Access Virus Indigo II
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Access Virus Indigo II, size: 1.2 MB
Access Virus Indigo II
access virus indigo 2
User reviews and opinions
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Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.
ACCESS VIRUS C SERIES
USER MANUAL OS5
2002 Access Music GmbH, Germany.
VIRUS is a trademark of Access Music GmbH. All other trademarks contained herein are the property of their respective owners. All features and specications subject to change without notice. Written by Christoph Kemper, Uwe G. Hnig, Wiland Samolak and Marc Schlaile.
Translation by Thomas Green and Howard Scarr. Graphic Design and DTP by Babylonwaves Media. http://www.access-music.de email@example.com
IMPORTANT SAFETY REMARKS
Handling... 44 All about the memory.. 47 The Modulation Matrix and Soft Knobs.48 Random Patch Generator..50 Categories.. 52 The Effects Section.. 52 Audio Inputs.. 53 Internal Audio Routing.. 54 Additional functions... 55
PROLOGUE SYNTHESIS PARAMETERS INTRODUCTION
The Virus... 14 The Amplifier Envelope.. 17 The First Filter.. 18 Filter Modulation.. 19 The Saturation Stage.. 21 The Second Filter.. 21 Filter Routing.. 24 The First Oscillator.. 25 The Second Oscillator.. 27 The Third Oscillator... 29 The Mixer Section.. 29 The LFOs... 30 The MOD Section.. 33 Soft Knob 1/2.. 33 Volume and Panorama Position.. 34 Velocity... 34 Unison Mode... 35 The Effects... 36 The Arpeggiator... 38 SoundDiver Virus.. 38 More to Come.. 39 OSCILLATORS.. 58 Oscillator-1/2/3 (Panel)...58 Oscillator (Edit-Menu).. 59 FILTER... 63 Filters (Panel).. 63 Filter Envelope.. 64 Filter-Edit-Menu... 65 ENVELOPES.. 69 MIXER... 70 LFO AND MODMATRIX...71 LFO (Panel)... 71 LFO (Edit Menu).. 73 ARPEGGIATOR EDIT... 80 THE INTERNAL EFFECTS..82 Distortion (Panel).. 82 Chorus (Panel).. 83 Chorus (Edit Menu).. 83 Phaser (Panel).. 84 Phaser (Edit Menu).. 84 Delay / Reverb.. 85 Delay / Reverb (Panel).. 86 Delay / Reverb (Menu).. 87 Vocoder... 92 Analog Boost... 92 Equalizer.. 92
CONCEPT AND OPERATION
Operating Modes.. 42 Master Clock and Midi-Clock. 44
ACCESS VIRUS OS5
MAIN EDIT MENU
Common.. 96 Unison Mode... 99 Punch Intensity.. 100 Envelope Sustain Time.. 100 Analog Inputs... 100 Follower (Envelope-Follower).. 102 Ringmodulator... 102 Second Output/Surround. 103 Velocity.. 104 Sound Category.. 106 Soft Knob-1/2.. 106
Problems Related to Parameter Control.144 Arrangement Dump - The Sound in the Song.145
TIPS AND TRICKS
All abouts Inputs.. 148 About the Delay/Reverb..149 The Virus as an Effect Device..150 Envelope Follower... 150 Oscillators... 151 Filters... 153 Saturation for Added Grit and Dirt..153 LFOs... 154 Volume Control... 155 Assign and the Soft Knobs..156 Arpeggiator... 156 How to modulate the Vocoder parameters..156 MIDI.. 157 How to install Updates..158
MULTI MODE & SYSTEM SETUP
MULTI MODE PARAMETERS.. 110 SYSTEM.. 114 Keyboard... 114 Input... 116 MIDI.. 117 System.. 121
System Exclusive Data..162 Parameter Descriptions..166 Multi Dump Table.. 178 Classes.. 180 Mod Matrix Sources.. 182 Mod Matrix Destinations..183 Soft Knob Destinations..184 MIDI Implementation Chart..185 FCC Information (U.S.A)..186 FCC Information (CANADA)..187 Other Standards (Rest of World).187 Declaration of Conformity..188 Garantie Bestimmung...189 Warranty.. 190
THE KEYBOARD VERSIONS OF THE VIRUS
The VIRUS kc and the indigo.. 126 The Keyboard-Modes... 128
THE VOCODER OF THE VIRUS
Vocoder... 132 The parameters of the VIRUS Vocoder. 134 Notes about the vocoder:.. 137
THE VIRUS AND SEQUENCERS
Important Safety Remarks
2 Important Safety Remarks
Please read all notes carefully before you power the device up. A few fundamental rules on handling electrical devices follow.
Dont set beverages or any other receptacle containing liquids on the device. Make sure the device is placed on a solid base. Set it on a stable tabletop or mount it to a rack. Make sure that no foreign objects fall into or somehow end up inside the devices housing. In the event that this should occur, switch the device off and pull the power plug. Then get in touch with an authorized dealer. Used on its own and in conjunction with amps, loudspeakers or headphones, this device is able to generate levels that can lead to irreversible hearing damage. For this reason, always operate it at a reasonable volume level.
Operate and store the device in enclosed rooms only. Never expose the device to a damp environment. Never operate or store the device in extremely dusty or dirty environments. Assure that air can circulate freely on all sides of the device, especially when you mount it to a rack. Dont set the device in the immediate vicinity of heat sources such as radiators. Dont expose the device to direct sunlight. Dont expose the device to strong vibrations and mechanical shocks.
THE MIXER SECTION
You have already come across two parameters of the MIXER section: OSC BAL determines the mix ratio between Oscillators 1 and 2; in the left half of its control range, OSC VOL determines the master volume of the oscillator mix. In the right half of the control range from the center position to the far right, OSC VOL increases the saturation intensity when a SATURATION curve has been activated.
30 CHAPTER 4
the ring modulator. Be sure to check out what the ring modulator does when you select a sine wave for Oscillator 1 and 2. Now we can go on and solve the mysteries of the signal ow as determined by the FILTER ROUTING operating mode SPLIT: Here Oscillator 1 and the SubOscillator are routed to Filter1, whereas Oscillator 2 and the Noise Generator are routed to Filter-2. Although the sound sources are split into two signal paths, you can still control the volume levels of the different elements as well as OSC VOL in the usual manner.
In the VIRUS, both of these tasks are executed by a so-called LFO (low frequency oscillator) that oscillates at frequencies below the audible range. An LFO is similar to the oscillators you have encountered thus far, but it oscillates signicantly slower so that its output signal is too low for human hearing. So what good are they if you cant hear them? LFOs are used in much the same manner as envelopes, with the major difference that the are repeated indenitely. For our next experiment, you should recall either the basic sound you have always started with so far, or a version you have already edited and saved. Look for the RATE control in the LFOS/MOD section. To the left of this knob is an LED, which should be ashing in time with the LFO 1 (the currently selected LFO see below). Turn the RATE control and see the speed of the LED changing. The buttons to the right of the RATE knob are used for selecting LFO waveforms. The controls in the LFOS/MOD section only apply to the currently selected LFO (like in the OSCILLATORS section), and you can switch LFOs using the SELECT button in the top lefthand corner of this section. When LFO 3 is selected, the LED to the right of the RATE control ashes in time with LFO 3, otherwise it show the rate of LFO 2
When you rst started this series of experiments with sounds, we promised that many of the functions the VIRUS can be programmed so that they are executed automatically. You have already learned how to control the volume and cutoff frequencies of both lters as well as the pitch and intensity of the frequency modulation of Oscillator 2 via preprogrammed envelopes. These options are great, but you have already encountered a number of functions where it would be a helpful if you could also program them to be executed automatically. And of course envelopes are great modulation sources, but you have to play a note every time you want to initiate an envelope. During your experiments you probably came across a function or two you would like to be able to control periodically - independently of notes. Some features that come to mind are traditional techniques such as vibrato (periodic pitch control) and tremolo (periodic volume control). Another option you might like to have at your disposal is random parameter control.
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/ REV TIME
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 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.
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
ACCESS VIRUS OS5 More to ComeSoundDiver Virus
from the computer (Mac or PC). Even if you prefer to control your Virus with its own knobs and buttons most of the time, SoundDiver still has quite a few useful functions and features which complement the Virus user interface very well. Take for instance SoundDivers Memory Manager. This can display the entire memory contents of the Virus clearly arranged on a single page, and has many comfortable functions to help you manage all your Single and Multi programs. For instance SoundDiver lets you drag and drop sounds from one place to another, or rename them etc. etc. These are the kinds of jobs which are handled much more comfortably on a computer screen than in the (naturally smaller) Virus menus. SoundDivers library functions let you build up sound libraries of any size for the Virus, and store these on your computers hard disk. You can sort some or all the sounds in a library according to several criteria, you can search for sounds, audition them and send several library sounds at the same time to the Virus (via drag and drop) etc. etc. It is even possible to connect several Virii to SoundDiver and feed them with sounds from a single, central library. Selectively swapping sounds between two Virii could hardly be more comfortable. Double-clicking on a sound in SoundDivers Memory Manager loads the sound into an editable graphic display of all parameters and values. Although there is nothing in this editor you cannot do on the Virus itself, the attractive onscreen graphics give you an instant and complete overview of all parameters and their values, so this is a practical alternative to the Virus user interface especially when your unit is not very accessible (e.g. when built into a 19 rack). SoundDiver communicates via MIDI with the Virus and requires two-way connections i.e. both the MIDI INs and OUTs must be connected between the Virus and the computer running the
ACCESS VIRUS OS5 Operating Modes
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. You only need to exit MULTI SINGLE mode when you want to store the MULTI program, for example, to save the current global delay/reverb setting. In MULTI mode, these settings are not stored along with SINGLE sounds. In addition, you can activate another complete MULTI program in MULTI mode only.
In MULTI mode, you have one MULTI edit buffer and 16 SINGLE edit buffers for the PARTs at your disposal. When you activate another a MULTI program, its data is copied from the MULTI bank to the MULTI edit buffer. The MULTI program in turn contains address information for the SINGLEs involved, in other words, the bank and program numbers. These addresses are also copied from the SINGLE banks into the 16 SINGLE edit buffers for the PARTs. When you store a MULTI program, only the addresses of the SINGLE programs original slots are saved, but not, however, the sound data in the 16 SINGLE edit buffers. These must be stored separately in the SINGLE program banks. This type of edit buffer is used in most synthesizers; its advantages are many:
It lets you edit copies of sounds without sacricing the original sounds.
Edit buffers can be stored in a sequencer and sent from it to the VIRUS independently of the sounds stored in the device (see Arrangement Dump - The Sound in the Song on page 145). In MULTI-Mode (or MULTI-SINGLE-Mode) the same SINGLE-program can be recalled and edited on different parts. In this case all involved EDIT-buffers contain variations of the same original sound.
Whenever you play or edit a SINGLE program, its current data is stored in an edit buffer. This is an individual memory slot for SINGLE programs that has nothing to do with the memory slots in the sound banks. When you activate a new SINGLE, its data is copied to the edit buffer. There you can edit it as you see t while the original remains unchanged in the bank. When you activate STORE (more on this in a bit), the content of the edit buffer is copied back to the original slot in the bank (or, if you so desire, to another memory slot).
44 CHAPTER 5
MASTER CLOCK AND MIDICLOCK
The VIRUS has a global clock generator which can be used to synchronize the LFOs, the arpeggiators and the delay/reverb effects to a common tempo. The internal clock generator either works at a denable rate or slaves automatically to any MIDI clock signal (e.g. from a sequencer) arriving at the MIDI IN socket. Internal clock speed is controlled by the CLOCK TEMPO parameter, which can be set to any value beween 63 und 190 BPM (Beats Per Minute). Beats are displayed by a dedicated LED to the immediate left of the UNDO button. When the device is synchronized via MIDI clock, the clock generator automatically accepts the speed dictated by the connected sequencer; the internal tempo setting is in this case meaningless and thus disabled. The individual sections of the VIRUS are synced up to the clock generator at rhythmic intervals such as 1/16, 1/4 and so forth. These values may be assigned individually for every section. (ARPEGGIATOR CLOCK, CLOCK LFO 1, CLOCK LFO 2, CLOCK LFO 3, DELAY CLOCK, see the respective sections).
48 CHAPTER 5
Compare mode lets you hear the unedited sound that was originally stored in this memory slot. Press EDIT or UNDO repeatedly to switch back and forth between the Compare sound and the edited sound so that you can - surprise, surprise compare the two sounds. Use the PARAMETER/BANK buttons and the VALUE buttons to step through the bank and program numbers of the Compare sound. This lets you search for a new memory slot for the edited sound and, at the same time, hear the sound that you will overwrite. The edited sound is not modied or overwritten during this process. Press STORE to do just that to the edited sound store it. Press MULTI or SINGLE to quit the STORE process and/or exit Compare mode.
so it is not lost even after several program change messages (as long as none of the other programs are edited in any way). In Multi Single mode, all edited sounds can be restored even after changing to another Multi program. In Multi-Single-Mode the last edited patch of the current part is being restored. Even after a Multi-Program-Change all 16 edit buffers can be recalled.
THE MODULATION MATRIX AND SOFT KNOBS
1 C126 -Init compare
LFO 1 LFO2
Pressing the Undo button cancels the last parameter change you have made to the current SINGLE program it returns to the previous state. As the following example shows, the UNDO algorithm has a degree of intelligent: If for instance the Cutoff control is turned up continuously from 0 to127, pressing the Undo button will take it right back to 0 (and not 126, although the last change was actually from 126 to 127). Pressing the UNDO button again performs a REDO, i.e. it cancels the UNDO (in the above example Cutoff would revert to 127). Repeatedly pressing the UNDO button alternates between the two states. The UNDO function can also be called up after the Virus has received a program change message whether via MIDI or on the Virus itself. In Single mode, the last edited sound is restored
EDIT SELECT 1 OSC 1 OSC 2 PW 1+2
RATE 2 FILTER 1 FILTER 2 SHAPE 1+2 FM AMT PAN ASSIGN 3
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.
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.
- 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
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 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.
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
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.
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 (EDIT MENU)
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
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.
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
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
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
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
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.
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.
Controls the amount of ANALOG BOOST.
Low shelf cut or boost.
1 ANALOG BOOST Intensity 17
Low shelf cutoff frequency.
Midrange cut or boost.
ACCESS VIRUS OS5 EqualizerFilter Envelope
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.
1 CATEGORY 1 Bass
The VIRUS has two freely assignable potentiometers which are particularly useful for giving direct access to parameters which are otherwise only available from within the menus. The destination parameters are dened in the Edit menu (SOFT KNOB 1/2 MODE). There are two parameters for each knob, one global and one local i.e. applying only to the current SINGLE program (which will override the global denition if dened). SOFT KNOBs always work in JUMP mode. Please note that SOFT KNOB 2 doubles as a value control, and therefore only works as a SOFT KNOB when the Virus is in Play mode i.e. no Edit menu is selected. These Soft Knobs operate in three different modes:
1 DEFINABLES Mode Single
SOFT KNOB 1 SINGLE
This is where you enter the parameter assignment for the SOFT KNOB-1 knob. The entry is an element of the current SINGLE PROGRAM
ACCESS VIRUS OS5 Soft Knob-1/2Analog Inputs
Part Midi Volume Ena- 0.1 ble Part Hold Pedal Enable Keyb To Midi Note Steal Priority 0.1 0.1 0.1
Part Prog Change Ena- 0.1 ble Glob Prog Change En- 0.1 able MultiProg Change Ena- 0.1 ble Glob Midi Volume Ena- 0.1 ble Input Thru Level Input Boost Master Tune Device ID Midi Control Low Page Midi Control High Page Midi Arpeggiator Send Knob Display Midi Dump Tx Midi Dump Rx Multi Program Change Midi Clock Rx Soft Knob-1 Mode Soft Knob-2 Mode Soft Knob-1 Global Soft Knob-2 Global Soft Knob-1 Midi 0.127 0.2 0.2 0.127 0.127 0.127 0.16 0.1 0.1 0.1 0.3 0.4 0.4 0.127 -64.+63 1.16, Omni
0:SysEx 1:Contr 0:SysEx 1:PolyPrs 0:Off 1:On 0:Off 1:Short 2:Long 3:On 0:Single 1:SingleBank A 2:SingleBank B. 0:Disable 1:Enable 2:ForceToBankA.
0:Disable 1:Auto 2:Send 0:Single 1:Global 2:Midi 0:Single 1:Global 2:Midi see Soft Knob List see Soft Knob List
No. C115 C116 C117 C118 C120 C121 C122 C123 C124 C125 C126 C127
Class g g g g g g g g g g g g
Name Soft Knob-2 Midi Expert Mode Knob Mode Memory Protect Soft Thru Panel Destination Play Mode Part Number Global Channel Led Mode LCD Contrast Master Volume
Range 0.127 0.2 0.5 0.1 0.1 0.2 0.2 0.15;40 0.15 0.2 0.127 0.127
0:0ff 1:On 2:All 0:Off 1:Jump 2:Snap 3:Relative (.) 0:0ff 1:On 2:Warn 0:0ff 1:On 0:Internal 1:Int+Midi 2:Midi 0:Single 1:MultiSingle 2:Multi 0.15:Multi Part 1.16; 40:Single Buffer 1.16 0:Lfo 1:Input 2:Auto.
178 CHAPTER 13
MULTI DUMP TABLE
NO 0.3 4.REF NAME Internal Multi Name Characters 1.10 Internal 32.127 ASCII RANGE VALUE TEXT
Multi Clock Tempo Multi Delay Mode Multi Delay Time Multi Delay Feedback Multi Delay Rate Multi Delay Depth Multi Delay Shape Multi Delay Output Select Multi Delay Clock Multi Delay Color Internal
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
BAND PASS 19 BAND STOP 19 BANK CHANGE 158 BITREDUCER 36
EDIT BUFFER 43 EDIT MENU 45 EFFECT 150 EFFECT SECTION 52 EFFECT SEND 150 ENVELOPE 17 ENVELOPE FOLLOWER 102, 150 ENVELOPE MODE 32 ENVELOPE POLARITY 67 EQUALIZER 92 EXPRESSION CONTROLLER 157
HIGH KEY 112, 115, 129 HIGH PAGE 121 HIGH PASS 19 HOLD PEDAL 112
INPUT 116 INPUT BOOST 116 INPUT DIRECT THRU 116 INPUT GAIN 117 INPUT LEVEL INDICATOR 53, 149 INPUT MODE 100 IRELATIV 46 ISNAP 46
FILTER 18, 21, 22, 153 FILTER BALANCE 22, 23, 63, 153 FILTER CUTOFF 63 FILTER CUTOFF LINK 67 FILTER ENV AMOUNT 63 FILTER ENVELOPE 64 FILTER GAIN 155 FILTER HLLKURVE 19 FILTER KEY FOLLOW 66 FILTER KEYFOLLOW BASE 67 FILTER MODE 64 FILTER MODE SERIAL FILTER RESONANCE 63 FILTER ROUTING 22, 24, 30, 66 FILTER SELECT 64 FILTER SPLIT 24, 30, 153 FM 28, 152 FM AMOUNT 28 FORCE TO EDIT BUFFER 118 FREQUENCY MODULATION 28
KEY FOLLOW 20 KEY MODE 97 KEYBOARD 127 KEYBOARD MODE 115 KEYBOARD PARAMETERS 114 KEYRANGE 112 KNOB MODE 46, 123
LC-DISPLAY 123 LFO 30, 33 LFO AMOUNT 71, 72 LFO CLOCK 73, 74, 76 LFO CONTOUR 73, 75 LFO ENVELOPE MODE 73, 74, 154 LFO FADE IN 76 LFO FILTER GAIN 71 LFO KEY FOLLOW 76 LFO KEYFOLLOW 74, 75 LFO MODE 73, 74, 76, 154 LFO RATE 30, 71 LFO SELECT 71
GARANTIE BESTIMMUNGEN 189 GLIDE 97 GLOBAL CHANNEL 115, 119, 129
LFO TRIGGER 155 LFO TRIGGER PHASE 74, 75, 154 LOCAL OFF 114, 126 LOW KEY 112, 115, 129 LOW PAGE 121 LOW PASS 19
MASTER CLOCK 44 MASTER TUNE 121 MASTER VOLUME 15 MEMORY PROTECT 122 MIDI 121, 157 MIDI CHANNEL 111 MIDI CLOCK 44 MIDI DUMP RX 118, 157 MIDI DUMP TX 117, 145 MIDI IMPLEMENTATION CHART 185 MIDI PARAMETER 117 MIDI VOLUME 112 MIDI VOLUME ENABLE 120 MIXER 70 MOD MATRIX DESTINATIONS 183 MOD MATRIX SOURCES 182 MODULATION 19 MODULATION MATRIX 48 MODWHEEL 115 MULTI CHANNEL 115, 129 MULTI MODE 42, 140 MULTI PROGRAM CHANGE ENABLE 120 MULTI SINGLE MODE 42, 148
OSC DETUNE 58, 62 OSC FILT ENV -> FM 61 OSC FILT ENV -> PITCH 60 OSC FM AMOUNT 59 OSC FM MODE 60 OSC KEY FOLLOW 59, 60 OSC MODE 61 OSC PHASE INIT 62 OSC SEMITONE 58, 62 OSC SYNC 58 OSC VOLUME 61, 70, 149, 153 OSC WAVE SELECT/PW 58 OSC WAVESELECT 62 OSC WAVESHAPE 58, 59, 60 OSCILLATOR 25, 27, 29, 152 OSCILLATOR BALANCE 27 OSCILLATOR SYNC 152 OSCILLATOR VOLUME 21 OUTPUT SELECT 54, 110, 150
PANEL DESTINATION 119 PANIC FUNCTION 55 PANORAMA 34, 97 PARALLEL-PARAMETER BUTTON 45 PARAMETER CONTROL VIA MIDI 140 PARAMETER SELECTION 44 PART 42 PART ENABLE 111 PART VOLUME 110 PATCH VOLUME 34, 96 PEDAL 1/PHASER 37, 84 PHASER DEPTH 85 PHASER DIR/EFF 84 PHASER FEEDBACK 84 PHASER FREQUENCY 85 PHASER RATE 84 PHASER SPREAD 85 PHASER STAGES 85 PITCH BENDER SCALE 98 PITCHBENDER 98 PRESSURE SENSITIVITY 116
NOISE COLOR 62 NOISE VOLUME 70
Virus Indigo features:
Analog synthesis with FM (frequency modulation) and wave shaping Three oscillators per voice Sub oscillator Noise generator with white and pink noise Dual multimode filters (low-pass, highpass, band-pass, and band-reject) Vocoder Arpeggiator Two ring modulators Matrix modulation Chorus, phaser, reverb, and delay effects External input processing Polyphonic Multitimbral (eight parts per DSP)
In this guide, references to Virus Indigo also include Virus IndigoV40. Differences between Virus Indigo and Virus IndigoV40 are noted where applicable. For more information, see Virus Indigo and Virus IndigoV40 on page 2
Chapter 1: Introduction
Virus Indigo and Virus IndigoV40
Access Music Virus Indigo is available in two modules, the standard Virus Indigo 20-voice module (all qualified Pro Tools|HD systems), and the Virus IndigoV40 40-voice module (Pro Tools|HD Accel systems only).
To use Virus Indigo, you need: An iLok USB Smart Key An iLok.com account for managing iLok licenses A Digidesign-qualified Pro Tools|HD system. To use Virus IndigoV40, you need: An iLok USB Smart Key An iLok.com account for managing iLok licenses A Digidesign-qualified Pro Tools|HD system, with one or more HD Accel cards. Digidesign can only assure compatibility and provide support for hardware and software it has tested and approved. For complete system requirements and a list of Digidesign-qualified computers, operating systems, hard drives, and third-party devices, refer to the latest information on the Digidesign website: www.digidesign.com/compatibility
Pro Tools|HD Accel systems provide 40 Virus IndigoV40 voices per plug-in at 44.1/48 kHz session sample rates, or 20 voices per plug-in at 88.2/96 kHz session sample rates. Pro Tools|HD (and Pro Tools|HD Accel) systems provide 20 Virus Indigo voices per plug-in at 44.1/48 kHz session sample rates, or 10 voices per plug-in at 88.2/96 kHz session sample rates. For additional information, refer to Appendix A, DSP Requirements. Virus IndigoV40 can read patches created with Virus Indigo, or the original Virus 1.0 plug-in. However, Virus Indigo and Virus 1.0 cannot read Virus IndigoV40 presets due to their expanded parameters, functionality, and format.
Installing Virus Indigo
To install the Virus Indigo plug-in:
1 Do one of the following:
Authorizing Virus Indigo
Virus Indigo is authorized using an iLok USB Smart Key (iLok), manufactured by PACE Anti-Piracy, Inc.
Download the installer for your computer platform from the Digidesign website (www.digidesign.com). After downloading, make sure the installer is uncompressed (.SIT on Mac or.ZIP on Windows). or Insert the Pro Tools Installer disc into your computer.
2 Double-click the plug-in installer application. 3 Follow the on-screen instructions to complete the installation. 4 When installation is complete, click Quit
iLok USB Smart Key
The iLok is similar to a dongle, but unlike a dongle, it is designed to securely authorize multiple software applications from a variety of software developers. This key can hold over 100 licenses for all of your iLok-enabled software. Once an iLok is authorized for a given piece of software, you can use the iLok to authorize that software on any computer.
(Mac) or Finish (Windows).
5 When you open Pro Tools, you are prompted to authorize your new plug-in.
The iLok USB Smart Key is not supplied with your plug-in or software option. You can use the one included with certain Pro Tools systems (such as Pro Tools|HDseries systems), or purchase one separately.
Chapter 2: Installation
You have to authorize your plug-in online with the Activation Code included with your purchase.
Uninstalling Virus Indigo
If you need to uninstall the Virus Indigo plug-in from your system, follow the instructions below for your computer platform.
See the iLok Usage Guide for details, or visit the iLok website (www.iLok.com).
To authorize Virus Indigo using an Activation Code:
1 If you do not have an existing iLok.com ac-
Mac OS X
To remove the Virus Indigo plug-in:
1 Locate and open the Plug-ins folder on your
count, visit www.iLok.com and sign up for an iLok.com account.
2 Transfer your Virus Indigo license to your
iLok.com account by doing the following: Visit http://secure.digidesign.com/ activation. Input your Activation Code (listed on the Activation Card or from the DigiStore) and your iLok.com User ID. Your iLok.com User ID is the name you create for your iLok.com account.
3 Transfer the licenses from your iLok.com ac-
Startup drive (Library/Application Support /Digidesign/Plug-ins).
2 Drag the plug-in to the Trash. 3 Empty the Trash.
1 Choose Control Panel.
count to your iLok USB Smart Key by doing the following: Insert the iLok into an available USB port on your computer. Go to www.iLok.com and log in. Follow the on-screen instructions for transferring your licences to your iLok.
2 Under Programs, click Uninstall a Program. 3 Select the Access Virus Indigo plug-in from the
list of installed applications.
4 Click Uninstall. 5 Follow the on-screen instructions to remove
For additional information about iLok technology and licenses, see the iLok Usage Guide.
4 Launch Pro Tools.
1 Choose Start > Control Panel. 2 Double-click Add or Remove Programs. 3 Select the Access Virus Indigo plug-in from the
If you have any unauthorized plug-ins or software options installed on your system, you will be prompted to authorize them. Follow the onscreen instructions to complete the authorization process.
4 Click Remove. 5 Follow the on-screen instructions to remove
6 Access Music Virus Indigo Plug-in Guide
To play Virus Indigo using a MIDI keyboard controller, or to adjust its controls using a MIDI control surface, you must first configure Pro Tools for MIDI.
See your Setup Guide for more information on configuring MIDI interfaces, MIDI devices, and your operating system (Mac or Windows) for MIDI operation.
Virus Indigo Controls
Virus Indigo has over 180 different controls for generating and modifying sounds. This chapter explains each of these and their use. The most common modules or sonic building blocks in a synthesizer are: Oscillators These produce the raw waveform material of a sound, which can then be modified. The most common waveforms are sine, triangle, sawtooth, and square waves. Virus Indigo generates many other types of waveforms as well. (See Appendix C, Virus Indigo Oscillator Waveformsfor a list of Virus Indigo waveforms.) Filters Remove or emphasize certain frequencies or harmonics in the waveform. The most common filter type is a low-pass filter. This removes high frequencies and passes lower frequencies. Other filter types are high-pass, band-pass, and band reject (or notch filter). Virus Indigo provides all of these. Envelope Generators Give shape to the volume, pitch, filter cut-off, and other parameters of a sound each time a note is played. Envelope generators typically provide control over attack, decay, sustain, and release. LFOs (Low Frequency Oscillators) Generate low frequency waveforms that can be used to change or modulate pitch, filter cutoff, volume, and many other parameters. The most common LFO waveforms are sine, triangle, and square waves.
A Synthesis Overview
Analog synthesis is often referred to as subtractive synthesis because of the way that sounds are created and modified. Typically, a waveform generated by an oscillator is fed through a series of modules that change the waveforms frequency, harmonic content, and amplitude, and thus its sound character. Much of the modification is done by filtering the sound, hence the term subtractive. The sounds themselves are often referred to as patches because the earliest synthesizers used patch cords to interconnect the various sound processing modules.
Chapter 3: Virus Indigo Controls
Virus Indigo controls are grouped by function onto seven different pages: Easy Has controls for some of the most commonly edited synthesizer parameters including oscillator volume, filter frequency and resonance, amplifier envelope attack and decay, and effects. Osc Has controls for the oscillators, noise generator, frequency modulator, and ring modulator. Filters/Env Has controls for the filters and envelope generators. LFO Has controls for the low frequency oscillators (LFOs). FX-1 Has controls for the phaser, chorus, delay, reverb, distortion, and ring modulation. FX-2/Global Has controls for the vocoder, arpeggiator, envelope follower, audio input, and global controls for tuning, key mode, pitch bend, unison, and input mode. ModMatrix Has controls for routing the sources, destinations, and amount of modulation in a patch. To view a particular Virus Indigo page:
1 Open the Inserts/Send Editor for Virus Indigo. 2 At the upper left of the Virus Indigo plug-in,
Adjusting Plug-in Parameters
You can adjust plug-in controls by dragging the controls slider or knob, or by typing a value into the controls text box. Additionally, some plugins have switches that can be enabled by clicking on them. To adjust a plug-in control:
1 Begin audio playback so that you can hear the control changes in real time. 2 Adjust the controls of the plug-in for the effect
you want. Refer to Editing Parameters Using a Mouse on page 10 and Editing Parameters Using a Computer Keyboard on page 11. Closing the plug-in will save the most recent changes.
Editing Parameters Using a Mouse
You can adjust rotary controls by dragging horizontally or vertically. Parameter values increase as you drag upward or to the right, and decrease as you drag downward or to the left.
Dragging a knob vertically
click the name of the page you want to view.
Selecting a page Dragging a knob horizontally
For finer adjustments, Command-drag (Mac) or Control-drag (Windows) the control. To return a control to its default value, Option-click (Mac) or Alt-click (Windows) the control.
Reso Vel Controls how MIDI key velocity affects filter resonance. With positive values, the harder a key is played, the greater the amount of filter resonance applied. Negative values have the opposite effect. Env Vel Controls how MIDI key velocity affects filter envelope. With positive values, the harder a key is played, the wider the filter envelope open the filter. Negative values have the opposite effect. Env Polarity Selects a positive or negative polarity for the Envelope Amount parameter. Use this to create unique filter envelope effects. Link (Resonance, Envelope Amount, Key Follow) When enabled, links the Resonance, Envelope, and Key Follow controls of filter 2 to filter 1 so that both can be adjusted in tandem. Key Base Sets the key base or starting point for the Key Follow parameter. Filter tracking occurs in relation to the MIDI note number selected here. Set the Key Base by typing a MIDI note number in the text box or by clicking the button and playing a key on the on-screen keyboard or a MIDI keyboard controller.
Use the controls in the filter 2 section to select the type and other characteristics of filter 2. Mode See the description for filter 1. Cutoff See the description for filter 1. Resonance See the description for filter 1. Envelope See the description for filter 1. Key Follow See the description for filter 1. Reso Vel See the description for filter 1. Env Vel See the description for filter 1. Env Pol See the description for filter 1.
Time Controls the duration of the sustain phase. When set to 0, the sustain level remains constant as long as a note is held. Negative values cause the sustain level to drop off toward zero. The higher the negative value, the faster the drop off. Positive values cause the sustain level to rise toward its maximum. The higher the positive value, the faster the rise. Release Controls the rate at which the volume of the envelope decreases after a note is released. The higher the Release value, the longer it takes for the envelope to fall from the sustain level to zero.
Use the filter envelope to control how the filter responds when you play and release notes. Attack Controls how long it takes for the envelope to reach its maximum level when a note is first played. Higher values produce softer, slower attacks. Decay Controls how long it takes for the envelope to fall from its peak level to the sustain level. Sustain Controls the level at which the envelope remains after the end of the decay phase. The duration of the sustain phase is set with the Time parameter.
Use the amplifier envelope to control how the volume characteristics of a patch respond when you play and release notes. Attack See the description for Filter Envelope. Decay See the description for Filter Envelope. Sustain See the description for Filter Envelope. Time See the description for Filter Envelope. Release See the description for Filter Envelope
The LFO Page
The LFO page has controls for the 3 low frequency oscillators. These are typically used to modulate oscillator pitch, filter cutoff frequency, pulse width, and many other parameters.
Shape Selects the waveshape of the low frequency oscillator. Each produces a uniquely different effect. Choices are: sine triangle sawtooth square sample & hold (random) sample & glide (random with portamento) oscillator waveform number. This selects one of the many different waveshapes (364) produced by the main oscillators. Contour Controls the phase of the triangle wave by adjusting the ratio of length between its up ramp and down ramp. When set to 0, the triangle wave goes through its full wave cycle. At 64, only the downward half of the wave cycle is generated, producing a downward sawtooth wave. At +63, only the upward half of the wave cycle is generated, producing an upward sawtooth wave. Env Mode When enabled, the LFO generates a single wave cycle at the start of a note only, then stops. Use this to generate a one-time modulation envelope in the selected waveshape. Key Follow Controls how much LFO speed is affected by MIDI note number. Playing higher notes increases LFO speed. Playing lower notes decreases LFO speed. Key Trig Controls the initial phase of the LFO wave cycle when a key is played. When set to Off, the LFO is not triggered. LFO Mode When enabled, each voice played triggers the LFO individually. When disabled, all voices have the same LFO phase, making modulation effects more pronounced.
Use the controls in the LFO 1 section to select the waveshape, rate, characteristics, and routing of LFO 1. Rate Selects the rate of the LFO. Using the Clock control overrides this control. Clock Selects a beat-based LFO rate. Choices range from 1/64 to 4/1. Using the Clock control overrides the Rate control. The LFO clock can be synchronized to MIDI Beat Clock. See Synchronizing LFO Clock to MIDI Beat Clock on page 47 for more information.
Osc 1 Controls how much the LFO affects the pitch of oscillator 1. Negative values invert the LFO waveforms effect. Osc 2 Controls how much the LFO affects the pitch of oscillator 2. Negative values invert the LFO waveforms effect.
Use the controls in the LFO 2 section to select the waveshape, rate, characteristics, and routing of LFO 2. Rate See the description for LFO 1. Clock See the description for LFO 1. Shape See the description for LFO 1. Contour See the description for LFO 1. Env Mode See the description for LFO 1. LFO Mode See the description for LFO 1. Key Follow See the description for LFO 1. Filter 1 This controls how much the LFO affects the cutoff frequency of filter 1. Negative values invert the LFO waveforms effect. Filter 2 This controls how much the LFO affects the cutoff frequency of filter 2. Negative values invert the LFO waveforms effect.
24 Access Music Virus Indigo Plug-in Guide
If the delay Effect button is not enabled for any plug-in sharing the same DSP, delay is turned off.
Time Controls the delay time in milliseconds.
Decay Time Controls the decay time of the reverb effect. Type Selects the type and overall character of the reverb effect. Choices include, Ambience, Small Room, Large Room, and Hall. Damping Controls the amount of damping (high frequency attenuation) applied to the reverb tail. Coloration Controls the character of the reverb through the use of low-pass or high-pass filtering. Settings from 64 to 0 apply a low-pass filter, with lower settings attenuating more high frequencies. Settings from 0 to +63 apply a highpass filter, with higher settings attenuating more low frequencies. Pre-delay Controls the amount of pre-delay added to the reverb effect. Pre-delay can add a greater sense of depth to reverb. Clock Selects a beat-based reverb time. Choices range from 1/64 to 3/4. Using the Clock control overrides the delay Time control. The clock can be synchronized to MIDI Beat Clock. See Synchronizing LFO Clock to MIDI Beat Clock on page 47 for details. Feedback Controls feedback amount. Higher feedback settings produce more regeneration of reverberant echoes.
On Pro Tools|HD systems, using a session sample rate of 88.2/96 kHz reduces available delay time by half.
Clock Selects a beat-based delay time. Choices range from 1/64 to 3/4. Using the Clock control overrides the Delay time control. The Delay clock can be synchronized to MIDI Beat Clock. See Synchronizing LFO Clock to MIDI Beat Clock on page 47 for details. Feedback Controls feedback amount. Higher feedback settings produce more repetitions. Coloration Controls the character of the delay through the use of low-pass or high-pass filtering. Settings from 64 to 0 apply a low-pass filter, with lower settings attenuating more high frequencies. Settings from 0 to +63 apply a highpass filter, with higher settings attenuating more low frequencies. Rate Controls the rate of delay modulation. Use modulation to add chorusing or flanging effects to the delayed signal. Depth Controls the intensity of delay modulation. Shape Selects the waveshape for the Delay LFO. Choices are sine, triangle, sawtooth, square, sample & hold, or sample & glide. Each produces a unique detuning effect.
The FX-2/Global Page
This page has controls for the vocoder, arpeggiator, external audio input, envelope follower, and for global tuning, key mode, pitch bend, and other parameters.
Harmonically rich sounds typically make the best carriers.
Using the Vocoder reduces voice polyphony. Additionally, the Virus Indigo filters are not available since they are used for vocoding. If you want to filter a vocoded sound, insert a second Virus Indigo plug-in on the same track and use its filters.
Mode Selects the source of the Vocoders carrier signal. Choices are: Off, Vocoder is off. Osc, any tone generator in the Oscillator pages Mixer section Osc Hold, oscillator 1 and 2 waveforms, with the last note held until the next note is played Noise, the noise generator only Input, external audio input using the Key Input Center Freq Sets the center frequency of the bandpass filters for both the modulator and carrier signals. Mod Offset Controls the amount of offset between the carrier and modulator filter bands. Mod Q Controls the resonance of the band-pass filters for the modulator signal. Mod Spread Controls the spread of the bandpass filters for the modulator signal. This affects the intelligibility of speech. Car Q Controls the resonance of the band-pass filters for the carrier signal.
The Vocoder merges the frequencies of two different audio signals together to give one signal (the carrier) the texture of the other signal (the modulator). The most common use for the Vocoder is to make sounds talk by using an oscillator waveform as the carrier and a voice as the modulator. Both signals are processed through a series of band-pass filters. The amplitude characteristics of the modulator signal (the voice) filter bands are then applied to the carrier signal (the oscillator). The voice characteristics articulate the oscillators harmonic content and overall sound. You can then play the vocoded sound as you would any Virus Indigo patch. You are not limited to using an oscillator as a carrier or a voice as a modulator. Any external input can be used as a carrier, and any signal bussed to Virus Indigo can be used as a modulator.
26 Access Music Virus Indigo Plug-in Guide
Link When selected, the Link button sets Mod Q and Carrier Q, and Mod Spread and Carrier Spread to an identical amount.
Car Spread Controls the spread of the band-pass filters for the carrier signal. This affects the intelligibility of speech. Spect Bal Controls the spectral balance between the higher and lower frequencies of the vocoder signal. This influences the overall character of the vocoder and can be used to increase the intelligibility of speech. Bands Controls the number of active filter bands. The number of filter bands determines the complexity and quality of the Vocoder. Increasing the number of bands generally increases the intelligibility of speech.
Tutorial 2: Oscillator 2
You can increase the variety and complexity of sounds by combining oscillator 2 or 3 with oscillator 1. Oscillator 2 actually provides a greater variety of waveshaping controls, several of which are covered here. To hear oscillator 1:
1 Open the Tutorial 2 session. 2 Record enable the Instrument track so that
ing Tutorial Sounds > Tutorial 2 Sound from the Librarian menu.
2 Click memory location 2, Semitone Detune
Chapter 5: Virus Indigo Tutorials 39
3 During playback, watch the Semitone control
Phase Sync Effects
You can create interesting timbral effects by detuning oscillator 2 and enabling Sync to synchronize its wavecycle to oscillator 1. This produces a unique hard-edged sound. You must enable Sync, tune oscillator 2 higher than oscillator 1 and vary the interval to produce this effect. Memory Location 4 demonstrates this.
and listen to how the sound character changes. When playback stops, experiment with the Detune and Semitone controls while playing your MIDI keyboard controller. For even more sonic variety and complexity, add oscillator 3 into the mix and vary its waveshape and tuning. With three oscillators at your disposal, you can create some extremely fat and expressive sounds.
The Sub Oscillator
Using the Sub Oscillator is another way to add weight to a sound. It adds a tone an octave below the fundamental pitch of oscillator 1. Choose the waveshape of the Sub Oscillator (square or triangle) using the Sub Shape button. Memory Location 3 demonstrates the Sub Oscillator. To hear the Sub Oscillator:
In this example, the Filter Envelope varies the pitch of oscillator 2 (using the Env Osc2 control). This is a more convenient than manually adjusting the pitch of oscillator 2.
To hear the phase sync effect:
2 Click memory location 4, Osc 2 Sync and
press the Spacebar to begin playback.
3 During playback, watch the oscillator 2 Semi-
2 Click memory location 3, Sub Oscillator and
tone control and listen to how the sound character changes. When playback stops, experiment with the oscillator 2 Detune and Env Osc-2 controls while playing your MIDI keyboard controller.
sustain time (negative)
note on note off
Typical amplitude envelope
By varying these four parameters, you can emulate a wide variety of instrumental effects, ranging from plucked sounds to
tain and press the Spacebar to begin playback.
2 During playback, watch the Sustain control
and listen to how the sound character changes.
Memory Locations 6 and 7 demonstrate how different envelopes can radically change the character of a patch. To hear envelopes change sound character:
1 Click memory location 6, Typical Amp
If you set Sustain to its maximum level of 127, the Decay control no longer has an effect. To use decay effectively, the Sustain level must set below its maximum.
The next stage of the amplifier envelope is determined by the Time control. To hear the sustain time stage:
1 Click memory location 4, Amplitude Time
Envelope 1 and press the Spacebar to begin playback. This patch has a soft attack similar to woodwind instruments. Next, listen to the same basic patch, but with a different envelope.
2 Click memory location 7, Typical Amp Enve-
2 During playback, watch the Time control and
lope 2 and press the Spacebar to begin playback. This patch has a hard attack and fast decay, not unlike a Japanese koto. These simple examples should give you some idea of the sound shaping power of the Amplifier Envelope. Next, youll experiment with the Filter Envelope.
listen to how the sound character changes. The higher the Time setting, the faster the volume increases to its maximum level. The lower the Time setting, the faster the volume decreases to zero. If Time is set to its center position of zero, the sustain level remains constant. The final envelope stage is determined by the Release control. To hear the release stage:
1 Click memory location 5, Amplitude Re-
The Filter Envelope controls how the filter responds each time you play a note. The Filter Envelope varies the cutoff frequency of both filter 1 and 2 each time you play a note. It has the same five controls as the Amplifier Envelope: Attack Decay, Sustain, Time, and Release. In addition, filter 1 and 2 each have an envelope amount (Env Amt) control. This determines the degree to which the envelope affects filter cutoff. The greater the envelope amount, the greater the effect the filter envelope has on cutoff frequency. Memory Location 8 demonstrates all five stages of the Filter Envelope.
You can use MIDI Beat Clock tempos ranging from 63190 with Virus Indigo. Tempos outside this range will cause timing errors.
To synchronize the Virus Indigo clock to MIDI Beat Clock:
1 In Pro Tools, choose Setup > MIDI > MIDI Beat
Tutorial 6: Virus Indigo Effects
Virus Indigo provides a number of effects, such as phasing, chorus, reverb, and delay, that you can use to enhance patches.
2 Select the Enable MIDI Beat Clock option. 3 Select the Virus Indigo plug-in that you want to receive MIDI Beat Clock and click OK. If multiple Virus Indigo plug-ins share the same DSP, select the instance with the highest alphabetical priority. (The a instance is highest, followed in order by bh.)
The Chorus Effect
Adding chorusing to a patch is a simple way to enliven its sound. Memory Location 1 demonstrates this effect on an otherwise static patch. To hear the Chorus effect:
1 Open the Tutorial 6 session. 2 Record enable the Instrument track so that
click FX-1 to show the effects page.
4 Click memory location 1, Chorus and press
the Spacebar to begin playback. When playback stops, experiment with the various Chorus controls while playing the patch with your MIDI keyboard controller.
Sending MIDI Beat Clock to a Virus Indigo plug-in
4 In the Virus Indigo LFO Clock pop-up menu,
select the clock value that you want to use.
Using the Arpeggiator
Arpeggiators are typically used to add a highlysequenced techno feel to music. If you play a note or a musical chord, the Arpeggiator will play the individual notes in succession, across a selected octave range, at a selected tempo.
By varying the range, clock speed and playback mode of the Arpeggiator, you can create a variety of effects.
Using the Vocoder
Vocoders are commonly used to make sounds talk by filtering a waveform or other audio source (the carrier signal) according to the amplitude characteristics of a human voice (the modulator signal). By merging the frequencies of the two different audio signals together, the carrier takes on the texture of the modulator. The Vocoder Demo session demonstrates this type of vocoding.
The Arpeggiator can be synchronized to MIDI Beat Clock. See Synchronizing LFO Clock to MIDI Beat Clock on page 47.
To hear the arpeggiator:
1 Click memory location 2, Arpeggiator and
2 At the upper left of the Virus Indigo plug-in,
3 During playback, watch the Mode, Clock, and Oct Range controls and listen to how the arpeggiation changes.
For best results, use the Vocoder on harmonically rich material.
To open the Vocoder demo session:
1 Locate and open the Vocoder Demo session. 2 Record enable the Instrument track so that
Experiment with different Mode, Clock, and Oct Range settings while playing your MIDI keyboard controller. Select the Hold control and note how the arpeggiator continues to play the most recently held notes even after you release the keys. Arpeggiation is more dramatic with high-impact, percussive sounds. Memory Location 3 demonstrates this. To hear another example of arpeggiation:
1 Click memory location 3, Arpeggiator. 2 Change the patch by choosing Tutorial Sound >
click FX-2/Global to show the vocoder.
4 Click memory location 1, Full Vocoder and press the Spacebar to begin playback.
Memory Location 2 demonstrates how the Source Balance control determines the balance of modulator and carrier signals. To hear the carrier and modulator signals:
1 Click memory location 2, Vocoder Balance
Tutorial 6 Arpeggiate from the Librarian menu.
3 Press the Spacebar to begin playback.
and press the Spacebar to begin playback. This patch uses Unison mode to add weight to the patch and give it a wide stereo spread.
2 During playback, watch the Source Balance
and listen to the carrier and modulator signals.
To hear more examples of arpeggiation, load one of the Arpeggiator presets with the Librarian.
Memory Location 3 demonstrates the various Vocoder parameters and how they affect the timbre and quality of vocoding.
To hear the various Vocoder parameters:
1 Click memory location 3, Vocoder Balance. 2 During playback, watch the various Vocoder
Using Input Mode
If you want to use the Vocoders Input mode, you must send an external carrier signal to Virus Indigo using the Key Input pop-up in the Inserts/Send Editor. With this technique, you can use two audio tracks or a live input from a microphone to create vocoded sounds without having to play notes on a MIDI keyboard controller. To use Input mode:
1 Insert Virus Indigo on an Instrument track or audio track containing the audio you want to use as a modulator. 2 Route the audio track or audio input you want
controls and listen to how they affect vocoding quality and intelligibility. Memory Location 4 demonstrates how vocoded material can be played with a MIDI keyboard controller. To hear the Vocoder played: Click memory location 4, Play Vocoder and press the Spacebar to begin playback.
To hear more examples of vocoding, load one of the Vocoder presets with the Librarian.
To use the vocoder:
1 Insert Virus Indigo on an Instrument track,
to use as the carrier signal to any Pro Tools bus.
3 In the Inserts/Sends Editor for the Virus Indigo
plug-in, choose the bus from the Key Input popup menu.
4 Set the Vocoders Mode pop-up menu to In-
Rate 20, 23 recording automation 34 register 3 registration 3 Release 19, 27, 45 removing Transfuser 6 Reso 1+Reso Vel 18 Resonance 18, 42 Reverb Pre-delay 25 Reverb Type 25 Ring Modulator 12, 16, 23 Ring Vol 16
sample & glide 46 sample & hold 46 Saturation 17 intensity 16 Scale 28 scroll wheel adjusting plug-in parameters 11 Semitone 13, 14, 39 Send 12, 24 Ser4 17, 43 Ser6 17, 43 Shape 13, 20, 25, 38 Shape 1+Shaper 17, 23 Shared Delay demo session 52 sidebands 40 slope of filters 16 Source 31 Source Balance 27 Spectral Bal 27 Split 17, 43 Spread 23 square wave 13 Static input mode 27
quarter tone scale 13
Sub Osc 14 Sub Osc (sub oscillator) 16, 40 Sub Shape 14 Sub Vol 16 Sub Volume 12 subtractive synthesis 9 Sustain 19, 44 Sustain Time 19, 45 switches adjusting plug-in parameters 11 Sync 13 Synchronization to MIDI Beat Clock 47 synthesis analog 9 modules 9 subtractive 9 System Exclusive (sysex) events 35 System Usage window 54
Velocity Mod 15 viewing automation 35 Virus pages 10 tutorials 37 waveforms 37 Virus IndigoVVirus patches auditioning 61 Virus synthesizer using as control surface 36 Vocoder 16, 26 bands and polyphony 27 demo session 49 input level 16 Input mode 26, 50 mode 26 Osc mode 26 playing 50 polyphony 26, 50 source balance 27 using 49 Vol Vel 15
TDM plug-ins DSP requirements 53 technical support 3 Tempo 28 Time 19, 25 Transfuser removing 6 uninstalling 6 Transpose 28 transposing pitch 28 Tune 22, 28 tutorial tutorial tutorial tutorial 6 48
wah-wah effects 27, 51 Wav Sel (wave select) 13, 37 waveforms 37 waveshapes changing 38 LFO 46 selecting 13 website 4 whole tone scale 13
uninstalling Transfuser 6 Unison Detune 15 mode 15 Pan Spread 15 polyphony 15 zipper noise 29
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