply: — Ensure the unit is sent in its original package or one of equal quality. The access music electronics warranty covers all defects in material and workmanship for a — Include a detailed description of the defect period of six months from the date of original and a copy of the purchase receipt.

• Page 193
  Index…
• Page 194
  Index Index CATEGORIES CHANNEL VOLUME CHORUS CHORUS DELAY CHORUS DEPTH ADAPTIVE CONTROL SMOOTHING CHORUS DIR/EFF AFTERTOUCH CHORUS FEEDBACK AMPLIFIER CHORUS RATE AMPLIFIER ENVELOPE CHORUS SHAPE ANALOG BOOST CLOCK RECEIVE ANALOG BOOST INTENSITY CLOCK RX ANALOG BOOST TUNE COMPARE ANALOG INPUTS CONNECTIONS ARPEGGIATOR CUTOFF…
• Page 195
  ACCESS VIRUS OS5 EDIT BUFFER HIGH KEY EDIT MENU HIGH PAGE EFFECT HIGH PASS EFFECT SECTION HOLD PEDAL EFFECT SEND ENVELOPE ENVELOPE FOLLOWER ENVELOPE MODE INPUT ENVELOPE POLARITY INPUT BOOST EQUALIZER INPUT DIRECT THRU EXPRESSION CONTROLLER INPUT GAIN INPUT LEVEL INDICATOR…
• Page 196
  Index LFO TRIGGER OSC DETUNE LFO TRIGGER PHASE OSC FILT ENV -> FM LOCAL OFF OSC FILT ENV -> PITCH LOW KEY OSC FM AMOUNT LOW PAGE OSC FM MODE LOW PASS OSC KEY FOLLOW OSC MODE OSC PHASE INIT OSC SEMITONE OSC SYNC MASTER CLOCK…
• Page 197
  ACCESS VIRUS OS5 PRIORITY SOFT KNOBS PROGRAM CHANGE ENABLE SOFT THRU PULSE WIDTH SOFTWARE UPDATES PUNCH INTENSITY SOUNDDIVER STORE SUB OSC VOLUME SUB OSCILLATOR SURROUND RANDOM AMOUNT SURROUND BALANCE RANDOM PATCH GENERATOR SURROUND SELECT RATEREDUCER SUSTAIN RECTIFIER SYNC RELEASE SYSEX IMPLEMENTATION…
• Page 198
  Index WARRANTY…

ENGLISH VERSION

ACCESS VIRUS C SERIES

USER MANUAL OS5