YOUR FIRST SOUND PROGRAM

If you have never created or changed a sound on a synthesizer, we now have the pleasure of introducing you to this fascinating process. Select the single program C127 - START -. Press any key on the connected keyboard. You should hear a sound that, for lack of better description, is a bit harsh or biting, but above all completely static. It should start immediately after you press a key and sustain indenitely for as long as you hold the key down. As soon as you release the key, the sound should end abruptly. This sound is not designed to be especially pleasant; it is intended to be as neutral as possible to give you a basis from which you can begin creating or shaping your own sound.
LISTENING TO THE MULTI PROGRAMS
The VIRUS not only has the capability of playing SINGLE PROGAMs, but also combinations consisting of more than one sound simultaneously (MIDI Multi Mode). To call up the MULTI PROGRAMs, press the MULTI button and se-
ACCESS VIRUS OS5 The Amplifier Envelope

THE AMPLIFIER ENVELOPE

Long-term exposure to this sound will denitely grate on your nerves, so lets get started with changing it into a signal you might enjoy hearing, beginning with the volume characteristics. Locate the section labeled AMPLIFIER at the bottom right of the control feature panel of the VIRUS. Here you can see four pots labeled ATTACK, DECAY, SUSTAIN and RELEASE, respectively. These controls will help you to dial in volume characteristics called an amplier envelope and put an end to the nerve-racking drone that may remind you of one of those cheesy organs that you hear in 60s B-movie sound tracks. Rotate the ATTACK pot while you repeatedly

AMPLIFIER

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 stored in the sound program and at the right, 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 function. The reason for this is that when you first activate a sound program, it will reflect the programmed value. You have to adjust the control feature before the programmed value is superseded by the value you determine manually.

Continued your experiments with different LFO waveshapes. Note that after a while you no longer consciously hear minimal modulation intensities - depending on the waveshape and modulation target (e.g. S&G +1 on OSC 1 or 2). However they do pep up the sound of 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 simultaneously, these are controlled by dedicated LFOs, each with a slightly varied rate. This effect livens up the sound of chords, especially when they are sustained. To enhance this effect, activate the LFO 1 KEY FOLLOW in the LFO-EDIT-Menu. This function enables you to control the rate of the LFOs via the pitch, or more accurately, via the MIDI note number, so that higher notes generate faster LFO rates. As result, when you press and hold several notes you will hear all kinds of substantially different periodic uctuations. Finally, the LFOs can also be used as additional envelopes. The control feature for this effect is the ENV MODE button. When you press this button, two things occur: For one, the LFO no longer initiates its cycles periodically, but only once at and in sync with the start of a note, and for the other, the active range of the LFO is switched from bipolar (in both directions from the zero position) to unipolar (from zero in one direction only). Please note that this applies to the modulation target but not the modulation intensity. Here you can still determine a value in the entire bipolar range. This effect is especially prominent when used in conjunction with the sawtooth wave, which enables a fade-out type of effect (when you dial in a positive AMOUNT value) or a volume-swell type of effect (negative AMOUNT) for the available modulation targets. Using the LFO Curve
The following 62 waveshapes are identical to the oscillator sections digital waves. These can be used to create interesting rhythmic effects.
ACCESS VIRUS OS5 The MOD Section
parameter located in the LFO EDIT menu, you can have the ramp rise or fall exponentially. If you choose a triangle for your waveshape, the device will generate an ascending phase (attack) and a descending phase (decay). LFO Curve also lets you determine the temporal relationship between attack and decay; in other words, their respective rates. Dial in the desired speed via the RATE pot. 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 determines the amount of time it takes to glide from the previous to the new random value.

38 CHAPTER 4

the DEPTH i.e. modulation intensity of the LFO. Please note that signal paths in the Virus Chorus/Flanger are stereo throughout: The stereo position and any panorama modulation or stereo spread values are preserved in the processed signal.

DELAY/REVERB

DELAY/ REV TIME

FEEDBACK/ DAMPING

The DELAY/REVERB section is responsible for two different effects. The SEND control determines the relative amount of effect signal: The DELAY effect delays the input signal, and is usually used for echoes. The nominal delay time set by the DELAY/REV-TIME control can be modulated so that stereo phasing effects can appear. The delay time can be synchronized to the clock so that echoes will be in time and will automatically adjust to any tempo changes. There are also several xed-pattern delay algorithms, many of which delay the left and right sides differently i.e. using different note values. Interesting rhythmic patterns can be created by increading feedback level (via the FEEDBACK/ DAMPING control). REVERB simulates the effect of the boundaries in real spaces such as living rooms or cathedrals. There are several parameters here which go beyond pure simulation of real spaces. The predelay parameter normally found in reverb units is handled by the DELAY section described above DELAY is in front of REVERB in the signal path. REVERB can be synchronized to the clock so you can seamlessly integrate the effect into the rhythmic context of your music. The DELAY/REV TIME control determines the decay time, and FEEDBACK/DAMPING sets the amount of high frequency damping.

THE ARPEGGIATOR

The ARP section located inconspicuously below the main volume control is the Virus arpeggiator. This section only has an ON/OFF button and an EDIT button (which opens the arpeggiator menu). Arpeggiators break chords into individual notes, which are (usually) played back in succession. However, the Virus arpeggiator offers numerous playback options including rhythmic repetition of the unchanged chord. It is a very intuitive aid for creating original rhythms, melodic sequences, bass lines and much more. Simply switch on the Arpeggiator and try it out! The arpeggiator parameters are explained in the Parameters chapter.

SOUNDDIVER VIRUS

Every Virus which leaves the factory includes a custom version of the software Emagic SoundDiver. This is a powerful tool for managing sounds and controlling all Virus parameters

In MULTI mode, you can choose a mono or stereo audio output in the OUTPUT Select menu independently for every PART. The signal can also be routed to the aux buses that were discussed earlier. In addition, you may also dene a second mono or stereo output in the SECOND OUTPUT menu (under the MAIN EDIT menu). This second output is global, in other words, it applies to all PARTs. Using the SECOND OUTPUT Balance parameter, you can set the levels at which the output signals of the PARTs are routed to this second output individually. In conjunction with the conventional output of the given sound, you end up with a quadraphonic signal that is suitable for Surround applications. Using Panorama (left, right) and the SECOND OUTPUT Balance (front, back), you can create a genuine quadraphonic mix in the VIRUS and automate it via a sequencer. When you opt to use one of the aux buses as a second output, the aux bus can also serve as an FX loop. You can route the aux signal to a PART and have the PART process this signal (via lters, effects etc.) further.

AUX BUSES

The VIRUS is equipped with several analog outputs and inputs. We gured that you might want to connect 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, for example, to have on part lter the other part. You can do this if you like, but the good news is that you dont have to mess with patch cords because the VIRUS gives you internal signal routing options in the form of stereo aux buses (bus is another term for circuit) that let you congure this type of set-up for two or several of these PARTs. The two aux buses appear as virtual outputs in the OUTPUT Select menu and as virtual inputs in the INPUT Select menu. In MULTI mode, the output signal of a PART (or several PARTs) may be routed via OUTPUT Select to one of the two aux buses. In order to make this signal audible, you must select the same aux bus for another PART (or several PARTs) via INPUT Select and set the given SINGLE program to Input mode (Static or Dynam-
ACCESS VIRUS OS5 Additional functions
In contrast to the majority of other effects, the delay/reverb section is not available individually for each PART. Instead, it processes the signals of the PARTs collectively. You can, however, control the intensity of the effect individually for each PART using the respective Effect Send parameter. Consequently, the delay/reverb section has just one signal output, which cannot be distributed to the outputs of the individual PARTs. This is why, for example, the delay effect of a PART that is routed to the pair of outputs labeled OUT 2 will still be audible on OUT 1. This can be desirable yet may also lead to confusion. To encourage the former and prevent the latter, set the Effect Send parameter of the PART to zero when youre using individual outputs. In MULTI mode, the delay/reverb section feature its own OUTPUT Select that is independent of the PARTs.

Controls the resonance (also called lter feedback or Q factor). Depending on the FILT SELECT setting, RESONANCE affects the rst lter, the second lter or both lters.

CUTOFF 2 (OFFSET)

Controls the cutoff frequency of Filter-2. Normally, CUTOFF 2 does not operate absolutely, but relatively to CUTOFF: The cutoff frequency of the second lter is subordinate to the CUTOFF value you determined for the rst lter. However you can use the CUTOFF 2 knob to dial in a relative +/- deviation in frequencies, i.e. a higher or lower frequency (OFFSET). When you set CUTOFF 2 to the center position, both lters have the same CUTOFF frequency. In FILTER EDIT Menu, you can access CUTOFF LINK ON/OFF to sever the link between CUTOFF and CUTOFF 2. In this case the two knobs CUTOFF and CUTOFF 2 are independent cutoff controls for Filters 1 and 2, respectively.
Determines the modulation intensity of the cutoff frequency lter envelope. Depending on the FILT SELECT setting, ENV AMOUNT affects the rst lter, the second lter or both lters. In contrast to virtually all other modulation intensity parameters in the VIRUS, ENV AMOUNT is a unipolar parameter. The polarity of the modulation can be changed individually for each lter via the ENV POLARITY function in the FILTER EDIT menu.

FILTER BALANCE

Has different functions depending on the FILTER ROUTING setting (see appropriate section as well): In the parallel FILTER ROUTING operating modes PAR 4 and SPLIT, it controls the balance of volume levels between the two lters - or in actuality SATURATION and Filter-2.

64 CHAPTER 6

FILT 1 MODE & FILT 2 MODE
Selects the operating mode of the indicated lter: - LP The low pass lter suppresses frequencies higher than the CUTOFF frequency (see appropriate section) and allows the lower frequencies through. - HP The high pass lter works in the opposite manner of the low pass lter: It suppresses the lower frequencies in a signal and lets the higher frequencies pass. - BP The band pass lter suppresses both ends of the tonal spectrum and allows only a narrowly dened bandwidth of the original sound to pass. - BS The band stop lter, band reject lter or notch lter works in the opposite manner of the bandpass lter. It allows all of the frequencies of a signal except for a narrow frequency band around the cutoff to pass. The term notch is fairly descriptive; you might say this lter chops a notch out of the sound spectrum.
SELECT only determines if the knob in question sends its value to the rst lter, second lter or both lters.

FILTER ENVELOPE

Determines the amount of time it takes for the lter 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.

1 FILTERS Routing SER-4

To reiterate the point, the amount of distortion, intensity of the DSP effects, and the cutoff frequencies of the 1- pole lter are controlled via the OSC VOL knob.
Regardless of which FILTER ROUTING option you chose, the SATURATION stage is always post-Filter-1.

KEY FOLLOW FILTER 1/2

Determines the extent to which the lter frequency follows the pitch (Note Number) and the Pitch Bend. Depending on the FILT SELECT setting, KEY FOLLOW affects the rst lter, the second lter or both lters. The function uses C 1 (MIDI Note Number 36) as a neutral starting point or base note: Regardless of the KEY FOLLOW value, the lter frequency is not inuenced

FILTER ROUTING

This feature offers four lter routing options which allow you to operate the lters in series or in parallel: - SER-4 The lters are switched in series; with two poles each (12dB), both lters have the same slope for a total of four lter poles (24dB).
at this pitch. In the FILTER EDIT menu you have the option of freely dening the base note under KEYTRACK BASE.

FILTER-2 CUTOFF LINK

Switches the knob and the parameter CUTOFF 2 (see appropriate section) back and forth between two operating modes: - ON In this mode, CUTOFF 2 operates relatively to the CUTOFF knob value rather than absolutely (OFFSET): The cutoff frequency of the second lter is - like the rst lter - determined by the CUTOFF value. However you can dial in an offset (relative ascending or descending deviation) of the frequency via the CUTOFF 2 knob. At the center position (12 oclock) of CUTOFF 2, the frequencies of the two lters are identical. - OFF Now,the CUTOFF and CUTOFF 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 Filter-1 and 2. CUTOFF LINK pertains exclusively to the CUTOFF 2 knob and the corresponding parameter. CUTOFF 2 has no inuence on the other parameters of the second lter.

1 FILTER 1 Keyfollow

KEYFOLLOW BASE
This feature determines the base note for the lter KEYFOLLOW: When you press the key selected here, the lter frequency you determined manually has priority - i.e. it is not inuenced in any manner - regardless of the KEY FOLLOW setting (see appropriate section) for the lters. As the interval between the KEYFOLLOW BASE value and the keys increases as you move up towards the higher end of the keyboard, the inuence of KEY FOLLOW increases accordingly. KEYFOLLOW BASE affects both lters simultaneously.

1 FILTERS KeyflwBase

FILTER-1/2 ENV POLARITY
Switches back and forth between positive (POS) and negative (NEG) ENV AMOUNTs for Filter-1 (see appropriate section).

1 FILTER-2 CutoffLink

FILTER ENVELOPE SUSTAIN TIME

CLOCK TEMPO in the global clock generator (refer to this section). In this case, the absolute predelay time in milliseconds is ignored.

1 REVERB Clock

REVERB FEEDBACK
Available exclusively for the Rev+Feedb1 and Rev+Feedb2 algorithms, 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 level fades gradually. REVERB COLOR also has an inuence on feedback. The intensity of the ltering effect generated by the low-pass or high-pass lter increases with every repetition. Feedback is subtle when the decay time of the room (REVERB DECAY TIME) is long. The effect will become more prominent when you set a short decay time and a long pre-delay time.

1 REVERB PreDelay

1 REVERB Feedback

REVERB CLOCK

When you set it to OFF, the absolute predelay time is determined in milliseconds. If you select a note value, then the predelay time is set to the value of this note. The absolute length of this note value depends on the value entered to

REVERB OUTPUT SELECT

Here you can select the external or internal output for the REVERB section.

1 REVERB OutSel Out1+2

92 CHAPTER 6

VOCODER

For more information on the Vocoder see The Vocoder of the VIRUS on page 131
Controls the frequency range of ANALOG BOOST.

1 ANALOG BOOST Tune 32

ANALOG BOOST
This effect produces the typical bass response of analog synthesizers. By changing the value of the TUNE parameter, you can boost the middle range or even reduce high frequencies. Applied sparingly, ANALOG BOOST is suitable for almost any type of sound, works well together with the DISTORTION section and can be set to extreme levels if required. Analog Boost is available for each of the 16 possible sounds in Multi mode.

EQUALIZER

The equalizer is used for boosting or cutting bass and/or treble in the signal, as well as for ne adjustment of a denable frequency range (Mid). The low and high controls are realized as single pole shelf lters, whereas the midrange is handled by a two-pole parametric bandpass lter. The equalizer is available seperately for each of the 16 sounds in Multi mode.

1 COMMON Portamento

Transposes the entire SINGLE program by octaves. If your VIRUS is equipped with a built-in keyboard, the selected SINGLE program is not transposed. Instead, the keyboard is transposed globally.

98 CHAPTER 7

(see The VIRUS kc and the indigo on page 126).

1 COMMON Transpose

- LIN Starting from the 0 value, (center position) the pitch bend is linear. In other words, when you bend the pitch up to exactly half the distance of the pitch bends full range, the interval you hear is equivalent to exactly half of the value you set for BEND UP (see paragraph above). - EXP Starting from the 0 value (center position) the pitch bend is exponential - at rst the bend is gradual and as you move further away from the center position, the pitch is bent ever more radically. In this mode you can achieve slight uctuations 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 exponential increase in range.

BEND UP

Determines the interval of the bend when the Pitch Bender is moved upwards to the full extent of its range. Control range: -64 semitones to +63 semitones.

1 COMMON BendUp

1 COMMON BendScale

BEND DOWN

Determines the interval of the bend when the Pitch Bender is moved downwards to the full extent of its range. Control range: -64 semitones to +63 semitones.

SMOOTH MODE

This is an adaptive parameter smoothing mode (Adaptive Control Smoothing). Youll nd a detailed explanation of this parameter in The VIRUS and Sequencers on page 139. You have the following options to chose from:

1 COMMON BendDown

- OFF Adaptive Control Smoothing is disabled and parameter changes are carried out incrementally without smoothing. - ON Adaptive Control Smoothing is enabled and parameter changes are smooth. - AUTO Adaptive Control Smoothing analyzes the characteristics of the incoming in parameter changes and carries out these out either continuously (smoothed) or incrementally.

BEND SCALE

Determines the shape of the curve which in turn determines the effect of the Pitch Bend data. You can chose from:
- NOTE Adaptive Control Smoothing is carried out continuously (smoothed), but jumps in steps when a new note is played.
Slightly detunes the voices involved in UNISON mode.

1 COMMON SmoothMode

1 UNISON Detune

PAN SPREAD

determines how many voices the VIRUS will use to render a played note. In a nutshell, it determines how fat or big the sound will be. When you activate UNISON mode for a sound, it can still be played polyphonically. However, depending on the number of voices youve dialed in, its polyphony will of course be considerably reduced in UNISON mode. The most efcient and the standard setting is UNISON mode = Twin, where two voices are played for every note. In the OFF position, one voice per note is played.

1 PUNCH Intensity

ENVELOPE SUSTAIN TIME
Sets the bipolar time parameter for the amplier envelope. It determines the envelopes response once it reaches the SUSTAIN level (see appropriate section): If the knob is set to the center position (12 oclock) indicated by the
ACCESS VIRUS OS5 Envelope Sustain TimeAnalog Inputs
gate does. If you turn FILTER KEY FOLLOW up, the input signal is ltered by a different lter frequency depending on the key you press. The sound program can still be played polyphonically and you can allocate several different lter frequencies and independent envelopes simultaneously (!) to the input signal via the keyboard. - STATIC Instead of the internal sound sources, an external signal source is routed to the lter section. In contrast to DYNAMIC mode, in STATIC mode one or two voices (depending on the INPUT SELECT setting, see appropriate section) of the VIRUS are activated automatically without you actually playing notes on this PART. The lters and the amplier are switched permanently open, the envelopes are deactivated and incoming notes are ignored. Consequently you can use the lters and the amplier as an effects section for the input signal. - TO EFFECTS The audio signal is routed directly to the effects section of the SINGLE program or the PART. In this mode, the voices of the VIRUS are not used, which means that polyphony remains fully intact. The lter section is unavailable in this mode.
The signal source that you select here is used for both the vocoder and the ring modulator in the effects section. Input - IN L - IN L+R Meaning The left channel of the external dual audio input. Both channels of the exter nal dual audio input (stereo). The right channel of the external dual audio input. The left channel of internal Aux 1. Both channels of internal Aux 1 (stereo). The right channel of internal Aux 1. The left channel of internal Aux 2. Both channels of internal Aux 2 (stereo). The right channel of internal Aux 2.
- IN R - AUX 1 L - AUX 1 L+R - AUX 1 R - AUX 2 L - AUX 2 L+R - AUX 2 R
1 INPUT GLOBAL Mode Dynamic

1 INPUT Select In L+R

INPUT SELECT
Selects the external signal source for the INPUT MODEs.

104 CHAPTER 7

you opt to use one of the aux buses as a second output, the aux bus can also serve as an FX loop. You can route the aux signal to a PART and have the PART process this signal further. If no output has been selected for SECOND OUTPUT Select (Off), the Balance parameter is disabled.

VELOCITY OSC 2 SHAPE

Determines the intensity of the VELOCITY control for the second oscillators SHAPE parameter (see appropriate section).

1 VELOCITY Osc2Shape -10

1 SECOND OUTPUT BALANCE OFF

VELOCITY PULSE WIDTH

Determines the intensity of the VELOCITY control for the pulse width (see appropriate section) of both oscillators.
In addition to the following fixed destinations, any parameter can be controlled via velocity by way of the Modulation Matrix (ASSIGN).
1 VELOCITY PulseWidth +20

VELOCITY FM AMOUNT

Determines the intensity of the VELOCITY control for the frequency modulation.

VELOCITY OSC 1 SHAPE

Determines the intensity of the VELOCITY control for the rst oscillators SHAPE parameter (see appropriate section).

1 VELOCITY FmAmount +32

ACCESS VIRUS OS5 VelocityAnalog Inputs

VELOCITY FILT 1 ENV AMT

Determines the intensity of the VELOCITY control for the modulation of Filter-1s cutoff frequency by the lter envelope.
VELOCITY RESONANCE 2 Determines the intensity of the VELOCITY control for the resonance of Filter-2.
1 VELOCITY Filt1EnvAmt +4

1 VELOCITY Resonance2

VELOCITY VOLUME VELOCITY FILT 2 ENV AMT
Determines the intensity of the VELOCITY control for the modulation of Filter-2s cutoff frequency by the lter envelope.
Determines the intensity of the VELOCITY control for the volume.

1 VELOCITY Osc2Shape -20

1 VELOCITY Volume +20
VELOCITY PANORAMA VELOCITY RESONANCE 1
Determines the intensity of the VELOCITY control for the resonance of Filter-1.
Determines the intensity of the VELOCITY control for the Panorama position.
1 VELOCITY Resonance1 +30

1 VELOCITY Panorama +30

106 CHAPTER 7

SOUND CATEGORY

Every SINGLE sound can be assigned to up to two categories by means of the parameters CATEGORY 1 and CATEGORY 2. For example, you could assign the attributes "Bass" and "Acid" or "Lead" and "Favorite 1" to a given sound. These categories may be changed at any time and can be stored along with the sound. The factory sounds are assigned default categories.

SOFT KNOB MODES

- GLOBAL The knob controls the parameter that you have set to Global in the Soft Knob menu regardless of what the other settings and the selected SINGLE program may be. - SINGLE The knob controls the parameter that you have set to Single in the Soft Knob menu. The setting for this parameter is stored in the SINGLE program and called up whenever you select this program. If, however, you have not selected a parameter for this program (SOFT KNOB Single = OFF), the setting for SOFT KNOB Global is automatically enabled. - MIDICONTRL Here the controller number entered in the SOFt KNOB MIDI menu is sent regardless of what the other settings and the selected SINGLE program may be. Comparable to a small MIDI fader box, this mode is used to control connected MIDI devices. Note that this information is not processed internally in the VIRUS. The setting for the actual SOFT KNOB mode is global. Under normal circumstances, you should set SOFT KNOB mode to Single because this is the most versatile mode. When you select a SINGLE sound whose SOFT KNOB mode is set to Single, this setting is of course enabled. If not, Global SOFT KNOB mode is enabled.

KNOB DISPLAY KNOB MODE

Provides a selection of several knob operating modes which you can activate depending on personal preference or suitability to the tasks you currently dealing with: - OFF All controls except MASTER VOLUME are deactivated. - JUMP Any movement of controls updates the data immediately; the parameter suddenly jumps to the value corresponding to the new position. - SNAP Moving a control has no audible effect until after the original value has been passed through this is useful to prevent sudden changes in the sound while turning a knob. In an active menu, SYSTEM KNOB DISPLAY offers different display option for parameters that have knobs assigned to them: - OFF Knob movements are not displayed; the current contents of the display remain intact when you turn a knob. - SHORT When you turn a knob, the current contents of the lower display line are briey overwritten by data representing the change in parameter value; once the action is completed, the original contents reappear in the lower display line. - LONG Same as SHORT, except that - you guessed it - the display shows the knob data for a longer period of time.

124 CHAPTER 8

- ON The contents of the display are overwritten when you turn a knob; the original menu does not reappear in the display.
- AUX2 Much like when the setting ExtIn is enabled, you can have the two LFO Rate LEDs indicate the signal levels of ve further signal buses. This lets you check visually if a signal is being routed via a given bus and spot overloaded circuits. When you activate this option, the LFO1 LED indicates the left channel and the LFO2 LED indicates the right channel of the selected signal bus. The LEDs will ash rapidly to indicated an overloaded bus. - STEAL The Steal setting indicates if a voice is cut off in the interest of providing the voices required to render a new note whenever the polyphony that VIRUS has been exhausted. If the device is forced to cut a note off, it will select the voice whose signal level has dropped furthest. Considering that a voice fades out over a range of 0 to -144 decibels, but depending on the sonic context the signal fades into the background at -32 to -48 decibels, this process of cutting off fading notes is largely inaudible. The brightness of the LFO Rate LED will uctuate to indicate the volume envelopes current level for the note that the VIRUS is cutting off.

Youll nd a summary of all dump options and an explanation of these in the comprehensive overview of parameters, specically, under the global parameters.
Proceed with extreme caution when youre working with SysEx data! If you send anything other than individual SINGLE sounds or individual MULTIs from the sequencer to the VIRUS, the CORRESPONDING DATA IN THE VIRUS WILL BE IRREVOCABLY OVERWRITTEN! So before you dump, for example, a bank to the VIRUS, you should make a backup of the user banks stored in the VIRUS (the RAM banks) by dumping them to the sequencer, provided of course that you care to preserve the sounds that they contain. Incidentally, it cant hurt to regularly dump all data stored in the VIRUS for backup purposes.

Tips and tricks

148 CHAPTER 12

MULTI SINGLE MODE

In MULTI mode, the EDIT menus are responsible for administering the 16 PARTs. Consequently, you cant access SINGLE program parameters directly here. Beyond that, youre unable to change the SINGLE programs directly, which would admittedly be a handy option when youre working with a sequencer. This is why the VIRUS features MULTI SINGLE mode, which, strictly speaking, is more an alternative view of MULTI mode rather than a further mode in its own right. Activate MULTI SINGLE mode by pressing the MULTI and SINGLE buttons simultaneously. Please bear in mind that MULTI SINGLE mode is really just another view of the normal MULTI mode and that it always works with the MULTI program that is currently selected in normal MULTI mode. When youre working with a sequencer, start with a MULTI program that features neutral settings for its administrative parameters, for example, the MULTI program M0 Sequencer. Here the PART numbers are identical to the MIDI channels of the PARTs. Now when you work in MULTI SINGLE mode, the VIRUS responds as if it were in SINGLE mode, except that you have 16 sounds available simultaneously on 16 MIDI channels. Use the PART buttons to select these sounds

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 pressing the other VALUE button. If you release the rst VALUE button while holding the other down, the parameter is set to its maximum or minimum value.

ENVELOPE FOLLOWER RELEASE (Knob: FILTER DECAY) controls the decay time of the envelope follower. With this parameter, you can determine how swiftly the envelope follower will respond to a decrease in signal level. Higher values let the Follower linger.
ENVELOPE FOLLOWER GAIN (Knob: FILTER SUSTAIN) controls the input level of the envelope follower directly. The nominal value is the center position (64).

152 CHAPTER 12

these spectra can be modulated continuously via envelopes and LFOs. FM and SYNC will of course also work with the 64 digital waveforms.

OSCILLATOR 3

The VIRUS offers a third master 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 signal. When Oscillator 3 is switched on, (i.e. OSCILLATOR 3 mode is not set to the OFF position), the polyphony of the VIRUS decreases by up to six voices, depending on how many voices use the third oscillator in MULTI mode. The second position of OSCILLATOR 3 mode is called SLAVE. Here Oscillator 3 is active, but just like when it is set to the OFF position no further parameters are available and visible. In this operating mode, Oscillator 3 is the "twin" of Oscillator 2. It adds further oscillations, thus making the sound fatter and more animated. Oscillator 2 and 3 are handled collectively using Oscillator 2s control features just as if the two were a single oscillator. All settings that you dial in for Oscillator 2 apply to Oscillator 3, with one exception DETUNE. This parameter runs counter to that of Oscillator 2. You can select the waveshapes individually for Oscillator 3 via the following OSCILLATOR 3 mode options: sawtooth, square (pulse width modulation), sine, triangle and all further spectral waveshapes. You have three further parameters available once you set Oscillator 3 to an individual waveshape. These are explained further below. All other parameters as well as the settings for the oscillator modulations (LFO pulse width modulation and so forth) are dictated by Oscillator 2. This doesnt limit the functionality of the third oscillator by much (if at all), but it certainly facilitates intuitive handling. The FM, Sync and Ring Modulator functions are not available for the third oscillator.
To come up with a fatter sound, you should also dial in the second oscillator (set OSC BALANCE to the center position) and use DETUNE to do just that to its pitch (relative to the rst oscillator). Next to LFO1, LFO3 is also able to generate pulse width modulation. However, unlike LFO1, LFO3s modulation algorithm was tweaked specically to deliver what we consider hip pulse width modulations. Note that LFO3 PWM often delivers smoother results, particular a softer, tighter sound for pads. Another advantage of LFO3 is that it frees up LFO1 so that you can use it for other sonic chores. By the way, KEYFOLLOW should also be activated for LFO3.

VIRUS C SERIES OS 6.5 ADDENDUM IN ENGLISH
1997-2003 Access Music GmbH, Germany. This manual, as well as the software and hardware described in it, is furnished under licence and may be used or copied only in accordance with the terms of such licence. The content of this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Access Music GmbH. Access Music GmbH assumes no responsibility of liability of any errors or inaccuracies that may appear in this book. Except as permitted by such licence, no parts of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of Access Music GmbH. VIRUS is a trademark of Access Music GmbH. All other trademarks contained herein are the property of their respective owners. All features and specications subject to change without notice. Written by Christoph Kemper, Uwe G. Hnig, Wiland Samolak Howard Scarr and Marc Schlaile. Translation by Thomas Green and Howard Scarr. Thanks to Ben Crosland. http://www.access-music.de info@access-music.de
VIRUS C SERIES OS6.5 ADDENDUM
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Content

NEW FEATURES OS6.5
The Analog Filter Algorithmus.. 7 Technical Information and History. 8

NEW FEATURES OS6

Pure Tuning... 9 Shortcuts... 12 New Arpeggiator patterns. 13

NEW FEATURES OS 5.5

Store To Flash.. 15 Sync Xtreme... 16 Copy Delay/Reverb FX.. 16

NEW FEATURES OS5.0

Multi Mode Part Panorama.. 17 Keyboard Velocity Curve.. 17
ACCESS VIRUS C SERIES ADDENDUM
PDF VERSION - RESTRICTIONS APPLY
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New features OS6.5

THE ANALOG FILTER ALGORITHMUS
With the Virus analogue lter you have a choice of 1, 2, 3 or 4 poles - impossible in its analogue counterpart! The number of poles can be selected via the parameter Filter1 Mode, which you will nd in the lter edit menu (press the EDIT button). Filter 2 is not affected it always remains the original 2-pole Virus-lter.

01111111111111111112

can be operated seamlessly together with the second lter. The classic ladder lter had/has 4 poles and therefore a Q-factor of 24 dB/Oct. There are two ways to achieve this in the Virus. Try either of the following:

61111111111111111154

1 FILTER 1 Mode Analog 2P
METHOD 1 Starting with the -Init- program (C126), press lter EDIT and switch Filter 1 Mode over to Analog 2P. Filter 2 is in series, contributing the other two poles. With Cutoff 2 in the centre and Cutoff Link switched on, lter 2 follows lter 1 they appear as a single 4pole ladder lter.
When the analogue lter is activated, the usual Saturation curves are disabled because, like its true analogue forebears, the Virus analogue lter is already capable of saturation. The level of this saturation is controlled via the upper half of OSC VOL also impossible in its analogue counterpart. Analogue lter saturation is not simple clipping before or after the lter, as is sometimes assumed. On the contrary, we have made an implied non-linearity in the entire virtual lter circuit controllable. The fewer poles you select, the more the resulting characteristic overtones are allowed to pass through. The analogue lter is perfectly integrated into the existing Virus lter model and
METHOD 2 Starting with the -Init- program (C126) again, take lter 2 out of the equation, either by turning Cutoff2 all the way up or Filter Balance all the way down. Now press the EDIT button and select the Filter1 Mode Analog 4P. While the analogue lter is active, there is no difference between Serial 6 and Serial 4 modes.
SOUNDDIVER IMPLEMENTATION
The latest version of SoundDiver Virus, which can be downloaded from the Access webiste, supports the new Analog Filter algorithm. After choosing one of the new lter algorithms SoundDiver will offer you the option to initialise corresponding lter parameters. In case you plan to check the new lter with an old sound we recommend you to not choose this option
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since it will alter the lter settings. In case you are working on a new sound initialisation is a good starting point for your own lter settings.

ABOUT POWER CONSUMPTION

Due to its precise simulation of the original hardware it was modelled after, the Analog Filter Algorithmus needs more computing power than the conventional Virus lter. This can result in a lower voice count than the 32 voices. As a thumb rule each voice with Analog Filter activated will count as two voices which is similar to the Oscillator Twin Mode. Voices on other channels which make use of the conventional Virus lter dont need more calculating power.

On the other hand, character and life is very difcult to achieve in the digital domain. The real challenge lies in transforming an analogue circuit into a truly accurate digital model including all the physical effects that can affect the sound. However, once a good model has been developed, the advantages of digital technology comes into its own. You can implement features that would be much too expensive or unreliable if realized using analogue circuitry! The character of an analogue lter is especially noticeable at high resonance and self-oscillation: Self-oscillation intermodulates with the oscillator signal at the lter input. The tonal quality of this intermodulation depends upon the amount of resonance. If two or more oscillators are slightly detuned against each other, the intermodulation gives the resonance a pleasantly rough but rich quality. Slight self-oscillation appears unstable and full of life. Even while the lter is self-oscillating, the resonance control still has an effect on the sound. It ranges from a delicate sinusoidal whistle to a stable waveform rich in overtones. Self-oscillation is available over the entire cutoff range - it is not reduced at higher frequencies. Self-oscillation even continues when there is no signal at the lter input. It starts quite smoothly, rising and falling according to the amount of resonance. The self-oscillation signal is always at a musically sensible level compared with the oscillator signal. The usual drop in total volume at higher resonance is moderate - the lter does not lose power.
TECHNICAL INFORMATION AND HISTORY
The new ladder lter in the Virus is modelled after the legendary Moog lter. Real analogue circuits often have a life of their own, especially when operated close to or beyond their natural limits. The phenomena caused by interaction between a large number of electronic components can become highly complex and uncontrollable. Digital technology is usually 100% controllable, and this has several advantages. For instance, an audio algorithm can be developed from scratch without having to worry about the peculiarities and limitations of analogue electronic components.

New features OS6

PURE TUNING
For centuries we have been playing musical instruments that are out of tune. Ever since the emergence of polyphonic instruments, including all keyboards as well as fretted instruments such as the lute and guitar, tuning has always been a compromise. Several attempts from the 16th-18th centuries to standardise the temperament (tuning) of church organs and virginals helped a little, but they were battling against the mighty laws of physics see the Theory section below. First suggested in 1636, our modern Equal Temperament was only in common use from the late 18th century onwards because it was considered much too much of a compromise at the time. Despite its one advantage (the freedom to play in any key), Equal Temperament simply dilutes the fundamental problem, spreading it across all the notes in the octave. Experienced singers and string players use just intonation they adapt to any keys and modulations (key changes) because they have innitely variable control over pitch. Within certain limits, the pitch of wind instruments can also be varied by adjusting embouchure (lip position/tension). A group of musicians instinctively approaches a common overtone structure, minimizing the friction between all the voices in a chord. This results in the wonderfully rich but compact sound of symphony orchestras or gospel choirs. Unfortunately, realtime intonation was not a feasible proposition for makers of keyboard instrument. Finding a usable method of performing ne adjustments to each and every note seemed physically impossible, especially when playing polyphonically. These days, digital musical instruments can automate this process. The Pure Tuning (aka. Hermode) algorithm analyses chords and immediately adjusts the pitch of each note so that the prominent harmonics line up. Especially for normal synthesizer sounds, the difference between Equal Temperament and Pure Tuning may appear to be rather subtle at rst (though this difference can be accentuated see below): Select the factory preset C126 (-Init-) on your Virus. Turn the Detune value down to 7 to make the phasing between the two oscillators nice and slow. Play a few simple major chords, or just a C-major triad if you prefer, and vary the PureTuning Intensity parameter. At 127, PureTuning is fully on: The chord is well intonated (like a choir) and does not exhibit any beating between notes. This may seem a little unusual at rst, but it sounds perfectly straight and correct after you have familiarized yourself with the effect. Setting PureTuning back to zero (Equal) switches it off again: The chord is beating and, after comparing the two extremes, this original setting sounds equally unusual. The chord now appears to be tuned rather oddly, not quite pure enough, slightly spoiled compared with the maximum setting.

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Astonishingly, this is the very same Equal Temperament we have been hearing all our lives the big compromise! Lets accentuate the effect now: Change the Distortion Intensity parameter (the one in the Effects section, not Filter saturation) to Hard. Distortion in the Effects section is applied to the chord as a whole, blending the sound in the same way a guitar amplier would. Medium range major chords now sound nice and grungy, but when played higher up the keyboard, this grunge becomes rather annoying. Turning up PureTuning causes this unpleasant grunge to disappear entirely because all the notes are perfectly in tune i.e. they have a simple frequency ratio. The root cause of the unpleasant grunge is easy to nd: Turn Pure-Scale down to zero and play middle C together with its fth (G): Sounds clean enough. This is a typical power chord as played by guitarrists with their ampiers at maximum distortion settings. Now add the E to form a major C chord: Theres that dirt again. The major third (E) is obviously way out of tune. Now turn PureTuning slowly up to maximum; you should be able to hear the major third being continuously adjusted downwards until it reaches purity. When playing very high chords with distortion you can hear the lowest common denominator of chords: A subharmonic a low note which is not actually being played. It is the same note as the root of the chord, but two octaves lower. If the sound appears too sterile at maximum PureTuning, this is likely to be because there is always minimum beating between notes. Turn PureTuning down to the central position: Natural. Although tuning is also nominally 100% pure at this setting, the actual pitch of notes is once again subject to the uctuations, the natu-
ral anomalies responsible for a lot of the life in acoustic instruments (as well as true analogue synthesizers). Even if you only play octaves, the Natural setting often causes beating between the notes! This effect is therefore independant of the chord structure, and can/should be accentuated via oscillator Detune (or even Unison mode) to beef up the sound. Thats how the monumental sound of a symphony orchestra arises: the richness of the sound is solely dependant upon the number of musicians (oscillators), not upon harmonic complexity. PureTuning works perfectly for major triads and dominant seventh chords. Due to the physics involved (see below), minor chords are more of a problem they dont sound quite as pure. However, PureTuning is also very effective here because the subharmonics are managed well. Equal-temperament was a radical break from all the other tempered methods, where polyphonic instruments could only be played in a few diatonic modes. Note that Johann Sebastian Bachs The Well-Tempered Clavier is thought to have been based on a variation of Werckmeister 3 tuning. Much more suitable for playing in any key, but not quite the same as Equal Temperament! PureTuning combines classical intonation with the universality of Equal Temperament. Let Pure Tuning inspire you!

THEORY

Interestingly, the feeling of harmony in a major chord is a phenomenon based upon physics, not on psycho-acoustics alone. The notes in a perfectly tuned C-major triad (C, E, G) have exact integer frequency ratios: From E to C is 5:4 (or 1:1.25) and from G to C is 3:2 (1: 1.5). The
same applies to any major chord. It is fairly common knowledge that the frequency ratio of an octave is 2:1 the upper note is exactly double the frequency of the lower one. Assuming a C is exactly 1000 Hz, the E would be 1250 Hz and the G would be 1500 Hz. The next C would be 2000 Hz. Very simple, very nice. Reality isnt quite that simple. We expect more from our (chromatic) keyboard instruments. We demand that the frequency ratio of all semitone steps should be the same, that no particular key has priority over any other. Chords in the key of B or C# should sound just as good as they do in C. The truth is that they actually sound just as bad! Rule Number One: An octave interval should be an octave, it should be exactly double/half the frequency of the reference note. If you take this rule as the basis and work out a constant ratio you can apply to all 12 semitones, you arrive at the 12 th root of 2, i.e. 1.059463. Test this by multiplying this value with itself 12 times, or take a pocket calculator with the power (^) function and tap in 1.059463 ^ 12. The result is exactly 2 (or 1.9999 recurring). A perfect octave. Sounds complicated, but it seems to work so wheres the problem? Lets get back to our C-major chord and work out the frequency ratios using this magic number. The interval C-E is four semitones, which means we should multiply the magic number with itself four times (1.059463 ^ 4). Feel free to try it your Virus is doing this kind of thing all the time :-). The result is 1.2599. Fairly close to 1.25 (see above), but not near enough: It is detuned all of 14 cents (14% of a semitone). A singer with perfect intonation would sing the E exactly 14 cents lower than this!
The interval from C to G is seven semitones: 1.059463 to the power of 7 is 1.4983. Not bad, but not quite the 1.5 me might have expected. This detuning is equivalent to only 2 cents, but still. So thats the big disadvantage of the tempered scale, the standard for all modern (western) keyboard instruments. Why cant the notes simply be tuned correctly instead? Just intonation depends upon the current situation, upon the context: An A-minor triad (A, C, E) also includes the notes E and C like in our C-major chord, but their functions are now Fifth and minor Third (instead of major Third and Root). So the frequency ratio should certainly not be 5:4 (1.25) for them to be perfectly in tune! Is it actually possible to hear the disadvantages of Equal Temperament? Not immediately we have become too accustomed to it throughout our lives. However, we can certainly react to its more unpleasant side-effects: Electric guitarrists avoid playing full chords when using very distorted sounds. Instead, they often limit their playing to the so-called power chords which leave out the Third (so they are neither major nor minor). Attempting to add the Third to a power chord only results in a very rough and muddy sound.

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SHORTCUTS

Shortcuts are SHIFT functions to directly access parameters which are not represented on the panel. Any of the seven local EDIT buttons
Shift Function Part Volume Keyfollow 1/2 Filter envelope time Amplier evelope time Noise color Oscillator 3 volume Master clock tempo Mid EQ Gain Mid EQ Frequency Mid EQ Q-factor FM Mode Saturation type Original function Master Volume Knob [Filter] ENV AMOUNT knob
can be used to enable the shift function by holding it down while tweaking the corresponding knob. The table below shows all combinations.
Remark Only in Multi or Multi/Single mode Not available when vocoder is active
[Filter Envelope] sustain Knob [Amplier Envelope] sustain knob [Mixer] Noise knob [Mixer] Sub OSC knob Soft knob 1 [FX] Delay/Reverb send knob [FX] Delay/Reverb delay knob [FX] Delay/Reverb feedback knob FM Amount knob OSC Volume knob Not available when OSC3 is inactive

ARRANGEMENT DUMP

To trigger an arrangement dump without stepping through the SYSTEm menu, press STORE and SINGLE simmultaneously.

GLOBAL EQ BYPASS

Press [EFX-Edit] or [EFX-Select] plus [Undo] to temporarily enable and disable all equalizers.
ARPEGGIATOR HOLD SINGLE DUMP
To trigger a Single dump in Single Mode, Press STORE and SINGLE simmultaneously. With OS 5.0 build 256 we introduce keyboard shortcuts which will assist you to control even more functions directly from the front panel. Press [ARP Edit] and [ARP On] to toggle the Arpeggiator hold parameter.
JUMP TO NEXT SOUND OF THE SAME CATEGORY
Press [Single-Mode] plus [Part-] or [Part+] to jump to the next or previous sound of the selected category.

NEW ARPEGGIATOR PATTERNS

The 24 new styles can be found from arpeggiator pattern number 41 onwards. They have been created with especially dance musicians in mind. There is a small number of sequences which sound very similar in the rst place. They work great in sync - try to use two of those arpeggiator pattern on two different patches which running in parallel. You might also notice that some patterns contain very short notes. Those dead notes will spice up your music with additional groove elements.

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New features OS 5.5

FUNCTION WISELY. WE TOOK EVERY TECHNICALLY POSSIBLE PRECAUTION TO ENSURE THAT EVEN A POWER FAILURE DURING THE PROCESS OF WRITING WON'T AFFECT THE OPERATING SYSTEM OF THE VIRUS. IN THE UNLIKELY CASE OF PERMANENT DAMAGE TO THE FLASH ROM, THE FLASH ROM HAS TO BE EXCHANGED BY AN AUTHORISED ACCESS DEALER OR SERIVICE FACILITY. THIS IS NOT COVERED BY THE STANDARD WARRANTY.

STORE TO FLASH

This function allows you to write your favourite patches into the patch ROM of the Virus. The actual process is similar to that used to update the operating system. For technical reasons, only complete banks can be written. The Store To Flash function can be found here: SYSTEM>STORE TO FLASH

1 STORE TO FLASH A>C

One of the most effective ways to put your patches into the right order is to use SoundDiver Virus. But before you start, save any precious sounds in banks A and B rst! To do this, you can use SoundDiver: Request either bank by clicking the long button 'Singles Bank A' in the Device window, and then choose Entry>Build Library>Selected Entries. Save the library and repeat for bank B if necessary. Alternatively, go to SYSTEM>MIDI DUMP TX>SingleBank (A or B), set your sequencer into Record mode, and hit the STORE button. To prepare your custom banks in SoundDiver, open a library and the Device window. Shrink the windows so that both can t on the same screen, with the Library window on the left. Now you can drag and drop any of the patches onto a specic patch location in banks A or B. When the dialog opens, click on 'Store'. The patch will then be transmitted to the equivalent location in the Virus' RAM. If you like, you can drag and drop multiple patches in one go, or if
A>C, A>D, A>E, A>F, A>G, A>H and B>C, B>D, B>E, B>F, B>G, B>H indicate which RAM bank will be written into which segment of the Virus patch ROM. A>C means, for instance, that the RAM bank A will be written to ROM bank C. Hit the [STORE] button and conrm the safety alert message to write the chosen bank.
New ROM-Bank? [VAL+]execute!
WARNING: DESPITE THE FACT THAT THE MANUFACTURER OF THE FLASH ROMS GUARANTEE THOUSANDS OF WRITE CYCLES, WE RECOMMEND YOU USE THIS
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you wish to do an entire library of 128 patches at once, choose 'Select All' from the Edit menu and make sure that you position the rst patch over location 000 in the relevant bank. Once you have compiled banks A and B to your liking, use Store To Flash to write them to your least favourite ROM banks :-) All that's left to do, is to load your old sounds back into banks A and B, should you wish to do so. Either play the sequence containing the Midi dump, or open the library you saved earlier, Select All, and then drag and drop to the relevant bank in the Device window.

COPY DELAY/REVERB FX

Copies the delay or reverb settings from a single patch into the current multi patch. The function is located in the Delay/Reverb edit menu.
Copy SingleDelay multi [STORE]
To perform a copy, switch to single mode and recall the patch which contains the delay/reverb setting you wish to use within the multi patch. Next switch back to the multimode, select the copy function and press [STORE] to proceed. The same procedure works in multi/single mode.

SYNC XTREME

Is Access new clock engine technology. Sync Xtreme locks much faster to an incoming MIDI clock and all parameters including the delays follow tempo changes dynamically. Sync Xtreme is based on LTB (Linear Time Base), a new technology products like Steinbergs Midex-8 multi port interface also benet from.

New features OS5.0

KEYBOARD VELOCITY CURVE
Keyboard Velocity curve adjusts the velocity response of the Virus keyboard to your personal preferences. Negative values atten the velocity response, positive values create a more sensible reaction. Linear (value=0) is how the Virus keyboad was set to before. The parameter is located in the Global menu. OFF The multi part is using the panorama setting of the single patch.

MULTI MODE PART PANORAMA

Each of the 16 multimode slots has a dedicated panorama setting. This setting controls the position of the sound in the stereo eld. It works as overlay parameter to the single patch panorama setting. Once you enable PartPan in the Multi Edit menu, the panorama setting of the patch is being disabled.
-63. 64 The single patchs panorama setting is disabled and this value is being used instead.
1 KEYB VELOCITY Curve +10
1 A1 Proto-EPSV PartPan +1
Active Multimode panorama settings disable dynamic panorama changes by e.g. the modualtion matrix.
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