LFOs can run independently or in sync. A number of keyboard trigger options enable you start LFO waveshapes with variable phase lengths at the beginning of a note and/or to cycle once only, like an envelope. Next to the numerous hard-wired or xed modulation congurations, you can assign three modulation sources to up to nine different modulation destinations via the Modulation Matrix. For your modulation sources, you have LFOs, velocity, the pitch bender, aftertouch, the modulation wheel, numerous MIDI controllers and other sources to chose from. For your modulation destinations, you can select any sound parameter of the VIRUS that is conducive to being remote controlled. Up to 16 arpeggiators are available in MULTI mode. These give you countless options for creating arpeggios, which can also be synced up to MIDI clock. Sounds and effects are patched out via six audio outputs which of course can also be used to route three stereo signals out. In additional to its killer sounds and tone, the VIRUS was designed to deliver ultimate handling and control comfort. It is equipped with dedicated knobs and buttons for the crucial synthesizer functions, further parameters are accessible via data entry procedures. We distinguished between these two levels of expertise to enable you to create complex sounds while keeping the user interface as clear and uncluttered as possible. In all modesty, we are especially proud of a feature we developed called Adaptive Parameter Smoothing. For the rst time in the history of synthesizers equipped with memories, you can manipulate a knob or control feature without an audible step or increment. In other words, the sound does not change abruptly but SEAMLESSLY. No more zipper noises! The VIRUS re-
sponds just as smoothly as analog synthesizers did prior to the introduction of digital sound storage And users of contemporary software sequencers will appreciate the fact that the VIRUS sends all sound shaping commands immediately in the form of MIDI Controller or Poly Pressure data (and of course accepts all of the corresponding Controller and SysEx messages). This feature lets you dynamically control the VIRUS and all its functions via computer. Although far from complete, the features listed above give you some indication that you now own an exceptionally versatile, high-quality musical instrument that will give you plenty of joy for years to come. We certainly hope you can fully exploit the enormous potential of this ne instrument. Have fun and enjoy! Your VIRUS Development Team By the way: a rack mounting kit is optionally available for the Virus C. Feel free to get in touch with your local authorized dealer for more info. Many thanks to: Ben Crosland, Maik Fliege, Thomas Green, Axel Hartmann, Uwe G. Hnig, Jrg Httner, Timo Kaluza, Oliver Kser, Andrea Mason, Thorsten Matuschowski, Jrg Meiner, Paul Nagel, Kai Niggemann, Rob Papen, Matt Picone, Wieland Samolak, Daniela Sauerbier, Howard Scarr, Hans-Jrg Schefer, Shehryar Lasi, Jenny Simon, Matt Skags, Joeri Vankeirsbilck, Jay Vaughan, Jens Wegerhoff and Daniel Wewer.

ACCESS VIRUS OS5 The Virus

MASTER VOLUME

Controls the overall volume of the VIRUS. This control determines the volume of the signal pair piped through Output 1 before it is converted into an analog signal. This means that under normal circumstances, you should turn Master Volume all they way up because you of course want the VIRUS to deliver the most dynamic signal possible.
and so on, simply use the PARAMETER/BANK buttons to step from one program bank to another. Youll nd that some sound programs are labeled with the abbreviations INP or VOC. These use the external audio input as a signal source for the lter section (INP) or vocoder (VOC). This means that you wont hear anything until you route an audio signal into the external audio inputs.
LISTENING TO THE FACTORY SOUNDS
The program memory of the VIRUS was loaded with sound programs (SINGLE PROGRAMs) and sound combinations (MULTI PROGRAMs) before it left the factory. To hear the SINGLE PROGRAMs (and gain an initial impression of the possibilities your new instrument has to offer in terms of sounds), rst make sure your MIDI source is sending on MIDI Channel 1. Press the SINGLE button. A number, a letter, number and name appear in the display. These indicate the the MIDI Channel, the current Program Bank (A to D or A to H) as well as the number and name of the current sound program.

MULTISINGLE UNDO

STORE MULTI SINGLE

SOFT KNOB 1

Tip: You can trigger a note on the Virus by
pressing both the EDIT and SYNC buttons in the OSCILLATORS section at the same time this is the AUDITION function, which is especially useful for auditioning sounds when there is no keyboard connected to the Virus.
Now if you play notes you should be able to hear this sound and a note (the round dot at
the end of the note staff is solid black) should appear in the display every time you press a key and release a key. If you do not hear a sound but you see a half note (blank note head) check to see if you are sending on the wrong MIDI Channel.
Call up each of the 128 programs in Bank A in turn. You can do this either with the VALUE keys (which simply increment/decrement the program number), or by holding down the MULTI key and scrolling through programs with the VALUE knob. To try out all the other sounds in banks B to H, simply switch banks with the PARAMETER/BANK buttons.

Press the VALUE button to call up the 128 single programs of Bank A in sequence. (The VALUE pot is inactive in this operating mode.) In order to hear the sound programs in banks B, C

16 CHAPTER 4

SOUND CATEGORIES
To help you nd the type of SINGLE sound you are looking for more quickly, the Virus operating system lets you dene so-called categories and save this information together with each of your SINGLE sounds. Available categories are: Off, Lead, Bass, Pad, Decay, Pluck, Acid, Classic, Arpeggiator, Effects, Drums, Percussion, Inp u t , Vo c o d e r, F a v o u r i t e 1 , F a v o u r i t e 2 , Favourite3 Each SINGLE sound can belong to two categories at the same time. Of course the categories of all the presets in Banks C to H are xed, but for sounds in the RAM Banks (A and B) they can be dened and saved together with the program. To search for sounds in a specic category (in SINGLE or MULTI-SINGLE mode): Press and hold the SINGLE button. This causes the currently selected category to appear in the display, and it can be changed by stepping up or down with the Parameter buttons. Having found the category you want, do not release the SINGLE button and scroll through the sounds using the Value buttons. Release the SINGLE button when you have found what you are looking for. SINGLE sounds which do not belong to the currently selected category are simply skipped over.
lect these combination programs via the VALUE button. The VIRUS features only 128 MULTI PROGRAMs, so you dont have to switch back and forth between banks they way you just did while activating single programs. The majority of available MULTI PROGRAMs contain sound combinations that are controlled via a single MIDI channel. In these MULTI PROGRAMs, the sounds involved are allocated side-by-side (split) or on top of one another (layered) on the keyboard. In other MULTI PROGRAMs, the sounds are divided up over several MIDI channels to make it easier to work with a sequencer. If you activate a MULTI PROGRAM and hear a single sound only, then you can control this MULTI PROGRAM via several channels.

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.

Modulate these ve parameters separately and in combinations with different intensities. Try to anticipate the sound you will come up with when you modulate the rst oscillator, the second oscillator or both oscillators at once and see if the results match your expectations. If you can fairly reliably predict the outcome of your sound-shaping efforts, you should have a handle on the information discussed thus far and can use your knowledge to create specic sounds you have in mind. During the course of your experiments, it is entirely possible that you have generated modulations that have no effect whatsoever on the sound, for instance if you modulate the frequency of Oscillator 2 although it is dialed out

32 CHAPTER 4

of the oscillator mix. When you run into this type of problem, check out the signal routing, if any congurations conict with each other and memorize the situation, problem and solution. If you make a habit out of this, you wont panic when you run into similar situations; instead youll keep your cool, analyze the unexpected sound and x the mix. You are currently using a triangle as the LFO waveshape. You shouldnt have any problem associating the periodic up and down uctuation of the target parameter with this waveshape. Now activate the other available waveshapes for LFO 1 and try to picture the respective waveshape and associate it with the results of the modulation. The third waveshape is a descending sawtooth wave. You can convert it into to an ascending sawtooth by simply dialing in the requisite negative modulation intensities (AMOUNT). In the WAVE setting, you have access to 64 LFO waveshapes. Select these in the display section using the VALUE buttons: - S&H (Sample and Hold) is a structured random modulation. Here random modulation values are generated. The value is held until the next beat impulse, then it abruptly jumps to a new random value. - S&G (Sample and Glide) is a continual random modulation. Here the random values glide seamlessly into one another, the rate of which is determined by random modulation of the RATE value.
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

where two voices are played for every note. In the OFF position, one voice per note is played.

1 UNISON Mode

UNISON mode determines how many voices the VIRUS will use to render a played note. In a nutshell, it determines how fat the sound will be. You can use the UNISON Detune parameter to determine to which extent the active voices are detuned. UNISON PanSpread distributes them uniformly across the stereo panorama, a process by which you can also determine the width of a sounds stereo base. 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,

36 CHAPTER 4

THE EFFECTS
At the bottom left of the panel is the effects section, divided into an EFFECTS and a DELAY/ REVERB block. This gives you access to Distortion, Phaser and Chorus effects as well as Delay and Reverb. The TYPE/MIX and INTENSITY knobs in the EFFECTS block are used to control the distortion, phaser and chorus effects. They always apply to one of the three simultaneous effects only, selectable via the Select button. The following parameters can be controlled using these two knobs:
Reverb decay; FEEDBACK/DAMPING determines the degree of feedback in the Delay signal, or high frequency damping for the Reverb. If Delay or Reverb are synchronized to the clock, DELAY/REV TIME controls the time expressed as a note value (1/16, 1/8, etc.). In the next section we are going to take a closer look at the Virus effects.

EFFECTS

DIST PHA CHO EDIT SELECT

TYPE/ MIX

INTENSITY
Distortion-Effekt: TYPE/MIX INTENSITY Phaser-Effekt TYPE/MIX INTENSITY Chorus-Effekt: TYPE/MIX INTENSITY Chorus Mix Depth Phaser Mix Feedback Distortion Curve Distortion Intensity

DISTORTION

The Distortion effect is actually a collection of several different algorithms, which are selectable via the TYPE/MIX control: - OFF No distortion - LIGHT, SOFT, MIDDLE, HARD Four analog distortion curves, with differing characteristics and intensities. - DIGITAL Digital distortion with hard clipping. Shaper. Sine characteristic with multiple wave cycles. Signals sent through the Shaper can be changed quite drastically; the results are often similar to the spectra of linear FM (frequency modulation). - RECTIFIER Variable half-wave rectication; input level does not affect the amount of distortion. - BITREDUCER Variable reduction of the bit depth; generates digital quantization noise.

KNOB MODES

For all knobs with the exception of MASTER VOLUME, you can select from four operating modes in the SYSTEM menu. These are located under the menu item KNOB MODE: - OFF The knobs are inactive. - JUMP In Jump Mode, the parameter jumps directly and absolutely to the value determined by the current position of the knob. - SNAP When you adjust a knob In Snap Mode, the original setting determines the value until the point where the movement of the knob passes beyond this position. In other words, the parameter does not jump to the value as in JUMP Mode. However, keep in mind that your adjustments have no effect on the parameter until the knob snaps on at the position equivalent to the original value. In SNAP mode, an -symbol appears to the right of the number. It indicates in which direction the VALUE knob must be turned to exceed the current parameter value.

1 SYSTEM KnobMode

DISPLAY OF VALUES
When a menu is active, different display options are available for parameters with a dedicated knob. These can be selected under the menu item KNOB DISPLAY in the SYSTEM menu:
ACCESS VIRUS OS5 All about the memory
- OFF Knob movements are not displayed; the current contents of the display remain intact when you turn a knob. - ON The lower row of the display is being overwritten by the parameter's value. - 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. - ON The contents of the display are overwritten when you turn a knob; the original menu does not reappear in the display.
The STORE process is always the same regardless of the operating mode: Press STORE. You then gain access to the STORE menu. There you can use the PARAMETER buttons to move among the individual letters in the lower name entry line and the number of the destined memory location as well as the bank number in the upper line. Use the VALUE button to make entries. The term in the upper display line indicates the name of the memory location which you will overwrite when you store the program. Once all of the entries correspond to the data you have in mind, press STORE again to conclude the process and return to the previously active operating mode of the VIRUS. If for whatever reason you change your mind and want to cancel the operation, simply press SINGLE or MULTI to return to the previous operating mode without storing the program.

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 between the voices. - TO EFFECTS An alternative to INPUT Static mode, here the audio signal is routed directly to the effects section of the SINGLE program or PART. This mode doesnt use the voices of the VIRUS, which means that its polyphonic performance remains fully intact and available. The lter section is unavailable in this mode.

1 INPUT Mode Dynamic

OSC VOLUME / INPUT
When one of the two INPUT modes is activated, the OSC VOL knob rather than the oscillators controls the level of the INPUT signal in front of the Filter section and of course also the gain of the SATURATION stage. In INPUT Dynamic mode, the level increases quite rapidly when you play several voices polyphonically. The reason for this is that in contrast to when youre dealing with several oscillator signals the voices are correlated because they are receiving an identical input signal. In the event that the VIRUS generates distortion when youre dealing with this type of signal routing set-up, be sure to back off the input level a tad via the OSC VOL knob.

INPUT LEVEL INDICATOR

Alternatively, the RATE LEDs of LFO 1 and 2/3 can also serve as level indicators for the left and right external audio inputs. The VIRUS automat-

54 CHAPTER 5

ically switches to this level indicator mode when the selected SINGLE program accesses the external audio inputs. The LEDs will ash rapidly to indicate that the inputs are being overloaded. You should dial in the proper level on the device that is sending the analog signals. The reason for that you want to feed the highest possible clean signal level to the analog-to-digital converters of the VIRUS so that they will deliver the best possible performance.
ic). You can then process the signal patched in to this PART via the aux bus exactly the same way you would process conventional analog signals routed in via the external input. There is, however, a simpler option than this relatively involved processed of connecting PARTs directly to one another: You can also use one of the aux buses as a second output for the PART. Well look at this function a little later in the section SECOND OUTPUT.

THE AUDIO OUTPUTS

INTERNAL AUDIO ROUTING
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.

- SER-6 The lters are switched in series; Filter-1 has four poles (24dB), Filter-2 has two poles (12dB) so the overall slope is equivalent to six poles (36dB). - PAR-4 The lters are switched in parallel and feature two poles each (12dB). - SPLIT The lters are switched in parallel and feature two poles each (12dB). Additionally, they receive independent input signal s (more on this later). The stereo position of the signals can also be manipulated via the paramet e r T W I N M O D E PA N S P R E A D ( s e e appropriate section) in the EDIT menu.

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 LFO2 Clock

LFO-2 CLOCK
When you set it to OFF, the LFO oscillates in the normal manner, independently of the global Master Clock (CLOCK TEMPO). When you enter a note value here, the LFO rate is synced up to the global master clock. The length of the waveshapes cycle will then correspond to the note value that you have entered. You can also set the rate via CLOCK TEMPO (refer to the appropriate section) or synchronize it to external

1 LFO1 Keyfollow

MIDI clock. When the LFO is synced up to the master clock, you can also select the desired note value via the LFO RATE knob.

LFO-2TRIGGER PHASE

LFO-2 CONTOUR

1 LFO2 TrigPhase

1 LFO 2 Contour

LFO-2 KEY FOLLOW

- SINE Contour morphs from sine to a triangle wave (Contour to the left) or to a square wave (Contour to the right). - TRIANGLE Contour morphs from a triangle to a declining (Contour to the left) or ascending sawtooth (Contour to the right). - SAWTOOTH Contour morphs from a linear declining sawtooth or decay to any exponentially declining decay(Contour to the left) or to a square (Contour to the right). - SQUARE Contour modulates the pulse width of the square wave. - WAVES Contour zooms into the wave, thereby shortening the waves loop length (Contour to the right).

1 LFO2 Keyfollow

76 CHAPTER 6

LFO-3 FADE IN

This parameter lets you automatically initiate a delayed fade-in the LFO3 modulation that you set up via OSC AMOUNT (see the section above). FADE IN controls the overall delay and fade-in time.
- SINGLE In polyphonic mode, all voices are assigned the same LFO.

LFO-3 KEY FOLLOW

1 LFO3 FadeIn

LFO-3 CLOCK

1 LFO3 Keyfollow
Selecting MOD in the LFOs/MOD section (using the SELECT button) gives you acces to the Virus modulation matrix. This consists of six socalled ASSIGNS, represented by the row of LEDs at the bottom right of this section. You can then use the AMOUNT button to scroll down through the ASSIGNS. If you hold down the EDIT button at the same time, the destinations are scrolled in the opposite direction. The six ASSIGN options let you control up to nine modulation destinations via up to six modulation sources. Simply go to ASSIGN, select one of the modulation sources (SOURCE) and one or several modulation destinations (DESTINATION). Each of these congurations features a parameter that determines modulation intensity (AMOUNT). ASSIGN 1 can control one modulation destination, ASSIGN 2 can control two and ASSIGN 3 can control three modulation destinations, each with independent AMOUNTs. The ASSIGN 4-6 control one destination at the time. If the modulation intensity for the selected destination is not 0, its LED stays lit after you quit the menu.

Heres a rundown on the various DISTORTION modes: - OFF The signal is not processed.
ACCESS VIRUS OS5 Chorus (Panel)Filter Envelope
The Effects section of the VIRUS features a further distortion module called SATURATION. Its design is identical to that of the DISTORTION module discussed here, except for one major difference: whereas SATURATION affects each voice separately, DISTORTION processes all voices collectively in the effects section. This makes a huge difference in tone.
The LFO modulates the left and right sides of the Chorus signal antiphase, which generates a true stereo effect.

1 CHORUS Depth

CHORUS (PANEL)

CHORUS (EDIT MENU)

DIR/EFF
Controls the balance of volume levels between the direct signal and the Chorus signal: At a value of 0, only the direct signal is audible, at a value of 127, only the Chorus output signal is audible. The values between these two extremes determine the mix of the two signals. The pure chorus signal is created by a delay (CHORUS delay) and a pitch modulation of the chorus on-board LFOs (CHORUS Rate and Depth). Not until the direct or dry signal (CHORUS Dir/Eff) is mixed to the wet signal is the typical chorus effect generated.
Determines the speed of the Chorus LFO.

1 CHORUS Rate

Controls the delay time of the Chorus.
Controls the intensity of the delay modulation by the LFO.

1 CHORUS Delay

84 CHAPTER 6

FEEDBACK

Controls the amount of feedback in the Chorus. On the chorus, FEEDBACK lets you boost specic frequencies in the delayed signal to create a anger effect. The FEEDBACK parameter is bipolar; positive or negative feedback values let you dial in different anger characteristics.
The pure phaser signal is generated by frequency-dependent phase shifting (PHASER Frequency) and pitch modulation of the phasers own LFOs (PHASER Rate and Depth). Not until the direct or dry signal (PHASER Dir/Eff) is mixed to the wet effects signal is the typical phaser effect generated.

1 CHORUS Feedback

Controls the amount of feedback in the Phaser. On the phaser, FEEDBACK lets you boost specic frequencies in the phase-shifted signal. The FEEDBACK parameter is bipolar; positive or negative feedback values let you dial in different phaser characteristics.
Determines the waveshape of the chorus LFO. You can select from among 68 waveshapes (just like for the main LFOs).

continue to run through their phases when you play other notes (Single Trigger mode); Portamento is only active when you play legato. - HOLD The sound can be played polyphonically. However, the played notes are held by a virtual hold pedal even after you release the keys. Not until you release all keys and press a new key are the notes that were held up to this point released.

1 COMMON Panorama

KEY MODE
Determines how a sound responds to the notes being played. You can chose from: - POLY The sound is played polyphonically. - MONO 1 (Multi-Trigger): The sound is played monophonically. When you play in a smooth, even style (legato) the envelopes are restarted every time you play a note (Multi Trigger mode); Portamento is always active. - MONO 2 (Multi-Trigger; Legato-Glide): The sound is played monophonically; when you play in a smooth, even style (legato) the envelopes are restarted every time you play a note (Multi Trigger mode); Portamento is only active when you play legato. - MONO 3 (Single-Trigger): The sound is played monophonically; when you play in a smooth, even style (legato) the envelopes are restarted at the rst note only and continue to run through their phases when you play other notes (Single Trigger mode); Portamento is always active. - MONO 4 (Single-Trigger; Legato-Glide): The sound is played monophonically; when you play in a smooth, even style (legato) the envelopes are restarted at the rst note only and

1 COMMON KeyMode

PORTAMENTO
Determines the amount of time it takes for the pitch to glide from the current note to the next note played. PORTAMENTO is a signicant feature of KEY MODE (see paragraph above); the two are closely related.

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.

Once you have selected the desired data type, the dump is initiated via STORE.
1 MIDI DUMP TX SingleBank A

MIDI DUMP RX

If you want to send MIDI data to the VIRUS, you dont have to log in rst. The VIRUS automatically accepts incoming data via its MIDI In port. However, you can determine where the data of a complete incoming bank is stored. In contrast, single sound are always rst dumped in the Edit buffer; you have to manually store them somewhere else, otherwise they are deleted by the next program change. - DISABLE Incoming data via MIDI IN is ignored. - ENABLE Bank data is re-loaded to the bank from which they were originally dumped, regardless of which bank is currently selected. - FORCE TO BANK A Bank data is loaded to Bank A exclusively. - FORCE TO BANK B Bank data is loaded to Bank B exclusively - FORCE TO EDIT BUFFER Loads the single programs of the bank to the Edit buffer one by one, whereby the each preceding single sound is deleted by the one following it. This function treats a bank dump as a succession of single sounds and comes in handy when you want to search an unfamiliar bank or load single sounds without having to load the entire bank.
- VERIFY Compares an incoming MIDI dump to the memory content of the VIRUS. It checks if a dump was recorded properly on the sequencer and if it can be played back correctly. Load data from the sequencer into the VIRUS while Verify is enabled. The VIRUS display will indicate if the device is actually receiving data and it will call your attention to any transmission errors that may occur. Data stored in the VIRUS remains unaffected by this operation.
- INT+MIDI All types of control operations are sent directly to the VIRUS sound generation components and simultaneously to MIDI Out. - MIDI All types of control operations are sent exclusively to MIDI-Out, the internal signal path is severed. This position is equivalent to the classic Local Off function for the user interface.
1 MIDI DUMP RX ForceToBankA

1 MIDI Panel Int+Midi

MIDI SOFT THRU GLOBAL CHANNEL
Selects the MIDI channels for SINGLE MODE and the program switching option for entire MULTI PROGRAMs in MULTI MODE. In MULTI SINGLE MODE, the MULTI MODE switching option is locked (permanently deactivated). The number in the upper left of the display shows the MIDI Global Channel in Single Mode and the current Partnumber if the VIRUS is in MULTI MODE or MULTI SINGLE MODE.
Soft Thru forwards all MIDI data the VIRUS receives from the MIDI input to the MIDI output socket. The MIDI data the VIRUS generates itself are being mixed in.

1 MIDI SoftThru

During a bulk dump, the VIRUS sends MIDI SysEx data to the computer. If you encounter problems while recording a bulk dump, please check if your sequencer refuses to accept SysEx data due to one-sided filtering. You can check whether or not anything was recorded by taking a look at the Event or List editor of your sequencer. In this editor, MIDI data is displayed numerically instead of graphically; in a normal Note editor (Key Edit, Matrix Edit or the like) SysEx data is NOT visible. Once youve successfully recorded a dump, look for entries in the list that are labeled SysEx.
The VIRUS lets you to send the entire memory content or just parts thereof to the sequencer. The most reliable solution is to transfer the entire memory (MIDI DUMP RX: Total). There is, however, a catch: Since a great deal of data is being transmitted (Total, after all, means all SINGLE programs, all MULTIs, and so forth), the dump is very extensive and takes quite some time. Alternatively, you can also send just individual sounds, MULTIs or so-called arrangements. The other truly reliable option for archiving sounds is dumping an arrangement (MIDI DUMP RX: Arrangement). In this case, the current MULTI is transmitted. Since a MULTI contains the addresses of SINGLE sounds used in

146 CHAPTER 11

the arrangement rather than the actual SINGLEs, the sounds of all active PARTs are sent separately (for more info on this, see the section on MULTIMODE). This option is convenient and fast, but has an inherent drawback: this type of arrangement dump does not take into account that your song uses program change messages to change sounds in the MULTI. Only the eight sounds to which the MULTI refers in the arrangement are sent, which is to be expected when you consider that the VIRUS cant anticipate that you intend to change these at some point during playback. Dumping an arrangement is a great option when youre able to make do with the sixteen sounds to which the MULTI refers. If you want to or are compelled to change sounds, you should record the entire memory content to the sequencer. Sending individual MULTIs for the purpose of archiving sounds is pointless because they dont contain the actual sounds. Sending individual sounds, in turn, is only a viable proposition if you are operating the VIRUS in SINGLE mode and have opted not to use program change messages in the song.
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.

- Wenn nun der VIRUS 2 angekabelt und eingeschaltet ist, drcken Sie zum Start beim VIRUS 1 die Taste [Value +].
- Das Betriebssystem wird nun in den VIRUS 2 bertragen. Dies wird bei beiden Gerten durch hochlaufende Zahlen angezeigt.
- Nach Ende der bertragung drcken Sie bitte [Store] am VIRUS 2, die Software wird nun ins Flash-Rom gebrannt.

BETRIEBSSYSTEM UPDATES

Access ist bekannt fr kostenlose Betriebssystem Updates. Laden Sie sich das neueste Software Update einfach aus dem Internet. Vielleicht suchen Sie nach zustzlichen VIRUS Sounds? In beiden Fllen sind Sie hier an der richtigen Adresse: http://www.access-music.de
DIREKTES BERSPIELEN DES BETRIEBSSYSTEMS
Das direkte berspielen des Betriebsystems von einem VIRUS zu einem zweiten VIRUS - Verbinden Sie den sendenden VIRUS (VIRUS 1) ber den MIDI-Out-Port mit dem empfangenden VIRUS (VIRUS 2) am Midi-InPort.
- Schalten Sie den VIRUS 1 ein, whrend Sie die [Store]-Taste gedrckt halten. Das Display zeigt dann SYSTEM UPDATE.
SYSTEM UPDATE [STORE] Receive

Appendix

166 KAPITEL 13

SYSTEM EXCLUSIVE DATA

VIRUS MIDI SYSTEM EXCLUSIVE IMPLEMENTATION
The Parameters of the VIRUS are organized in three so-called pages A, B and C. Each page contains 128 parameters, addressed by numbers from 0 to 127. Each parameter is represented by one byte with a maximum value of 127. All parameters are individually accessible by SysEx-Parameterchange. The pages A and B represent a Single-Program, thus a Single-Program contains 256 Bytes. Page A (LowPage) contains Single parameters that are usefull for MIDI automation. The parameters of this page are additionally controllable by MIDI Control Change. The sending and reception of MIDI Control Change can be enabled or disabled by MIDI CONTROL LowPage (SYSTEM menu). When disabled (LowPage=SysEx), the VIRUS only sends and receives SysEx Parameter Change on Page A. When enabled (LowPage=Contr), the VIRUS sends MIDI Control Change on parameter movement, and receives both MIDI Control Change and SysEx-Parameterchange on Page A.
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 parameter movements, and receives both MIDI Poly Pressure and SysEx Parameter Change on Page B. This feature should not be used in connection with a keyboard that sends Polyphonic Pressure.
The default setting is HiPage=SysEx.
Page C contains Multi parameters and Global parameters. These parameters are sent and received only by SysEx Parameter Change. In the following, all bytes are shown in hexadecimal representation.
The default setting is LowPage=Contr.
The remaining Single parameters in Page B (HiPage) are additionally controllable by MIDI Polyphonic Pressure (!). The send and reception of MIDI Poly Pressure can be enabled or disabled by MIDI CONTROL HiPage (SYSTEM menu).

Example: F0,00,20,33,01,10,70,05,28,5F,F7 Set Cutoff on Part 6 to decimal value 95. (10: device ID omni; 70: page A, 05: part 6; 28: parameter Cutoff, 5F: decimal value 95)
Program Number 0.127 [256 multi bytes] Checksum optional
{F0,00,20,33,01,dd,11,bb,mm,[256 multi bytes],cs,F7}

SINGLE DUMP

[message]= 10 Single Dump bb Bank Number 00 Single Edit buffer 01.04: Single Bank A.D ss Program Number 0.127 [256 single bytes] cs Checksum optional {F0,00,20,33,01,dd,10,bb,ss,[256 single bytes],cs,F7}
When bank number 00, the dump destination is the Multi Edit buffer. In this case the program number is ignored.
[256 multi bytes] contains the Multi parameters in a special succession. See Multi Dump Table. Checksum is the sum (DeviceID + 11 + BankNumber + ProgramNumber + [256 multi bytes]) AND 7F. A dump with a wrong checksum will be received, but an error message will appear on the display.
When bank number is set to 00, the program number is the part number that addresses one of the sixteen Single Edit buffer in Multi Mode (00.0F) or the Single buffer in Single Mode (40).

SINGLE REQUEST

[message]= 30 Single Request bb Bank Number 00: Single Edit buffer 01.04: Single Bank A.D ss Program Number 0.127 {F0,00,20,33,01,dd,30,bb,ss,F7}
[256 single bytes] contains the Single parameter pages A and B, each 128 bytes long. Checksum is the sum (DeviceID + 10 + BankNumber + ProgramNumber + [256 single bytes]) AND 7F. A dump with a wrong checksum will be received, but an error message will appear on the display.

MULTI DUMP

[message]= 11 Multi Dump bb Bank Number 00 Multi Edit buffer; 01 multi bank

MULTI REQUEST

[message]= 31 Multi Request bb Bank Number 00:Multi Edit buffer; 01:Multi Bank mm Program Number 0.127 {F0,00,20,33,01,dd,31,bb,mm,F7}

GLOBAL REQUEST

[message]= 35 Global Request {F0,00,20,33,01,dd,35,F7}

TOTAL REQUEST

[message]= 36 Total Request {F0,00,20,33,01,dd,36,F7}
CONTROLLER DUMP REQUEST SINGLE BANK REQUEST
[message]= 32 Single Bank Request bb Bank Number 01.04: Single Bank A.D {F0,00,20,33,01,dd,32,bb,F7} [message]= ss Controller Dump Request Bank Number(always zero) Part Number
{F0,00,20,33,01,dd,37,00,ss,F7}

MULTI BANK REQUEST

[message]= 33 Multi Bank Request bb Bank Number 01:Multi Bank {F0,00,20,33,01,dd,33,bb,F7}
The Part number addresses one of the sixteen Single Edit buffer in Multi Mode (00.0F) or the Single buffer in Single Mode (40).

ARRANGEMENT REQUEST

[message]= 34 Arrangement Request {F0,00,20,33,01,dd,34,F7}

170 KAPITEL 13

PARAMETER DESCRIPTIONS
No. Class Name Range Value Text
PAGE A A 0 A 1 A 2 A 3 A 4 A 5 A 6 A 7 A 8 A 9 A 10 A 11 A 12 A 13 A 14 A 15 A 16 A 17 A 18 A 19 A 20 A 21 A 22 A 23 A 24 A 25 A 26 p p p p p a p p p p a p p p p p p a a a a a a a a a a Bank Select Modulation Wheel Breath Controller Contr 3 Foot Controller Portamento Time Data Slider Channel Volume Balance Contr 9 Panorama Expression Contr 12 Contr 13 Contr 14 Contr 15 Contr 16 Osc1 Shape Osc1 Pulsewidth Osc1 Wave Select Osc1 Semitone Osc1 Keyfollow Osc2 Shape Osc2 Pulsewidth Osc2 Wave Select Osc2 Semitone Osc2 Detune 0.127 0.127 0.64 0.127 0.127 0.127 0.127 0.64 0.127 0.127 -64.+63 Sine, Triangle, Wave 3.64 -64.+63 -64.+63, -64.0.+63: Default: 32 Wave.Saw.Pulse Sine, Triangle, Wave 3.64 -64.0.+63: Wave.Saw.Pulse 0.127 0.127 -64.0.+63: Left.Center.Right 0.127 0.127 0.3 Bank A.D
ACCESS VIRUS OS5 Parameter Descriptions
No. A 27 A 28 A 29 A 30 A 31 A 32 A 33 A 34 A 35 A 36 A 37 A 38 A 39 A 40 A 41 A 42 A 43 A 44 A 45 A 46 A 47 A 48 A 49 A 51 A 52 A 53 A 54 A 55 A 56 A 57 A 58
Class a a a a a p a a a a a a a,Vb a a a a a a a a a a a a a a a a a a
Name Osc2 FM Amount Osc2 Sync Osc2 Filt Env Amt FM Filt Env Amt Osc2 Keyfollow Bank Select Osc Balance Suboscillator Volume Suboscillator Shape Osc Mainvolume Noise Volume Ringmodulator Volume Noise Color Cutoff Cutoff2 Filter1 Resonance Filter2 Resonance Filter1 Env Amt Filter2 Env Amt Filter1 Keyfollow Filter2 Keyfollow Filter Balance Saturation Curve Filter1 Mode Filter2 Mode Filter Routing Filter Env Attack Filter Env Decay Filter Env Sustain Filter Env Sustain Time Filter Env Release
Range 0.127 0.1 0.127 0.127 0.127 0.3 0.127 0.127 0.1 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.6 0.3 0.3 0.3 0.127 0.127 0.127 0.127 0.127
0:Off 1:On -64.+63 -64.+63 -64.+63: Default: 32 Bank A.D -64.+63:

0:Square 1:Triangle

-64.0.+63

-64.+63

-64.+63 -64.+63 -64.+63 0:Off 1:Light 2:Soft 3:Middle 4:Hard 5:Digital. 0:LP 1:HP 2:BP 3:BS 0:LP 1:HP 2:BP 3:BS 0:Ser4 1:Ser6 2:Par4 3:Split

-64.+63:

Fall.Innite.Rise

172 KAPITEL 13

No. A 59 A 60 A 61 A 62 A 63 A 64 A 65 A 66 A 67 A 68 A 69 A 70 A 71 A 72 A 73 A 74 A 75 A 76 A 77 A 78 A 79 A 80 A 81 A 82 A 83 A 84 A 85 A 86 A 87
Class a a a a a p p p a a a a a a a a a a a a a a a a a a a a a
Name Amp Env Attack Amp Env Decay Amp Env Sustain Amp Env Sustain Time Amp Env Release Hold Pedal Portamento Pedal Sostenuto Pedal Lfo1 Rate Lfo1 Shape Lfo1 Env Mode Lfo1 Mode Lfo1 Symmetry Lfo1 Keyfollow Lfo1 Keytrigger Osc1 Lfo1 Amount Osc2 Lfo1 Amount PW Lfo1 Amount Reso Lfo1 Amount FiltGain Lfo1 Amount Lfo2 Rate Lfo2 Shape Lfo2 Env Mode Lfo2 Mode Lfo2 Symmetry Lfo2 Keyfollow Lfo2 Keytrigger OscShape Amount FmAmount Amount

Range 0.127 0.127 0.127 0.127 0.127
0.127 0.5 0.1 0.1 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.5 0.1 0.1 0.127 0.127 0.127 L f o 2 0.127 L f o 2 0.127 -64.+63 -64.+63 0:Off, 1.127:Keytrigger Phase -64.+63 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G. 0:Off 1:On 0:Poly 1:Mono -64.+63 -64.+63 -64.+63 -64.+63 -64.+63 0:Off, 1.127:Keytrigger Phase -64.+63 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G. 0:Off 1:On 0:Poly 1:Mono
No. A 88 A 89 A 90 A 91 A 93 A 94 A 97 A 98 A 99 A100 A101 A102 A105 A106 A107 A108 A109 A110 A112 A113 A114 A115 A116
Class a a a a a a a a a a a a a a a a a a a a,ms
Name Cutoff1 Lfo2 Amount Cutoff2 Lfo2 Amount Panorama Amount Patch Volume Transpose Key Mode Unison Mode Unison Detune Unison Spread

Range 0.127 0.127

Value -64.+63 -64.+63 -64.+63
L f o 2 0.127 0.127 0.127 0.4 0.15 0.127
-64.+63 0:Poly 1.4: Mono1-4 0:Off 1:Twin 2.15
P a n o r a m a 0.127 0.127 0.2 0.8 0.127 0.127 0.127 0.127 0.127 0.5 0.1 0.127 0.127 0.127 0.127 0.127 0.127 0.3 0:Ambience 1:SmallRoom 2:LargeRoom 3:Hall -64.+63 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G. 0:Off 1:Delay 2:Reverb 3:Rev+Feedb1 -64.+63 0:Off 1:Dynamic 2:Static 3:ToEffects 0:In1L 1:In1L+R 2:In1R.
Unison Lfo Phase Input Mode Input Select Chorus Mix Chorus Rate Chorus Depth Chorus Delay Chorus Feedback Chorus Lfo Shape Delay/Reverb Mode Effect Send
a,ms,n Delay Time p a,ms,n Delay Feedback p a,ms,n Delay Rate p Reverb Decay Time
a,ms,n Delay Depth p Reverb Room Size

174 KAPITEL 13

No. A118
Range 0.5 0.127 0.127 0.1
Text 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G.
a,ms,n Delay Lfo Shape p Reverb Damping

A119 A122 A123

a,ms,n Delay Color p g p Keyb Local All Notes Off

-64.+63 0:Off 1:On

PAGE B B 1 B 2 B 3 B 4 B 5 B 6 B 7 B 8 B 9 B 10 B 11 B 12 B 13 B 16 B 17 B 18 B 19 B 20 B 21 B 25 B 26 B 27 B 28 B 30 B 31 B 32 B 33 b b b b b b b b b b b b b b b b b Arp Mode Arp Pattern Select Arp Octave Range Arp Hold Enable Arp Note Length Arp Swing Lfo3 Rate Lfo3 Shape Lfo3 Mode Lfo3 Keyfollow Lfo3 Destination Osc Lfo3 Amount Lfo3 Fade-In Time Clock Tempo Arp Clock Lfo1 Clock Lfo2 Clock 0.6 0.31 0.3 0.1 0.127 0.127 0.127 0.5 0.1 0.127 0.5 0.127 0.127 0.127 1.17 0.19 0.19 0.16 0.19 0.3 0.127 0.127 0.1 0.1 0.1 0.1 0.127 -64.+63 -64.+63 0:Linear 1:Exponential 0:Negative 1:Positive 0:Negative 1:Positive 0:Off 1:On C-1.G9 63.190 BPM 1/64.1/1 Off, 1/64.4/1 Off, 1/64.4/1 Off, 1/64.3/4 Off, 1/64.4/1 0:Off, 1:On, 2:Auto, 3:Note 0:Osc1 1:Osc1+2 2:Osc2 3:PW1 4:PW1+2 5:PW2 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G. 0:Poly 1:Mono -64.+63c 50%.75% 0:Off 1:On 0:Off 1:Up 2:Down 3:Up&Down 4:AsPlayed 5:Random 6:Chord

Text see Assign Sources List see Assign Destinations List
-64.+63 see Assign Destinations List
-64.+63 see Assign Sources List see Assign Destinations List
0.127 0.6 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127
-64.+63 0:Off, 1.6 Phaser Stages

64= 0dB

0:Off 1.127: Direct.Ringmodulator.Input

178 KAPITEL 13

No. B100 B101 B102 B103 B104 B105 B106 B107 B108 B109 B110 B112 B113 B114 B115 B116 B117 B118 B119 B120 B121 B122 B123 B124
Class b,Vb b,Vb b,Vc b,Vc b,Vc b,Vc b,Vc b,Vc b,Vc b,Vc b,Vc b b b b b b b b b b b b,Vb b,Vb
Name Distortion Curve Distortion Intensity Assign 4 Source Assign 4 Destination Assign 4 Amount Assign 5 Source Assign 5 Destination Assign 5 Amount Assign 6 Source Assign 6 Destination Assign 6 Amount Single Name Char1 Single Name Char2 Single Name Char3 Single Name Char4 Single Name Char5 Single Name Char6 Single Name Char7 Single Name Char8 Single Name Char9 Single Name Char10 Filter Select
Range 0.6 0.127 0.27 0.122 0.127 0.27 0.122 0.127 0.27 0.122 0.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 0.2
Text 0:Off 1:Light 2:Soft 3:Middle 4:Hard 5:Digital.
see Assign Sources List see Assign Destinations List
ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII 0:Filt1 1:Filt2 2:Filt1*2 Category1 Category2
Page C C 5 C 6 C 7 C 8 C 9 C 10 C 11 C 12 C 13 C 14 C 22 C 31 C 32 C 33 C 34 C 35 C 36 C 37 C 38 C 39 C 40 C 41 C 45 C 63 C 64 C 65 C 66 C 67 C 68 m,np m,np m,np m,np m,np m,np m,np m,np m,np m,np m,np m,bpc m,bpc m,bpc m m m m m m m m g g g g g g g Multi Name Char1 Multi Name Char2 Multi Name Char3 Multi Name Char4 Multi Name Char5 Multi Name Char6 Multi Name Char7 Multi Name Char8 Multi Name Char9 Multi Name Char10 Delay Output Select Part Bank Select Part Bank Change Part Program Change Part Midi Channel Part Low Key Part High Key Part Transpose Part Detune Part Volume Part Midi Volume Init Part Output Select Second Output Select 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 0.14 0.3 0.3 0.127 0.15 0.127 0.127 0.127 0.127 0.127 0.127 0.14 0.15 1.16 C-1.G9 C-1.G9 -64.+63 -64.+63 -64.+63 Off, 1.127 0:Out1L 1:Out1L+R 2:Out1R. 0:Off 1:Out1L 2:Out1L+R 3:Out1R. 0:Patch 1:Keyb 0:Off 1:On 0:OneChannel 1:MultiChannels -64.+63 see Keyboard Destination List see Keyboard Destination List 0=Unity Gain Bank A.D Bank A.D ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII 0:Out1L 1:Out1L+R 2:Out1R.

0.127 0.1 0.127 0.127 0.127 0.127 0.5 0.127 0.16 0.127

63.190 BPM 0:Off 1:On

0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G 0:Out1L 1:Out1L+R 2:Out1R. Off, 1/64.3/4 -64.+63
32.47 48.63 64.79 80.95 96.112.1 27
Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16
Bank Number Program Number Midi Channel Low Key High Key Transpose
0.1 0.127 0.15 0.127 0.127 0.127 1.16 C-1.G9 C-1.G9 -64.+63
ACCESS VIRUS OS5 Multi Dump Table
NO 128.144.160.176.192.208.240.2 55
REF Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16
NAME Detune Part Volume Midi Volume Init Output Select Effect Send Internal Part State
RANGE 0.127 0.127 0.127 0.14 0.127
VALUE -64.+63 -64.+63; Off, 1.127

0=Unity Gain

0:Out1L 1:Out1L+R 2:Out1R.

Part 1.16

Biteld (see Part State Biteld)

184 KAPITEL 13

Part State Biteld: Bit 0 Bit 1 Bit 2 Bit 3 Bit 4 Bit 5 Bit 6 Part Enable Part Midi Volume Enable Part Hold Pedal Enable Keyb To Midi Internal Note Steal Priority Part Prog Change Enable 0:Low 1:High 0:Off 1:On 0:Off 1:On 0:Off 1:On 0:Off 1:On 0:Off 1:On
All bytes are shown in decimal representation.
Parameter is received only by the Multi Part with the lowest part number, if more than one Multi Part is set to the same MIDI channel. When received as SysEx-Parameterchange or Single-Dump, the part is addressed by the part number irrespective of the actual MIDI channel setting.

CLASSES

KCB: SOUND PARAMETER OF BANK B Accessible by MIDI Polyphonic Pressure, SysEx-Parameterchange and Single-Dump.The Sound Parameters are stored with a Single Sound. When received as Polyphonic Pressure, the Sound Parameter is received only by the Multi Part with the lowest part number, if more than one Multi Part is set to the same MIDI channel. When received as SysEx-Parameterchange or Single-Dump, the part is addressed by the part number irrespective of the actual MIDI channel setting.

CLASSES

P: PERFORMANCE CONTROLLER Accessible by Control message. Performance Controllers are not stored with a Single-Sound. If more than one Multi Part is set to the same MIDI channel, all Parts on this MIDI channel receive the same Performance Controllers.
A: SOUND PARAMETER OF BANK A A c cessible by Control message, SysEx-Paramet e rc h a n g e a n d S i n g l e - D u m p. T h e S o u n d Parameters are stored with a Single Sound. When received as Control Message, the Sound

M: MULTI PARAMETER A c c e s s i b l e by SysEx-Parameterchange and Multi-Dump The Multi Parameters are stored with a Multi Patch.

ACCESS VIRUS OS5 Classes

MS: MULTI/SINGLE PARAMETER W h e n i n Single Mode, the parameter is received and stored with the Single Sound.When in Multi Mode, the parameter is received and stored with the Multi Patch. In Multi Mode the Single Sound settings are ignored while the corresponding Multi Patch settings are active.
The VIRUS can be switched between Multi Mode and Single Mode by parameter C123 Part Number. Remarks for editor/librarian programs Not all
256 bytes of a Single or Multi Dump are defined as a parameter. Some of them are defined for internal use or reserved for future applications. In a bulk dump these byte should not be changed, they should be sent to the VIRUS on the same value as they were received in the dump.
NP: NON-PART-SENSITIVE SOUND PARAMETER When in Multi Mode, the parameter affects all Multi Parts.
BPC: BANK/PROGRAM-CHANGE PARAMETER BANK SELECT selects the Single bank accessed by a subsequent Program Change, similar to the regular Bank Select.Bank Change directly changes the Single program to the requested bank, without changing the program number. Program Change directly changes the Single program to the requested program number, without changing the bank number; similar to the regular Program Change. Part number $40 will address the Single buffer in Single Mode.
G: GLOBAL PARAMETER The Global Parameters are independend of Single Sounds or Multi Patches and non-part sensitive.
One of the internal parameter (Page A #0) is the Sound Version Number. On future VIRUS system updates new parameters will be defined. When the VIRUS receives an older sound, the new parameters will be set to default values in the edit buffer and the version number will be updated automatically. The VIRUS update algorithm can be used from outside just by sending a dump and requesting it back. To prevent incompatibilites and confusion, the Sound Version Number should not be changed by any other device that the VIRUS itself. When sounds are imported into a software library, they should be automatically pathed through the VIRUS first, before allowing a change of parameters. Otherwise the VIRUS might reset new parameters, when the sound is loaded into the VIRUS, after editing parameters.

VB: VIRUS C PARAMETER These parameters are only available on VIRUS C and VIRUS kc/indigo in Version 3.0 and followers. VIRUS C parameter changes are ignored by VIRUS a
On non-part-sensitive parameters the part number is ignored, but must still be sent as any value.

186 KAPITEL 13

MOD MATRIX SOURCES
All sources of the SOFT KNOBS-1/2 Off Contr3 Express Contr 16 FiltEnv VeloOff PitchBnd Foot Contr 12 HoldPed Lfo 1 KeyFlw ChanPres Data Contr 13 PortaSw Lfo 2 Random ModWheel Balance Contr 14 SostPed Lfo 3 Breath Contr 9 Contr 15 AmpEnv VeloOn
ACCESS VIRUS OS5 Mod Matrix Destinations

MOD MATRIX DESTINATIONS

All destinations of the Modulation Matrix Off Osc1Shape Osc2PlsWdh FmEnvAmt Cutoff Flt1Keyw FltSusTime AmpRelease Lfo1>Reso Lfo2>Cut1 UniSpread ChorusFeed Osc1ShpVel Reso1Vel Ass2Amt2 RingMod RingmodMix PhaserMix RevbDecay ArpNoteLen Assign4Amt PatchVol Osc1PlsWdh Osc2WavSel Osc2Keyw Cutoff2 Flt2Keyw FltRelease Lfo1Rate Lfo1>FltGn Lfo2>Cut2 UniLfoPhs EffectSend Osc2ShpVel Reso2Vel Ass3Amt1 NoiseColor Osc3Volume PhaserRate RevDamping ArpSwing Assign5Amt ChannelVol Osc1WavSel Osc2Pitch OscBalance Filt1Reso FltBalance AmpAttack Lfo1Cont Lfo2Rate Lfo2>Pan ChorusMix DelayTime PlsWhdVel AmpVel Ass3Amt2 DelayColor Osc3Semi PhaserDept RevbColor ArpPattern Assign6Amt Panorama Osc1Pitch Osc2Detune SubOscVol Filt2Reso FltAttack AmpDecay Lfo1>Osc1 Lfo2Cont Lfo3Rate ChorusRate DelayFeed FmAmtVel PanVel Ass3Amt3 ABoostInt Osc3Detune PhaserFreq RevPredely EqMidGain Transpose Osc1Keyw Osc2FmAmt OscMainVol Flt1EnvAmt FltDecay AmpSustain Lfo1>Osc2 Lfo2>Shape Lfo3OscAmt ChorusDpth DelayRate Flt1EnvVel Ass1Amt1 OscInitPhs ABoostTune Lfo1AssAmt PhaserFdbk RevFeedbck EqMidFreq Portamento Osc2Shape Osc2EnvAmt NoiseVol Flt2EnvAmt FltSustain AmpSusTime Lfo1>PlsWd Lfo2>Fm UniDetune ChorusDly DelayDepth Flt2EnvVel Ass2Amt1 PunchInt DistInt Lfo2AssAmt PhaserSprd SecBalance EqMidQFactor

188 KAPITEL 13

SOFT KNOB DESTINATIONS
All destinations of the SOFT KNOBS-1/2 Off Data Contr13 ChannelVolume UnisonPanSprd ChorusDelay DelayRate Osc1Keyfollow Osc2Keyfollow Filt2EnvAmount Lfo1>Osc2 Lfo2>Shape Lfo3Rate FmAmountVel AmplierVel Assign3Amt1 OscInitPhase AnalogBoostInt Osc3Semitone PhaserRate RevDecayTime ArpMode ArpOctaves Assign4Amt ModWheel Balance Contr14 Panorama UnisonLfoPhase ChorusFeedback DelayDepth Osc2WavSelect NoiseVolume Filt1Keyfollow Lfo1>PulsWidth Lfo2>FmAmount Lfo3OscAmount Filt1EnvVel PanoramaVel Assign3Amt2 PunchIntensity AnalogBstTune Osc3Detune PhaserDepth ReverbDamping ArpPattern ArpHold Assign5Amt Breath Contr9 Contr15 Transpose ChorusMix EffectSend Osc1WavSelect Osc2PulseWidth Filt1Resonance Filt2Keyfollow Lfo1>Resonance Lfo2>Cutoff1 Osc1ShapeVel Filt2EnvVel Assign1Amt1 Assign3Amt3 Ringmodulator DistortionInt Lfo1AssignAmt PhaserFrequenc ReverbColor ArpClock EqMidGain Assign6Amt Contr3 Expression Contr16 Portamento ChorusRate DelayTime(ms) Osc1PulseWidth Osc2EnvAmount Filt2Resonance Lfo1Symmetry Lfo1>FiltGain Lfo2>Cutoff2 Osc2ShapeVel Resonance1Vel Assign2Amt1 ClockTempo NoiseColor RingModMix Lfo2AssignAmt PhaserFeedback ReverbFeedback ArpNoteLength EqMidFreq Foot Contr12 PatchVolume UnisonDetune ChorusDepth DelayFeedback Osc1Semitone FmEnvAmount Filt1EnvAmount Lfo1>Osc1 Lfo2Symmetry Lfo2>Panorama PulsWidthVel Resonance2Vel Assign2Amt2 InputThru DelayColor Osc3Volume PhaserMix PhaserSpread SecondBalance ArpSwing EqMidQFactor

ACCESS VIRUS OS5 MIDI Implementation Chart
MIDI IMPLEMENTATION CHART
Function Basic Channel Default Changed Default Messages Altered Note True Voice Note ON Note OFF Keys Chs Transmitted 1 1-16 X X ************ 0-127 ************ O X X X X 64 O O O O O O O O ************ O :Song Pos :Song Sel :Tune. :Clock :Commands O X X X X X X X X Recocgnized 1 1-16 X X X 0-127 0-127 O X X O O O O O O O O O O 0-127 O X X X X X X O O X Start, Stop Continue 14-Bit Modwheel Breath Control Portamento Time Volume Panorama Bank Select Sustain Remarks

Number Velocity

AfterTouch Pitch Bender

Control Change*

Prog Change System Exclusive System Common System Realtime

True #.

Aux- :Local ON/OFF Mes- :All NotesOff Sages : ActiveSense : Reset
* Note: See MIDI Controller Assignments for more Information. Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O : Yes Mode 3: OMNI OFF, POLY Mode 4: OMNI OFF, MONO X : No

190 KAPITEL 13

FCC INFORMATION (U.S.A)
IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modications not expressly approved by ACCESS MUSIC ELECTRONICS may void your authority, granted by the FCC, to use this product. IMPORTANT: When connecting this product to accessories and/or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorisation to use this product in the USA. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in residental environment will not result in harmful interference with other electronic devices. This equipment generates/ uses radio frequencies and, if not installed and used according to the instructions found in the user manual, may cause interference harmful to the operation of other electronic devices, Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determinated by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilise power outlets that are on branch (Circuit breaker or fuse) circuits or install AC line lter/s.
In the case of radio or TV interference, relocate/ reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorised to distribute this type of product. The statements above apply ONLY to products distributed in the USA.

ACCESS VIRUS OS5 FCC Information (CANADA)

FCC INFORMATION (CANADA)

The digital section of this apparatus does not exceed the Class B limits for radio noise emmissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications. Le present appareil numerique nemet pas de bruit radioelectriques depassant les limites applicables aux appareils numerique de la Class B prescrites dans la reglement sur le brouillage radioelectrique edicte par le Ministre Des Communication du Canada. This only applies to products distributed in Canada. Ceci ne sapplique quaux produits distribues dans Canada.
OTHER STANDARDS (REST OF WORLD)
This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC. Cet appareil est conforme aux prescriptions de la directive communautaire 89/336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedrorendareadiostoj. Diese Gerte entsprechen der EG-Richtlinie 89/ 336/EC.

192 KAPITEL 13

DECLARATION OF CONFORMITY

EG-KONFORMITTSERKLRUNG

EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , EN 60065 : 1993 Diese Erklrung wird verantwortlich fr den Hersteller abgegeben: This declaration has been given responsibly to the manufacturer:
Fr das folgend bezeichnete Erzeugnis/ For the following named product ACCESS VIRUS SYNTHESIZER Access Music Electronics GmbH Am Stadion Recklinghausen Germany

MODEL C / KC / INDIGO

Recklinghausen, 1.2.2002 Wird hiermit besttigt, da es den Schutzanforderungen entspricht, die in der Richtlinie 89/ 336/FWG des Rates zur Angleichung der Rechtsvorschriften der Mitgliedstaaten ber die elektromagnetische Vertrglichkeit festgelegt sind; auerdem entspricht es den Vorschriften des Gesetzes ber die elektromagnetische Vertrglichkeit von Gerten (EMVG) vom 30. August 1995. Will hereby declared that it conforms to the requirements of the Council Directive 89/336/ FWG for radio frequency interference. It also complies with the regulations about radio interference of electronic devices dated on August 30th, 1995. Zur Beurteilung des Erzeugnisses hinsichtlich der elektromagnetischen Vertrglichkeit wurden folgende harmonisierte Normen herangezogen: The following standards have been used to declare conformity: Christoph Kemper, Geschftsfhrer Christoph Kemper Managing Director
Guido Kirsch, Geschftsfhrer Guido Kirsch, Managing Director

CARRIER 136 CHANNEL VOLUME 159 CHORUS 37, 85 CHORUS DELAY 37, 85 CHORUS DEPTH 85 CHORUS DIR/EFF 38, 85 CHORUS FEEDBACK 37, 86 CHORUS RATE 37 CHORUS SHAPE 86 CLOCK 98 CLOCK RECEIVE 122 CLOCK RX 44, 122 CLOCK TEMPO 44 COMPARE 48 CONTROLLER DUMP 120 CUTOFF 18, 21, 22
DATENEINGABE 45 DECAY 17, 66, 71 DELAY CLOCK 91 DELAY COLOR 91 DELAY DEPTH 91 DELAY EFFECT SEND 88 DELAY FEEDBACK 89 DELAY GLOBAL 124 DELAY MODE 90 DELAY OUTPUT SELECT 92 DELAY SEND 153 DELAY SHAPE 91 DELAY TIME 88 DETUNE 27, 112 DEVICE ID 123 DISPLAY CONTRAST 125 DISTORTION 36, 84 DISTORTION CURVE 84 DISTORTION INTENSITY 84 DREIECKSSYMBOL 46
BAND PASS 18 BAND STOP 18 BANK CHANGE 162 BETRIEBSARTEN 42 BETRIEBSSYSTEM UPDATES 163 BITREDUCER 36
EDIT BUFFER 43 EDIT MEN 45 EFFECT SEKTION 53 EFFECT SEND 154 EFFEKT 154 ENV AMT 107 ENVELOPE 16 ENVELOPE AMOUNT 19 ENVELOPE FOLLOWER 104, 154 ENVELOPE MODE 32 ENVELOPE POLARITY 69 EQUALIZER 95 EXPRESSION CONTROLLER 162
GLIDE 99 GLOBAL CHANNEL 117, 121, 133
HIGH KEY 114, 117, 133 HIGH PAGE 123 HIGH PASS 18 HOCH PASS 18 HOLD PEDAL 114 HLLKURVE 16
INPUT 118 INPUT BOOST 119 INPUT DIRECT THRU 118 INPUT GAIN 119 INPUT MODE 102 IRELATIVE 47 ISNAP 46
FILTER 18, 21, 157 FILTER BALANCE 22, 65, 157 FILTER CUTOFF 65 FILTER CUTOFF LINK 69 FILTER ENV AMOUNT 65 FILTER GAIN 159 FILTER HLLKURVE 19, 66 FILTER KEY FOLLOW 68 FILTER KEYFOLLOW BASE 69 FILTER MODE 18, 66 FILTER MODE SERIAL FILTER RESONANCE 65 FILTER ROUTING 23, 29, 68 FILTER SELECT 66 FILTER SPLIT 23, 29, 157 FILTERPOL 22 FLAKENSTEILHEIT 22 FM 27, 156 FM AMOUNT 28 FORCE TO EDIT BUFFER 121 FREQUENZMODULATION 27, 156
KATEGORIEN 53, 108 KERB FILTER 18 KEY FOLLOW 20 KEY MODE 99 KEYBOARD MODE 117 KEYBOARD PARAMETERS 116 KEYRANGE 114 KNOB MODE 46, 125
LAUSTRKE 34 LAUTSTRKE HLLKURVE 16 LC-DISPLAY 125 LED MODE 126 LFO 33 LFO CLOCK 75, 77, 78 LFO CONTOUR 75, 77 LFO ENVELOPE MODE 75, 158
GARANTIE BESTIMMUNGEN 193

198 KAPITEL 14

LFO FADE IN 78 LFO FILTER GAIN 74 LFO KEYFOLLOW 76, 78 LFO MODE 75, 76, 78, 158 LFO RATE 30, 73 LFO SELECT 73 LFO TRIGGER 159 LFO TRIGGER PHASE 76, 77, 158 LOCAL OFF 116, 130 LOW KEY 114, 117, 133 LOW PAGE 123 LOW PASS 18
NOISE COLOR 64 NOISE VOLUME 72

ONE CHANNEL 117, 133 OSC BALANCE 72 OSC DETUNE 60, 64 OSC FILT ENV -> FM 63 OSC FILT ENV -> PITCH 62 OSC FM AMOUNT 61 OSC FM MODE 62 OSC KEY FOLLOW 61, 62 OSC MODE 63 OSC PHASE INIT 64 OSC SEMITONE 60, 64 OSC SYNC 60 OSC VOLUME 63, 72, 153, 157 OSC WAVE SELECT/PW 60 OSC WAVESELECT 64 OSC WAVESHAPE 61 OSCILLATOR 156 OSCILLATOR VOLUME 21 OSCZILLATOR SHAPE 25 OSZILLATOR 25, 26, 28 OSZILLATOR BALANCE 26 OUTPUT SELECT 55, 112, 153
MASTER TUNE 124 MEMORY PROTECT 124 MIDI 123, 161 MIDI CHANNEL 113 MIDI CLOCK 44 MIDI DUMP RX 120, 161 MIDI DUMP TX 119, 149 MIDI IMPLEMENTATION CHART 189 MIDI KANLE 144 MIDI PARAMETERS 119 MIDI VOLUME 114 MIDI VOLUME ENABLE 122 MIXER 72 MOD MATRIX ASSIGN 49 MOD MATRIX DESTINATIONS 187 MOD MATRIX SOURCES 186 MODULATION 19 MODULATIONS MATRIX 79 MODULATIONSMATRIX 49 MODULATOR 136 MULTI BUFFER 120 MULTI CHANNEL 117, 133 MULTI MODE 42, 144 MULTI PROGRAM CHANGE ENABLE 123 MULTI SINGLE MODE 42, 152
PANEL DESTINATION 121 PANIC FUNKTION 56 PANORAMA 34, 99 PARALLEL-PARAMETER TASTER 45 PARAMETERSTEUERUNG BER MIDI 145 PARAMETERWAHL 45 PART 42 PART ENABLE 113 PATCH VOLUME 34, 98 PEDAL 1/PHASER 37, 86 PHASER DEPTH 87 PHASER DIR/EFF 86

NOISE 29

PHASER FEEDBACK 86 PHASER FREQUENCY 87 PHASER RATE 86 PHASER SPREAD 87 PHASER STAGES 87 PITCHBENDER 100 PITCHBENDER SCALE 100 PORTAMENTO 99 PRESSURE SENSITIVITY 118 PRIORITY 113, 162 PROGRAM CHANGE ENABLE 115, 122 PULSEWEITE 155 PULSWEITE 26 PUNCH INTENSITY 102
RANDOM AMOUNT 116 RANDOM PATCH GENERATOR 51 RATEREDUCER 36 RECTIFIER 36 REGLER BETRIEBSARTEN 46 REGLERWERT DARSTELLUNG 47 RELEASE 17, 66, 71 RESET FUNKTION 57 RESONANCE 18 REVERB 38, 124 REVERB CLOCK 93 REVERB COLOR 93 REVERB DAMPING 89 REVERB DECAY TIME 89 REVERB EFFECT SEND 88 REVERB FEEDBACK 94 REVERB MODE 90 REVERB OUTPUT SELECT 94 REVERB PREDELAY 93 REVERB SEND 153 REVERB TYPE 92 RINGMODULATOR 29, 72, 105
SATURATION 20, 157, 158 SATURATION CURVE 67 SECOND OUTPUT 105, 154 SELECT BANK 112 SELECT NUMBER 112 SELECT TASTER 21 SEMITONE 27 SEQUENZER 144 SERIAL-SERIAL-SHAPER 36 SINGLE BUFFER DUMP 120 SINGLE MODE 42 SMOOTH MODE 100 SOFT KNOBS 33, 49, 108, 109, 160, 186, 188 SOFT THRU 121 SOFTWARE UPDATES 164 SOUNDDIVER 38 STORE 47 SUB OSC VOLUME 72 SUB OSCILLATOR 28 SURROUND 105 SURROUND BALANCE 105 SURROUND SELECT 105 SUSTAIN 17, 66, 71 SYNC 27 SYSEX IMPLEMENTATION 166 SYSEX PARAMETER CHANGE 167 SYSEX PARAMETER DESCRIPTION 170 SYSTEM MEN 116 SYSTEM PARAMETERS 124
TAKTGENERATOR 44 TASTATUR 131 TEMPO 44, 98 TIEF PASS 18 TIME 67, 69, 70, 71 TRANSPOSE 60, 112, 117, 132 TRANSPOSE BUTTON 117