2000 Access Music GmbH, Germany. Virus is a trademark of Access Music GmbH. All other trademarks contained herein are the property of their respective owners. All features and specifications subject to change without notice. Written by Christoph Kemper, Uwe G. Hnig, Wiland Samolak and Marc Schlaile. Translation by Thomas Green. Graphic Design and DTP by Babylonwaves Media. http://www.access-music.de info@access-music.de

CONTENT

INTRODUCTION - 15 HANDLING - 59
The Virus..16 The Amplifier Envelope.. 20 The First Filter...23 Filter Modulation..25 The Saturation Stage..27 The Second Filter.. 28 Filter Routing..32 The First Oscillator.. 34 The Second Oscillator..37 The MIXER Section.. 39 The LFOs... 41 LFO 2.. 46 Velocity.. 48 Unison Mode.. 49 The Chorus/Flanger Effect. 50 The Delay Effect.. 51 More to Come...52
Parameter Selection and Data Entry..60 Knob Modes.. 63 Display of values.. 64

ALL ABOUT THE MEMORY

Store.. 68 Compare..69
MASTER CLOCK & MIDI-CLOCK - 71
Master Clock and Midi-Clock.72
THE MODULATION MATRIX AND DEFINABLE KNOB - 75
Creating Modulation Configurations via Assign.. 76 The Definable Knobs..78

CONCEPT AND OPERATION

- 53 THE EFFECTS SECTION - 81
Operating Modes.. 54 The Multi-Single Mode..55 Edit Buffers...57

The Effect Section.. 82

AUDIO INPUTS
Menu parameters for Oscillator-2.107 Menu-Parameter for Oscillator-3. 109 Menu-Parameters of the Suboscillator..111 Mixer-Parameters within then Oscillator-edit-Menu..112 Mixer... 113 Filters Panel...114 Filter-Edit-Menu.118 Amplifier.. 122 Main Edit Menu (Common).. 123 Assign..129 Velocity... 133
Audio Inputs.. 84 OSC Volume / Input.. 85 Input Level Indicator..86

INTERNAL AUDIO ROUTING

Aux Buses.. 88 The Audio Outputs.89

ADDITIONAL FUNCTIONS

Panic Function.. 92 Audition function.. 92 Reset Function.. 92

WITHIN THE CTRL-MENU

COMMON...136 ARPEGGIATOR.. 137 DEFINABLE 1 / DEFINABLE 2. 140 MULTI MODE parameters. 142

THE PARAMETERS

Sound Parameters with a Dedicated Control Element. 94 LFO 1 Panel.. 95 LFO 1 EDIT Menu.. 97 LFO 2 - Panel... 100 LFO 2 Edit-Menu.. 101 LFO 3...102 OSCILLATOR 1- Front Panel. 104 Oscillator 2 front Panel..105 OSCILLATOR EDIT-Menu. 106
PARAMETER OF THE FX-MENU- 149
The internal Effects..150 Input...150 Follower (Envelope-Follower). 154 Ringmodulator.. 155 Vocoder..156 Distortion.. 157
Analog Boost... 158 Phaser...159 Chorus... 161 Delay/Reverb...162
THE VOCODER OF THE VIRUS - 201
Vocoder.. 202 The parameters of the vocoder.204 Notes about the vocoder.210
GLOBAL-, MIDI- AND SYSTEM PARAMETERS - 173
Global Parameters. 174 System... 180
THE VIRUS AND SEQUENCERS - 213
Parameter Control via MIDI. 214 Organizational Information. 214 Handling MIDI Parameter Control.216 Notes on Adaptive Parameter Smoothing.. 217 Problems Related to Parameter Control.. 221 DUMP: The Sound in the Song.222

OSC-1 refers to the frequency of oscillator 1 OSC-2 refers to the frequency of oscillator 2 PW 1+2 means that the pulse widths of both oscillators are controlled in unison

44 CHAPTER 4

the sound, for instance if you modulate the frequency of Oscillator 2 although it is dialed out of the oscillator mix. When you run into this type of problem, check out the signal routing, if any configurations conflict 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 fix the mix. You are currently using a triangle as the LFO waveshape. You shouldnt have any problem associating the periodic up and down fluctuation 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. The following 62 waveshapes are identical to the oscillator sections digital waves. These can be used to create interesting rhythmic effects. 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-EDITMenu. 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 fluctuations. 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

1 COMMON PatchVolume 100

Its value is set to 100 so that you have a reserve or headroom of 27 volume increments when you are dealing with highly filtered sounds.

48 CHAPTER 4

VELOCITY
Velocity is one of the preferred modulation sources of keyboard players: A light key attack generates a low velocity value for the given note, a heavy touch generates a high velocity value. In the Virus you have ten modulation targets available for Velocity. Locate the VELOCITY section in the EDIT menu.
RESONANCE 2 VOLUME PANORAMA which you can manipulate independently of one another in the familiar bipolar control range. A light key attack generates a low velocity value for the given note, a heavy touch generates a high velocity value.

1 VELOCITY Osc1Shape

There you will find the modulation intensities for: OSC 1 SHAPE OSC 2 SHAPE PULSE WIDTH FM AMOUNT FILT 1 ENV AMT FILT 2 ENV AMT RESONANCE 1
ACCESS VIRUS OSUnison Mode

UNISON MODE

When we talked about the oscillators, we mentioned that by subtly detuning signals, you can beef up sounds and achieve string-like sounds. The Virus is equipped with features that allow you to take this type of tonal manipulation a step further. On of these is the so-called UNISON MODE. It enables you to initiate two or more voices for each note played, which in turn lets you detune many oscillators. UNISON MODE also offers the option of spreading the voices generated by one note in the stereo panorama and shifting the phases of their LFOs so that all types of periodic effects can be used to produce an even more exciting signal. Locate the parameter group UNISON in the EDIT menu.
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 efficient and the standard setting is UNISON mode = Twin, where two voices are played for every note. In the OFF position, one voice per note is played.

1 UNISON Mode

UNISON mode determines how many voices the Virus will use to render a played note. In a nutshell,

50 CHAPTER 4

THE CHORUS/FLANGER EFFECT
Another function that delivers great effects based on pitch fluctuation is the so-called chorus effect. Chorus actually consists of a brief delay (generally up to approx. 50 ms) which is varied periodically. By modulating the delay, the delayed signal is slightly detuned to the input signal (the so-called Doppler effect). This inconsistency in pitch between the original and effects signal is the source of the chorus effect. Feedback in the delay line enhances this effect. The left signal side is automatically modulated in a different manner than the right, so a chorus effect is great for converting mono signals into stereo signals. If the delay is less than approx. 10 milliseconds, than the effect is called flanging or a flanger effect rather than chorus. In this case feedback is even more significant because it generates resonances that can be modulated and is thus yet another source of radical sound effects. If you determine high feedback values, you can clearly hear

ACCESS VIRUS OSOSC Volume / Input
STATIC In Input Static mode,
the external audio signals are audible via the output without having to trigger a note. Bear in mind that the oscillators as well as all functions that have to do with trigger and pitch are disabled (envelopes, LFO Env mode, keyfollow.) In INPUT Static mode. When you set the device to this mode, one voice of the Virus is activated automatically. If you select a stereo source (L+R) for INPUT Select, two voices are activated much like in UNISON mode: Twin. 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.
TOEFFECTS 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 filter 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

86 CHAPTER 11

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 can also serve as level indicators for the left and right external audio inputs. The Virus automatically switches to this level indicator mode when the selected SINGLE program accesses the external audio inputs. The LEDs will flash 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.

Internal Audio Routing

88 CHAPTER 12

AUX BUSES

The Virus is equipped with several analog outputs and inputs. We figured that you might want to connect an input with an output via a patch cord so that you can process a part routed to this output via another part that is addressed by this input, for example, to have on part filter the other part. You can do this if you like, but the good news is that you dont have to mess with patch cords because the Virus gives you internal signal routing options in the form of stereo aux buses (bus is another term for circuit) that let you configure this type of set-up for two or several of these PARTs. The two aux buses appear as virtual outputs in the OUTPUT Select menu and as virtual inputs in the INPUT Select menu. In MULTI mode, the output signal of a PART (or several PARTs) may be routed via OUTPUT Select to one of the two aux buses. In order to make this signal audible, you must select the same aux bus for another PART (or several PARTs) via INPUT Select and set the given SINGLE program to Input mode

LFO 2 EDIT-MENU

The parameters CONTOUR, CLOCK, MODE, TRIG PHASE and KEYFOLLOW correspond with LFO-1 (see above). AMOUNT FM Amount. An additional modulation destination of LFO-2. The intensity of the frequency modulation of Oscillator 2 is modulated.

102 CHAPTER 14

Oscillator2

SYNCPHASE Determines the

RATE Determines the speed of the LFO.
phase position of Oscillator 2 when it is synced up to Oscillator 1 via the SYNC function.

1 LFO3 Rate

1 LFO3 Dest

Osc1+2

DESTINATION
Determines the modulation destination of the LFO. You can select from:
OSC AMOUNT Controls the modulation intensity of the LFO.

1 LFO3 OscAmount

OSC 1 The pitch of Oscillator 1 OSC 1+2 The pitch of both

oscillators

OSC 2 The pitch of Oscillator 2 PW 1 The pulse width of

Oscillator1

PW 1+2 The pulse width of

both oscillators

PW 2 The pulse width of

ACCESS VIRUS OSLFO 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.
MODE Switches back and forth between two LFO operating modes:
POLY In polyphonic mode, each
of the voices involved is assigned a dedicated LFO.

1 LFO3 FadeIn

SINGLE In polyphonic mode, all
voices are assigned the same LFO. KEYFOLLOW Same as LFO 1; see paragraph above.
SHAPE Determines the waveshape of the LFO. You can select from sine, triangle, sawtooth, pulse, S&H (abb. for: Sample & Hold) and S&G (abb. for: Sample & Glide) waves. Here you can also select the 62 cyclical shapes that are based on the oscillator waveshapes.

1 LFO3 Shape Triangle

CLOCK Same as LFO 1; see paragraph above.

104 CHAPTER 14

OSCILLATOR 1- FRONT PANEL
SHAPE This control feature lets you determine the waveshape for the WAVE section (one of 64 variable spectral waveshapes). The waveshape is infinitely variable from sawtooth through to pulse waves. Wave or pulse width selection is executed via the SHAPE and WAVE SEL/PW control features (see appropriate section): If SHAPE has a value less than the value of the center position, then WAVE SEL/ PW determines the waveshape; if the SHAPE value is higher than that of the center position, then WAVE SEL/PW determines the pulse width. WAVE SEL/PW has two functions, depending on the SHAPE (see appropriate section) value:

LP The low pass filter suppresses frequencies higher than the CUTOFF frequency (see appropriate section) and allows the lower frequencies through.

116 CHAPTER 14

HP The high pass filter works
in the opposite manner of the low pass filter: It suppresses the lower frequencies in a signal and lets the higher frequencies pass.
SER-6 The filters 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).
BP The band pass filter suppresses both ends of the tonal spectrum and allows only a narrowly defined bandwidth of the original sound to pass.
PAR-4 The filters are switched
in parallel and feature two poles each (12dB).
SPLIT The filters 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 parameter TWIN MODE PAN SPREAD (see appropriate section) in the EDIT menu. Regardless of which FILTER ROUTING option you chose, the SATURATION stage is always post-Filter-1.
BS The band stop filter, band
reject filter or notch filter works in the opposite manner of the bandpass filter. 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 filter chops a notch out of the sound spectrum. FILTER ROUTING This feature offers four filter routing options which allow you to operate the filters in series or in parallel:
SER-4 The filters are switched
in series; with two poles each (12dB), both filters have the same slope for a total of four filter poles (24dB).
FILT 1 SELECT & FILT 2 SELECT This control feature is used to allocate the three knobs RESONANCE, ENV AMOUNT and KEY FOLLOW to the first filter, second filter or both filters. The currently active assignments are indicated by the integrated LEDs. To control both filters simultaneously via the knobs, you must first press both buttons simultaneously. SELECT pertains to the corresponding knob located on the Virus only, but not to the sound parameters it controls. These parameters exist separately in both filters regardless of the SELECT setting. This is why for instance you should control the resonances of the respective filters via different MIDI Controllers. In actuality SELECT only determines if the knob in question sends its value to the first filter, second filter or both filters. ATTACK Determines the amount of time it takes for the filter envelope to rise to its maximum level. The higher the ATTACK value, the longer it takes for the envelope to rise to maximum volume after the start of a note.

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

1 VELOCITY Panorama +30

1 VELOCITY Resonance1 +30
VELOCITY RESONANCE 2 Determines the intensity of the VELOCITY control for the resonance of Filter-2.

1 VELOCITY Resonance2

Within the CTRL-Menu

136 CHAPTER 15

COMMON
CLOCK TEMPO The Virus is equipped with a global clock generator that lets you sync LFOs, arpeggiators and delay effects up to a common song tempo and rhythm. The clock generator works either internally with a freely variable speed or it can in turn by synced up to the MIDI clock of an external sequencer. This synchronization occurs automatically when the device receives a MIDI clock signal via its MIDI In. You can vary the speed of the clock generator within a range of 63 to 190 BPM (beats per minute) via CLOCK TEMPO. When the device is synchronized via MIDI clock, the clock generator automatically accepts the speed dictated by the connected sequencer; the internal tempo is invalid. 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).

1 CLOCK Tempo (bpm) 120

In SINGLE MODE, CLOCK TEMPO pertains to the current SINGLE PROGRAM and is stored along with it. In MULTI MODE, the CLOCK TEMPO settings for the involved SINGLE PROGRAMs are ignored. Instead, all involved SINGLE PROGRAMs are controlled via the same clock generator. Its CLOCK TEMPO is saved in the MULTI PROGRAM (as are the settings of the global delay effect). This feature lets you control the LFOs and arpeggiators of several MULTI PARTS in a common rhythmic context. A small cwill appear in the display when the Virus is receiving MIDI Clock data. If youre sure you do NOT want the device to be synchronized automatically to MIDI clock, set MIDI CLOCK RX to Off (in the CTRL menu).
ACCESS VIRUS OSARPEGGIATOR
To avoid confusion, please keep in mind that MIDI Clock is not the same thing as MIDI Time Code. The latter doesnt deal with tempo at all but with time-related information structured in hours, minutes, seconds, etc. which is of no benefit to you in this context.

ARPEGGIATOR

ARPEGGIATOR MODE Selects the Arpeggiator mode. You can chose from:
OFF Self-explanatory. The

Arpeggiator is inactive.

UP Sustained notes are arpeggiated in an ascending manner.

1 INPUT Select In L+R

If the selected signal source is a stereo source - i.e. IN L+R, AUX 1 L+R or AUX 2 L+R - then the sound program is automatically switched internally to UNISON-MODE = Twin, regardless of the UNISON MODE parameter setting so that the input signal is processed in stereo. In this case, the UNISON parameters PAN SPREAD and LFO PHASE (see appropriate section) are active. When you select an internal aux path as a signal source, you of course must route the signals of another PART to this aux path via

154 CHAPTER 16

FOLLOWER (ENVELOPEFOLLOWER)
The envelope follower generates a modulation signal from an audio signal. This modulation signal can be used to control sound parameters. When the envelope follower is activated, it takes the place of the filter envelope. This means that you can modulate the filters using the ENV AMOUNT knob in the filter section. The envelope follower is also available as a modulation source in the ASSIGN section in the form of the option called FiltEnv. MODE Activates the envelope follower. Set to the OFF position, the envelope follower is inactive and the filter envelope works in the usual manner. The remaining settings for FOLLOWER mode let you activate the envelope follower and, at the same time, choose a signal source. Select signal sources the same way you would for INPUT SELECT (see above). Note that this selection option is completely independent of the given input.
When you select a stereo signal and at the same time activate UNISON mode (Twin), the envelope follower operates in real stereo. Three filter envelope knobs are used to control the envelope follower when it is active: Envelope Follower Attack (Knob: FILTER ATTACK) It controls the attack rate of the envelope follower. With this parameter, you can determine how fast the envelope follower will respond to the rise in signal level. Higher values slow the envelope follower down and delay its response. Envelope Follower Release (Knob: FILTER DECAY) It controls the decay time of the envelope follower. With this parameter, you can determine how swiftly the envelope follower will respond to a decrease in signal level. Higher values let the Follower linger.
ACCESS VIRUS OSRingmodulator
Envelope Follower Gain (Knob: FILTER SUSTAIN) It controls the input level of the envelope follower directly. The nominal value is the center position (64).

RINGMODULATOR

TOTAL All data in the RAM of
the Virus, in other words, the SINGLE Banks A and B, the MULTI programs, the EDIT buffers as well as the settings for the global parameters.
SINGLE BUFFER This option
dumps the data of the SINGLE program that you are currently processing (the Edit buffer).
ACCESS VIRUS OSGlobal Parameters
SINGLE BANK A All 128 sound
programs of Bank A are sent.
SINGLE BANK B All 128 sound
programs of Bank B are sent.
Once you have selected the desired data type, the dump is initiated via STORE.

MULTI BUFFER This option

dumps the data of the MULTI program that you are currently processing (the MULTIs Edit buffer). Please bear in mind that, with this option, merely the MULTI parameters and not the associated SINGLE sounds are transmitted.
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 first. 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 first dumped in the Edit buffer; you have to manually store them somewhere else, otherwise they are deleted by the next program change.

ARRANGEMENT The current

MULTI and the SINGLE programs involved can be transmitted in one go with this option. To shorten the amount of time that this dump takes, only the sounds of those PARTs whose Part Enable option is set to On are sent.
MULTI BANK All MULTI programs are transmitted with this option. Please bear in mind that, with this option, merely the MULTI parameters and not the associated SINGLE sounds are transmitted. If you want to save all data of the Virus to a sequencer, you can select the Total dump option.
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.

176 CHAPTER 17

FORCE TO BANK A Bank data is
loaded to Bank A exclusively.
FORCE TO BANK B Bank data is
loaded to Bank B exclusively
1 MIDI DUMP RX ForceToBankA
FORCE TO EDIT 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.

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.

All these parameters exept KeybToMidi are global parameters. These parameters are only visible in the keyboard version of the Virus.

200 CHAPTER 20

The Vocoder of the VIRUS

202 CHAPTER 21

Although vocoder sounds have seen a comeback in the recent time, many musicians do not specifically know how they work or even more importantly, how they sound! Various Vocoder presets are stored In the last section of SINGLE bank B (grammalogue VOC). These SINGLEs require an audio signal being fed to the external inputs. The keyboard also needs to be played on most of the presets. The Virus Vocoder is not necessarily easy to handle. You should always refer to an existing Vocoder preset for editing. The Vocoder is one of the most complex sections of the Virus. For this reason, we recommend that you use factory sounds that use the Vocoder as your point of departure and edit these to create your own sounds. This means that you dont have to start from scratch and that the Vocoders parameters are set to viable values, which will facilitate programming considerably.
A Vocoder creates a new sound by combining two signals. The timbre of the so called analysis signal (or modulator signal) forms the carrier signal. A typical example for a modulator signal is the human voice, another suitable carrier signal can be a steady tone with rich harmonics. The sound characteristic is being rendered into the new sound by two cascades of bandpass filters: The modulator signal is being send through several parallel bandpass filters, which only pass through a certain part of the whole spectrum. Every bandpass filter is followed by an envelope follower which uses the level of the signal to create a control signal. This part of the vocoder is called a modulator bank. The carrier signal is treated in a similar way. It is split into several bands by a chain of bandbass filters. Different to the technique used above, the bandpass filters are not followed by envelope followers. The circuit uses amplifiers which are levelled by the control signal output of the envelope fol-

ACCESS VIRUS OSVocoder

lowers of the modulator banks. This part of the vocoder is called the carrier bank or synthesis part. As soon as the modulator detects a signal in a certain frequency range, its envelope follower levels the corresponding band in the synthesis part. In other words: Just the frequency band of the carrier signal (the steady tone), which is a part of the modulator signal (the spoken voice) in this second, is being passed to the output. This is why the steady tone starts to speak. The pitch of the output signal depends on the carrier. If a cord, e.g. a polyphonic pad sound is being used instead on a single tone, you can listen to a typical vocoder choir. Of course, you can use a different Modulator than a spoken voice. Have a try with a drumloop! All you need is the internal synthesizer of the Virus. It is also possible to process external signals. The feature set of the VIRUS includes 32 filter bands, shifting the frequencys relation of modulator and carrier, adjustable quality (Q-factor) of the filter bands and much more. By using a multi patch and

222 CHAPTER 22

beginning the song, and youd prevent hiccups such as the wrong sounds, stuck values and jumps from the get-go. In the next section, youll find out just how you can do this.
DUMP: THE SOUND IN THE SONG
Archiving all of the sounds used in a song is not only a good idea to prevent potential problems that may occur when parameters are controlled in real time. It also makes it easy for you to recall your work at some later point. Assuming that youve connected the MIDI Out of the Virus with a MIDI In of the computer, you can, for example, at any time send an individual sound or the content of the entire memory via MIDI in the form of something called a bulk dump to the sequencer and record this data there. This has an distinct advantage: all sound data can be stored together with the song and the status of the Virus required for this song can be restored at any time by simply sending the recorded data to the device. Youll find the menu for SysEx dumps by going to the CTRL menu and then MIDI DUMP TX. When you opt to record a bulk dump to a sequencer, you can proceed in the same manner as you would when you record tracks con-
ACCESS VIRUS OSDUMP: The Sound in the Song
sisting of notes. For example, you can move a bulk dump to any position in the arrangement. To assure that the Virus plays the song back using the right sounds, we recommend that you position stored data prior to the song. Move all components of the actual song back so that youre left with enough room to accommodate the dump prior to the songs start position. Then when you start the sequencer on the first bar, soundrelated data is sent to the Virus before the actual song begins. An individual sound dump is very
short; a dump comprising a complete memory bank will extend over several bars.
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

The Control Change messages
are defined as Performance Controller (e.g. Modulation Wheel or Hold Pedal) or Sound Parameters (e.g. Cutoff or Patch Volume). The 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. The Sound Parameters are stored with a Single Sound. If more than one Multi Part is set to the same MIDI channel, the Sound Parameter is receiced only by the Multi Part with the lowest part number. Example: B0,21,40 Set oscillator balance (21 hex = 33 dec) on MIDI channel 1 to the middle position (40 hex =64 dec).

254 CHAPTER 24

Polyphonic Pressure message (only Page B)
Ac nn vv Status byte, c=MIDI channel Parameter Number 0.127 (see parameter list Page B) :Parameter Value 0.127 see parameter list Page B)

SysEx Parameterchange

[message]= 7x Parameterchange 70:page A; 71:page B; 72:page C pp Part number 00.0F Multi part 1.16; 40: Single nn Parameter Number 0.127 (see parameter list) vv Parameter Value0.127 (see parameter list) {F0,00,20,33,01,dd,7x,pp,nn,vv,F7}
Example: A2,07,25 Control LFO3 Rate on MIDI channel 3 (!).

System-Exclusive-Message

FStart of System Exclusive Manufacturer ID 1 Access Music Electronics 20 Manufacturer ID 2 Access Music Electronics 33 Manufacturer ID 3 Access Music Electronics 01 Product ID (Virus) dd Device ID 00.0F individual; 10: omni. [message] F7 End of System Exclusive
The SysEx Parameterchange
affects one of the sixteen single edit buffer in Multi Mode addressed by the part number (00.0F) or the Single buffer in Single Mode (part number 40). If a global parameter or a Multi parameter is accessed, which is not part-sensitive (e.g. Input Boost or Multi Delay Time), the part number is ignored. 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)
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.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorised to distribute this type of product. The statements above apply ONLY to products distributed in the USA.

288 CHAPTER 24

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.
ACCESS VIRUS OSOther Standards (Rest of World)
OTHER STANDARDS (REST OF WORLD)
This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC. Cet appareil est conforme aux prescriptions de la directive communautaire 89/336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedrorendareadiostoj. Diese Gerte entsprechen der EG-Richtlinie 89/336/EC.

290 CHAPTER 24

DECLARATION OF CONFORMITY

EG-Konformittserklrung

Fr das folgend bezeichnete Erzeugnis/ For the following named product Access VIRUS Synthesizer Model b / kb / Indigo
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: EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , EN 60065 : 1993
ACCESS VIRUS OSDeclaration of Conformity
Diese Erklrung wird verantwortlich fr den Hersteller abgegeben: This declaration has been given responsibly to the manufacturer: Access Music Electronics Trimburgstrae Fulda

enabled (LowPage=Contr), the VIRUS sends MIDI Control Change on parameter movement, and receives both MIDI Control Change and SysEx-Parameterchange on Page A. 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 (CTRL menu). 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.
ACCESS VIRUS OSSystem Exclusive Data
Page C contains Multi parameters and Global parameters. These parameters are sent and received only by SysEx Parameter Change. In the following, all bytes are shown in hexadecimal representation.
Control Change message (only Page A)
Bc nn vv Status byte, c=MIDI channel Parameter Number 0.127 (see parameter list Page A) Parameter Value 0.127 see parameter list Page A)
The Control Change messages
are defined as Performance Controller (e.g. Modulation Wheel or Hold Pedal) or Sound Parameters (e.g. Cutoff or Patch Volume). The 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. The Sound Parameters are stored with a Single Sound. If more than one Multi Part is set to the same MIDI channel, the Sound Parameter is receiced only by the Multi Part with the lowest part number. Example: B0,21,40 Set oscillator balance (21 hex = 33 dec) on MIDI channel 1 to the middle position (40 hex =64 dec).

262 KAPITEL 24

Polyphonic Pressure message (only Page B)
Ac nn vv Status byte, c=MIDI channel Parameter Number 0.127 (see parameter list Page B) :Parameter Value 0.127 see parameter list Page B)

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}
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).

Multi Bank Request

[message]= 33 Multi Bank Request bb Bank Number 01:Multi Bank {F0,00,20,33,01,dd,33,bb,F7}

Controller Dump Request

[message]= ss Controller Dump Request Bank Number (always zero) Part Number
{F0,00,20,33,01,dd,37,00,ss,F7}

Arrangement Request

[message]= 34 Arrangement Request {F0,00,20,33,01,dd,34,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).

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}

266 KAPITEL 24

PARAMETERS DESCRIBTION
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 p p p p p a p p p p a p p p p p p 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 0.127 0.127 -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 OSParameters Describtion
No. A 19 A 20 A 21 A 22 A 23 A 24 A 25 A 26 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
Class a a a a a a a a a a a a a p a a a a a a a,Vb a
Name Osc1 Wave Select Osc1 Semitone Osc1 Keyfollow Osc2 Shape Osc2 Pulsewidth Osc2 Wave Select Osc2 Semitone Osc2 Detune 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
Range 0.64 0.127 0.127 0.127 0.127 0.64 0.127 0.127 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
Text Sine, Triangle, Wave 3.64
-64.+63 -64.+63, -64.0.+63: Default: 32 Wave.Saw.Pulse
Sine, Triangle, Wave 3.64 -64.+63
0:Off 1:On -64.+63 -64.+63 -64.+63: Default: 32 Bank A.D -64.+63:

0:Square 1:Triangle

-64.0.+63

268 KAPITEL 24

No. 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 A 59 A 60 A 61 A 62
Class a a a a a a a a a a a a a a a a a a a a a
Name 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 Amp Env Attack Amp Env Decay Amp Env Sustain Amp Env Sustain Time

Range 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 0.127 0.127 0.127 0.127

Value -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.Infinite.Rise
No. 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
Class a p p p a a a a a a a a a a a a a a a a a
Name 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

Range 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 -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

270 KAPITEL 24

No. A 84 A 85 A 86 A 87 A 88 A 89 A 90 A 91 A 93 A 94 A 97 A 98 A 99 A100 A101 A102 A105 A106 A107
Class a a a a a a a a a a a a a a a a a a a
Name Lfo2 Keyfollow Lfo2 Keytrigger OscShape Lfo2 Amount FmAmount Lfo2 Amount Cutoff1 Lfo2 Amount Cutoff2 Lfo2 Amount Panorama Lfo2 Amount Patch Volume Transpose Key Mode Unison Mode Unison Detune Unison Panorama Spread Unison Lfo Phase Input Mode Input Select Chorus Mix Chorus Rate Chorus Depth
Range 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.4 0.15 0.127 0.127 0.127 0.2 0.8 0.127 0.127 0.127
0:Off, 1.127:Keytrigger Phase -64.+63 -64.+63 -64.+63 -64.+63 -64.+63
-64.+63 0:Poly 1.4: Mono1-4 0:Off 1:Twin 2.15
-64.+63 0:Off 1:Dynamic 2:Static 3:ToEffects 0:In1L 1:In1L+R 2:In1R.
No. A108 A109 A110 A112 A113 A114 A115 A116
Class a a a a a,ms a,ms, np a,ms, np a,ms, np
Name Chorus Delay Chorus Feedback Chorus Lfo Shape Delay/Reverb Mode Effect Send Delay Time Delay Feedback Delay Rate Reverb Decay Time
Range 0.127 0.127 0.5 0.1 0.127 0.127 0.127 0.127 0.127 0.127 0.3 0.5 0.127 0.127 0.1
-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

a,ms, np

Delay Depth Reverb Room Size
0:Ambience 1:SmallRoom 2:LargeRoom 3:Hall 0:Sine 1:Tri 2:Saw 3:Square 4:S&H 5:S&G.
Delay Lfo Shape Reverb Damping

A119 A122 A123

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

-64.+63 0:Off 1:On

272 KAPITEL 24

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 b b b b b b b b b b b b b b b b b,ms, np 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 Delay Clock Lfo3 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 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: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
No. B 25 B 26 B 27 B 28 B 30 B 31 B 32 B 33 B 34 B 35 B 36 B 38 B 39 B 41 B 42 B 43 B 44 B 47 B 48
Class b b b b b b b b b,Vb b b b,Vb b b,Vb b,Vb b,Vb b,Vb b b
Name Control Smooth Mode Bender Range Up Bender Range Down Bender Scale Filter1 Env Polarity Filter2 Env Polarity Filter2 Cutoff Link Filter Keytrack Base Osc FM Mode Osc Init Phase Punch Intensity Input Follower Mode Vocoder Mode Osc3 Mode Osc3 Volume Osc3 Semitone Osc3 Detune Osc1 Shape Velocity Osc2 Shape Velocity
Range 0.3 0.127 0.127 0.1 0.1 0.1 0.1 0.127 0.12 0.127 0.127 0.9 0.12 0.67 0.127 0.127 0.127 0.127 0.127
Text 0:Off, 1:On, 2:Auto, 3:Note
-64.+63 -64.+63 0:Linear 1:Exponential 0:Negative 1:Positive 0:Negative 1:Positive 0:Off 1:On C-1.G9 0:Pos-Tri 1:Tri 2:Wave 3:Noise 4:In L 5:In L+R. 0:Off 1.127
0:Off 1:In L 2:In L+R. 0:Off 1:Osc 2:OscHold 3:Noise 4:In L 5:In L+R. 0:Off 1:Osc2Slave 2:Saw 3:Pulse 4:Sine 5 Triangle.

-64.+63

-64.+63 -64.+63

274 KAPITEL 24

No. B 49 B 50 B 54 B 55 B 56 B 57 B 58 B 60 B 61 B 62 B 63 B 64 B 65 B 66 B 67 B 68 B 69 B 70
Class b b b b b b b b b b b b b b b b b b
Name PulseWidth Velocity Fm Amount Velocity Filter1 EnvAmt Velocity Filter1 EnvAmt Velocity Resonance1 Velocity Resonance2 Velocity Second Output Balance Amp Velocity Panorama Velocity Definable1 Single Definable2 Single Assign1 Source Assign1 Destination Assign1 Amount Assign2 Source Assign2 Destination1 Assign2 Amount1 Assign2 Destination2
Range 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127
Value -64.+63 -64.+63 -64.+63 -64.+63 -64.+63 -64.+63
0:Off 1.127: Front.Center.Rear -64.+63 -64.+63 see Definable List see Definable List see Assign Sources List see Assign Destinations List

-64.+63 see Assign Sources List see Assign Destinations List
-64.+63 see Assign Destinations List
No. B 71 B 72 B 73 B 74 B 75 B 76 B 77 B 78

Class b b b b b b b b

Name Assign2 Amount2 Assign3 Source Assign3 Destination1 Assign3 Amount1 Assign3 Destination2 Assign3 Amount2 Assign3 Destination3 Assign3 Amount3
see Assign Sources List see Assign Destinations List 0.127 -64.+63 see Assign Destinations List 0.127 -64.+63 see Assign Destinations List 0.127 -64.+63
B 79 B 80 B 81 B 82 B 84 B 85 B 86 B 87 B 88 B 89 B 90
b b b b b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb
LFO1 Assign Dest LFO1 Assign Amount LFO2 Assign Dest LFO2 Assign Amount Phaser Mode Phaser Mix Phaser Rate Phaser Depth Phaser Frequency Phaser Feedback Phaser Spread 0.127 0.6 0.127 0.127 0.127 0.127 0.127 0.127 -64.+63 -64.+63 0.127 -64.+63
see Assign Destinations List

0:Off, 1.6 Phaser Stages

276 KAPITEL 24
No. B 97 B 98 B 99 B100 B101 B112 B113 B114 B115 B116 B117 B118 B119 B120 B121 B122 B123 B124
Class b,Vb b,Vb b,Vb b,Vb b,Vb b b b b b b b b b b b b,Vb b,Vb
Name Bass Intensity Bass Tune Input Ringmodulator Distortion Curve Distortion Intensity 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 0.127 0.127 0.127 0.6 0.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 32.127 0.2
0:Off 1.127: Direct.Ringmodulator.Input 0:Off 1:Light 2:Soft 3:Middle 4:Hard 5:Digital.
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 m,np m,np m,np m,np m,np m,np m,np m,np m,np m,np m,np m,bp c m,bp c m,bp c m m m m m 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 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 1.16 C-1.G9 C-1.G9 -64.+63 -64.+63 Bank A.D Bank A.D ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII ASCII 0:Out1L 1:Out1L+R 2:Out1R.

278 KAPITEL 24

No. C 39 C 40 C 41 C 45 C 63 C 64 C 65 C 66 C 67 C 68 C 69 C 70 C 72 C 73 C 74 C 75 C 77 C 78
Class m m m g g g g g g g g g m m m m m m
Name Part Volume Part Midi Volume Init Part Output Select Second Output Select Keyb Transpose Buttons Keyb Local Keyb Mode Keyb Transpose Keyb ModWheel Contr Keyb Pedal 1 Contr Keyb Pedal 2 Contr Keyb Pressure Sens Part Enable Part Midi Volume Enable Part Hold Pedal Enable Keyb To Midi Note Steal Priority Part Prog Change Enable

Range 0.127 0.127 0.14 0.15 0.1 0.1 0.1 0.127

Value -64.+63 Off, 1.127

Text 0=Unity Gain
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 see Keyboard Destination List
0.127 0.1 0.1 0.1 0.1 0.1 0.1
0:Off 1.127 0:Off 1:On 0:Off 1:On 0:Off 1:On 0:Off 1:On 0:Low 1:High 0:Off 1:On
No. C 85 C 86 C 87 C 90 C 91 C 92 C 93 C 94 C 95 C 96 C 97 C 98 C 99 C105 C106 C110 C111
Class g g g g g g g g g g g g g g g g g
Name Glob Prog Change Enable MultiProg Change Enable Glob Midi Volume Enable 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 Definable1 Mode Definable2 Mode
Range 0.1 0.1 0.1 0.127 0.127 0.127 0.16 0.1 0.1 0.1 0.3 0.4 0.4 0.127
Text 0:Off 1:On 0:Off 1:On 0:Off 1:On
-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:SingleBankA 2:SingleBankB. 0:Disable 1:Enable 2:ForceToBankA.
0:Disable 1:Auto 2:Send 0.2 0.2 0:Single 1:Global 2:Midi 0:Single 1:Global 2:Midi

280 KAPITEL 24

No. C112 C113 C114 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 g g g
Name Definable1 Global Definable2 Global Definable1 Midi Definable2 Midi Expert Mode Knob Mode Memory Protect Soft Thru Panel Destination Play Mode Part Number Global Channel Led Mode LCD Contrast Master Volume
Text see Definable List see Definable List
0.127 0.127 0.1 0.3 0.1 0.1 0.2 0.2 0.15;0.15 0.2 0.127 0.127 1.16 0:Lfo 1:Input 2:Auto. 0:0ff 1:On 0:Off 1:Jump 2:Snap 3:Relative 0:0ff 1:On 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
ACCESS VIRUS OSMulti Dump Table

MULTI DUMP TABLE

NO 0.3 4.13
NAME Internal Multi Name Characters 1.10 Internal

32.127

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

63.190 BPM 0:Off 1:On

0.1 0.127 0.127
0.127 0.127 0.5 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

0.16 0.127

282 KAPITEL 24

NO 32.47

REF Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16 Part 1.16
NAME Bank Number Program Number Midi Channel Low Key High Key Transpose Detune Part Volume Midi Volume Init Output Select Effect Send Internal Part State

RANGE 0.1

C-1.G9

96.111

112.128.144.160.176.192.208.240.2 55

-64.+63 0=Unity Gain

-64.+63;
Off, 1.127 0:Out1L 1:Out1L+R 2:Out1R.

Part 1.16

Bitfield (see Part State Bitfield)

Part State Bitfield:

Bit 0 Bit 1 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

Bit 3 Bit 4 Bit 5 Bit 6

All bytes are shown in decimal

representation.

284 KAPITEL 24

CLASSES

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 Accessible by Control message, SysEx-Parameterchange and Single-Dump.The Sound Parameters are stored with a Single Sound. When received as Control Message, 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.
b: 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 SysExParameterchange or Single-Dump, the part is addressed by the part number irrespective of the actual MIDI channel setting. m: Multi Parameter Accessible by SysEx-Parameterchange and MultiDump The Multi Parameters are stored with a Multi Patch. ms: Multi/Single Parameter When in 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.

ACCESS VIRUS OSClasses

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. Vb: Virus b Parameter These parameters are only available on Virus b and Virus kb/Indigo in Version 3.0 and followers. Virus b parameter changes are ignored by Virus a

286 KAPITEL 24

On non-part-sensitive parameters the part number is ignored, but must still be sent as any value.
The Virus can be switched
between Multi Mode and Single Mode by parameter C123 Part 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.
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.
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

288 KAPITEL 24

MOD MATRIX SOURCES
All sources of the definable 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 OSMod Matrix Destinations

MOD MATRIX DESTINATIONS

All destinations of the Modulation Matrix
Off Osc1Shape Osc2PlsWdh FmEnvAmt Cutoff Flt1Keyflw FltSusTime AmpRelease Lfo1>Reso Lfo2>Cut1 UniSpread ChorusFeed Osc1ShpVel Reso1Vel Ass2Amt2 RingMod RingmodMix PhaserMix RevbDecay ArpNoteLen PatchVol Osc1PlsWdh Osc2WavSel Osc2Keyflw Cutoff2 Flt2Keyflw FltRelease Lfo1Rate Lfo1>FltGn Lfo2>Cut2 UniLfoPhs EffectSend Osc2ShpVel Reso2Vel Ass3Amt1 NoiseColor Osc3Volume PhaserRate RevDamping ArpSwing ChannelVol Osc1WavSel Osc2Pitch OscBalance Filt1Reso FltBalance AmpAttack Lfo1Cont Lfo2Rate Lfo2>Pan ChorusMix DelayTime PlsWhdVel AmpVel Ass3Amt2 DelayColor Osc3Semi PhaserDept RevbColor ArpPattern Panorama Osc1Pitch Osc2Detune SubOscVol Filt2Reso FltAttack AmpDecay Lfo1>Osc1 Lfo2Cont Lfo3Rate ChorusRate DelayFeed FmAmtVel PanVel Ass3Amt3 ABoostInt Osc3Detune PhaserFreq RevPredely Transpose Osc1Keyflw Osc2FmAmt OscMainVol Flt1EnvAmt FltDecay AmpSustain Lfo1>Osc2 Lfo2>Shape Lfo3OscAmt ChorusDpth DelayRate Flt1EnvVel Ass1Amt1 OscInitPhs ABoostTune Lfo1AssAmt PhaserFdbk RevFeedbck Portamento Osc2Shape Osc2EnvAmt NoiseVol Flt2EnvAmt FltSustain AmpSusTime Lfo1>PlsWd Lfo2>Fm UniDetune ChorusDly DelayDepth Flt2EnvVel Ass2Amt1 PunchInt DistInt Lfo2AssAmt PhaserSprd SecBalance

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

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MIDI IMPLEMENTATION CHART

Date: 6.9.2000

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 ************
Model: Access VIRUS SynthesizerVersion: 4.0
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

Remarks

Number Velocity

AfterTouch Pitch Bender

14-Bit Modwheel Breath Control Portamento Time Volume Panorama Bank Select Sustain

Control Change*

Prog Change

True #.

ACCESS VIRUS OSMIDI Implementation Chart
System Exclusive System Common System Realtime :Song Pos :Song Sel :Tune. :Clock :Commands

O O X X X X X X X X

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

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FCC INFORMATION (U.S.A)
I M P O R T A N T N O T I C E : DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by ACCESS MUSIC ELECTRONICS may void your authority, granted by the FCC, to use this product. I M P O R T A N T: 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. N O T E : 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 filter/s.

ACCESS VIRUS OSFCC Information (U.S.A)
In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorised to distribute this type of product. The statements above apply ONLY to products distributed in the USA.

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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.
ACCESS VIRUS OSOther Standards (Rest of World)
OTHER STANDARDS (REST OF WORLD)
This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC. Cet appareil est conforme aux prescriptions de la directive communautaire 89/336/EC. Dette apparat overholder det gaeldenda EF-direktiv vedrorendareadiostoj. Diese Gerte entsprechen der EG-Richtlinie 89/336/EC.

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DECLARATION OF CONFORMITY

EG-Konformittserklrung

Fr das folgend bezeichnete Erzeugnis/ For the following named product Access VIRUS Synthesizer Model b / kb / Indigo
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: EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , EN 60065 : 1993

The following stipulations also apply: - Ensure the unit is sent in its original package or one of equal quality. - Include a detailed description of the defect and a copy of the purchase receipt.

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