The Saturation Stage

In the signal chain of the Virus, Filter-1 is followed by a saturation stage. It enables you to add overtones to the ltered signal via distortion. Locate and press the button labeled EDIT in the FILTERS section. MENU DISPLAY FILTER EDIT > SATURATION > CURVE

01111111111111111112

1 SATURATION Curve Off

61111111111111111154

The display will read SATURATION CURVE OFF, which means exactly what it says. With the VALUE buttons or the VALUE pot, you can now select from a number of saturation/distortion curves. Next to the distortion curves, the SATURATION stage offers further DSP effects such as the shaper, rectier and lter. These are explained in detail in the section on the SATURATION stage. At this point we would like to mention the OSC VOL pot in the MIXER section. The portion of the control range from the far left to the center position (12 oclock) determines the volume of the lter sections input signal. The portion of the control range located to the right of the center position (12 oclock) does not achieve any increase in volume; it simply intensies the degree of saturation or distortion. This effect is only achieved when you have activated a saturation curve. The intensity of the remaining available DSP effects is also controlled via the OSC VOL knob. Feel free to experiment with the diverse saturation curves and be sure to vary the OSC VOL settings. Note how the different CUTOFF and RESONANCE settings inuence the saturation curve.

The Second Filter

You probably noticed that by a adding a bit of saturation to the signal you can come up with a pretty heavy, aggressive sound - especially with a low lter frequency level and high resonance. Youre probably thinking these types of sounds could do with some more ltering. We had the same idea, which is one of the reasons why we equipped the Virus with another lter per voice. The technical design of this second lter is identical to the rst, so we wont discuss it in as much detail as we did the rst lter. However, there are few differences in how you handle the second lter: Only two control features of the Virus are allocated exclusively to Filter-2: CUTOFF 2 and FILT 2 MODE. The RESONANCE, ENV AMOUNT and KEY FOLLOW pots can be allocated to either of the two lters or both simultaneously. Use the two SELECT buttons located at the far right of the FILTERS section to select the desired operating mode. For instance, if you press the FILT 2 SELECT button, then the values you set via the RESONANCE, ENV AMOUNT and KEY FOLLOW pots apply exclusively to Filter-2. The corresponding parameters of Filter-1 remain unaffected. On the other hand, if you press both SELECT buttons at the same time, the values that you dial in apply by the same measure to Filters 1 and 2. In the sound program we are using for our experiments, the LEDs of both buttons are illuminated, so that all adjustments to the given parameters affect both lters. However, you have yet to actually hear the effect of Filter-2 on the signal because it is mixed out of the audible signal path of the Virus. Before we get started with our next experiment, deactivate SATURATION, set the ENV AMOUNT of the lter envelope to zero and set CUTOFF 2 to the center position (12 oclock) so that Filter-2 always has the same cutoff frequency as Filter-1 (well explain CUTOFF 2 a bit later). Set CUTOFF to a medium or middle value and turn the RESONANCE pot counter-clockwise to the far left to achieve a relatively muddy sound. Now locate the FILTER BALANCE pot at the upper right hand of the control panel and rotate it from the left to the right. You will note the sound becomes muddier as you turn the pot towards the center position (12 oclock) and that the sound is somewhat brighter at the far right of the control range then at the far left. The reason for this effect is that when you turn the FILTER BALANCE pot to the far left, only Filter-1 is audible. When you rotate the pot to the right, Filter-2 is blended in so that it follows Filter-1 in the signal chain. When you turn the FILTER BALANCE pot clockwise, Filter-1 is blended out of the signal chain until at the far right position only Filter-2 is active and audible. Each lter in the Virus normally features 2 poles. However in the FILTER ROUTING operating mode SER 6, Filter-1 operates with 4 poles, so the signal patched through Filter-1 (FILTER BALANCE to the far left) is trimmed more drastically than when it is routed through Filter-2 (FILTER BALANCE to

The VIRUS ring modulator is a new sound source. The output of the two oscillators is multiplied to create interesting sounds with rich enharmonic overtones. These overtones are highly dependent on the frequency coherence of both oscillators and its waveforms. The frequency coherence can be changed, for instance use the OSC2 SEMITONE parameter. To blend in the ring modulator use EDIT: RINGMODULATOR VOLUME (in OSCILLATOR EDIT Menu). If the RINGMODULATOR VOLUME is zero, the ring modulator is switched off. OSC VOL does not affect the ring modulator level (or indeed the noise volume). Therefore the original oscillator signal can be leveled independently of 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 Filter-1, 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.

The LFOs

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. 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.

S&G

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-EDIT-Menu.
This function enables you to control the rate of the LFOs via the pitch, or more accurately, via the MIDI note number, so that higher notes generate faster LFO rates. As result, when you press and hold several notes you will hear all kinds of substantially different periodic uctuations. Finally, the LFOs can also be used as additional envelopes. The control feature for this effect is the ENV MODE button. When you press this button, two things occur: For one, the LFO no longer initiates its cycles periodically, but only once at and in sync with the start of a note, and for the other, the active range of the LFO is switched from bipolar (in both directions from the zero position) to unipolar (from zero in one direction only). Please note that this applies to the modulation target but not the modulation intensity. Here you can still determine a value in the entire bipolar range. This effect is especially prominent when used in conjunction with the sawtooth wave, which enables a fade-out type of effect (when you dial in a positive AMOUNT value) or a volume-swell type of effect (negative AMOUNT) for the available modulation targets. Using the LFO Curve parameter located in the LFO EDIT menu, you can have the ramp rise or fall exponentially. If you choose a triangle for your waveshape, the device will generate an ascending phase (attack) and a descending phase (decay). LFO Curve also lets you determine the temporal relationship between attack and decay; in other words, their respective rates. Dial in the desired speed via the RATE pot. You can also use S&H and S&G in ENV MODE to come up with some attractive results: S&H generates a single random value at the start of a note (in this case, the RATE pot has no effect); S&G works in the same manner although in this case the RATE value is crucial. It determines the amount of time it takes to glide from the previous to the new random value.

The design of the second LFO is essentially the same as the rst, so well spare you the repetition of details SHAPE 1 and 2 are available as a joint modulation target; the lter frequencies and the Panorama position can be manipulated individually. You may also freely select a parameter for your modulation destination.
Volume and Panorama Position
You probably noticed that the many of the sound shaping options available in the Virus occasionally inuence the volume level. For instance, an unltered sawtooth is naturally louder than a highly ltered sawtooth because whenever you blend a part of the frequency spectrum out of the mix, you are automatically reducing the overall volume of the signal. This is why the Virus is equipped with a programmable volume pot for each SINGLE PROGRAM. It enables you to balance out the volume levels of your sound programs. Locate the parameter PATCH VOLUME in the COMMON section of the EDIT menu. MENU DISPLAY EDIT > COMMON > PATCH VOLUME

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 ltered sounds. You have already dealt with the Panorama position as a modulation target of LFO 2. Here you can not only modulate it, but also determine settings manually. For this purpose, use the parameter PANORAMA which is also located in the OUTPUT section of the EDIT menu. Like many other parameters, Panorama is a starting point for modulations. For instance you can modulate the Panorama position via LFO 2 even if you have already set the Panorama to the far left position. In this case of course you will only hear the Panorama position shift to the right.

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. MENU DISPLAY EDIT > VELOCITY > OSC1SHAPE

1 VELOCITY Osc1Shape

There you will nd the modulation intensities for: OSC1 SHAPE, OSC2 SHAPE, PULSE WIDTH, FM AMOUNT, FILT 1 ENV AMT (Filter 1 ENVELOPE AMOUNT), FILT 2 ENV AMOUNT, Resonance 1, Resonance 2, VOLUME and 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.

Edit Buffers

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). 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 DUMP: The Sound in the Song on page 154. > 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.

Handling

Parameter Selection and Data Entry
In the Virus, we distinguished between two types of parameters. On the one hand, it features parameters that are essential in generating or synthesizing sounds, on the other hand it has sound parameters and organizational parameters that are more of a peripheral nature. This distinction is apparent in handling and operation of the Virus: All essential sound parameters feature a dedicated knob or button so that you can access these directly - especially while you are playing!. In just a few cases (where appropriate or where it facilitates better handling), the control features have dual functions. Peripheral parameters, on the other hand, are compiled in menus. Among these menus are above all the EDIT, the CONFIG (short for Conguration and the EFFECTS menu as well as the four local EDIT menus in the individual function blocks. The EDIT menus contain parameters that you will require less frequently, but some of these are nonetheless indispensable for programming sounds. The local EDIT menus are there for a purpose to help you distinguish clearly between the various parameters. Here youll nd parameters that affect directly the given functional section, but are not equipped with dedicated control features. Irrespective of which operating mode you may have activated, the EDIT menu contains the sound parameters of the selected SINGLE program (in SINGLE mode and MULTI SINGLE mode) or organizational parameters for MULTI mode. In SINGLE mode and MULTI SINGLE mode, the CONFIG menu contains further SINGLE parameters such as the arpeggiator, etc. In the CONFIG menu, youll also nd irrespective of the given operating mode a number of global parameters. These are called MIDI, SYSTEM and so forth and are not stored with a SINGLE or a MULTI program. Located next to some of these parameters, youll see the abbreviations ENA and DIS. The option ENA means enable and DIS means disable.

1 C126 -Init compare

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

1 STORE TO FLASH A>C

A>C, A>D, A>E, A>F, A>G, A>H and B>C, B>D, B>E, B>F, B>G, B>H indicate which RAM bank will be written into which segment of the Virus patch ROM. A>C means, for instance, that the RAM bank A will be written to ROM bank C. Hit the [STORE] button and conrm the safety alert message to write the chosen bank.
New ROM-Bank? [VAL+]execute!
WARNING: Despite the fact that the manufacturer of the FLASH ROMs guarantee thousands of write cycles, we recommend you use this function wisely. We took every technically possible precaution to ensure that even a power failure during the process of writing won't affect the operating system of the Virus. In the unlikely case of permanent damage to the FLASH ROM, the FLASH ROM has to be exchanged by an authorised Access dealer or serivice facility. This is not covered by the standard warranty. One of the most effective ways to put your patches into the right order is to use SoundDiver Virus. But before you start, save any precious sounds in banks A and B rst! To do this, you can use SoundDiver: Request either bank by clicking the long button 'Singles Bank A' in the Device window, and then choose Entry>Build Library>Selected Entries. Save the library and repeat for bank B if necessary. Alternatively, go to SYSTEM>MIDI DUMP TX>SingleBank (A or B), set your sequencer into Record mode, and hit the STORE button.
To prepare your custom banks in SoundDiver, open a library and the Device window. Shrink the windows so that both can t on the same screen, with the Library window on the left. Now you can drag and drop any of the patches onto a specic patch location in banks A or B. When the dialog opens, click on 'Store'. The patch will then be transmitted to the equivalent location in the Virus' RAM. If you like, you can drag and drop multiple patches in one go, or if you wish to do an entire library of 128 patches at once, choose 'Select All' from the Edit menu and make sure that you position the rst patch over location 000 in the relevent bank. Once you have compiled banks A and B to your liking, use Store To Flash to write them to your least favourite ROM banks :-) All that's left to do, is to load your old sounds back into banks A and B, should you wish to do so. Either play the sequence containing the Midi dump, or open the library you saved earlier, Select All, and then drag and drop to the relevent bank in the Device window.

TOEFFECTS

1 INPUT Mode Dynamic

Osc Volume and Input
When one of the two INPUT modes is activated, the OSC VOL knob rather than the oscillators controls the level of the INPUT signal in front of the Filter section and of course also the gain of the SATURATION stage. In INPUT Dynamic mode, the level increases quite rapidly when you play several voices polyphonically. The reason for this is that in contrast to when youre dealing with several oscillator signals the voices are correlated because they are receiving an identical input signal. In the event that the Virus generates distortion when youre dealing with this type of signal routing setup, 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 ash rapidly to indicate that the inputs are being overloaded. You should dial in the proper level on the device that is sending the analog signals. The reason for that you want to feed the highest possible clean signal level to the analog-to-digital converters of the Virus so that they will deliver the best possible performance.

Internal Audio Routing

Aux Buses
The Virus is equipped with several analog outputs and inputs. We gured that you might want to connect an input with an output via a patch cord so that you can process a part routed to this output via another part that is addressed by this input, for example, to have on part lter the other part. You can do this if you like, but the good news is that you dont have to mess with patch cords because the Virus gives you internal signal routing options in the form of stereo aux buses (bus is another term for circuit) that let you congure this type of set-up for two or several of these PARTs. The two aux buses appear as virtual outputs in the OUTPUT Select menu and as virtual inputs in the INPUT Select menu. In MULTI mode, the output signal of a PART (or several PARTs) may be routed via OUTPUT Select to one of the two aux buses. In order to make this signal audible, you must select the same aux bus for another PART (or several PARTs) via INPUT Select and set the given SINGLE program to Input mode (Static or Dynamic). You can then process the signal patched in to this PART via the aux bus exactly the same way you would process conventional analog signals routed in via the external input. There is, however, a simpler option than this relatively involved processed of connecting PARTs directly to one another: You can also use one of the aux buses as a second output for the PART. Well look at this function a little later in the section SECOND OUTPUT.

Youll nd another ring modulator in the effects section of the Virus. It, however, processes entirely different input signals. When the noise generator is used by Oscillator 2 for frequency modulation (see FM mode), the NOISE COLOR setting also inuences the sound of the frequency modulation.

OSC BAL

Determines the balance between the Oscillators 1 and 2 volume level.

SUB OSC

Determines the volume level of the SubOscillator.

OSC VOL

This knob has two functions:
> In the left half of its control range up to the center position (MIDI value 64), OSC VOL determines the master volume of the three oscillators prior to the lter section input. The Noise Generator and the Ringmodulator are not affected by the master volume knob OSC VOL. Their level is controlled separately in the OSCILLATOR EDIT menu (see appropriate section). > In the right half of the control range from the center position to the far right, OSC VOL increases the saturation intensity (Gain) for the input of the SATURATION stage (see appropriate section); however this adjustment is compensated post-SATURATION stage so that when you adjust the gain you are not actually increasing the volume, only manipulating the tonal spectrum in terms of saturation. The intensity of the remaining DSP effects available in the SATURATION Stage is controlled via the OSC VOL knob.

Filters Front Panel

CUTOFF
Determines the cutoff frequency of Filter-1 and 2 (with exceptions; see CUTOFF 2).

RESONANCE

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.

ENV AMOUNT

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.
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 at this pitch. In the FILTER EDIT menu you have the option of freely dening the base note under KEYTRACK BASE.

ASSIGN SOURCE

Selects the modulation source for the modulation assignment.

ASSIGN DESTINATION

Selects the modulation destination for the modulation assignment.

ASSIGN AMOUNT

Controls the intensity of the rst modulation allocation.
In addition to the following xed destinations, any parameter can be controlled via velocity by way of the Modulation Matrix (ASSIGN). Velocity Destination Description OSC 1 SHAPE Determines the intensity of the VELOCITY control for the rst oscillators SHAPE parameter (see appropriate section).
Velocity Destination Description OSC 2 SHAPE PULSE WIDTH FM AMOUNT FILT 1 ENV AMT FILT 2 ENV AMT RESONANCE 1 RESONANCE 2 VOLUME PANORAMA Determines the intensity of the VELOCITY control for the second oscillators SHAPE parameter (see appropriate section). Determines the intensity of the VELOCITY control for the pulse width (see appropriate section) of both oscillators. Determines the intensity of the VELOCITY control for the frequency modulation. Determines the intensity of the VELOCITY control for the modulation of Filter-1s cutoff frequency by the lter envelope. Determines the intensity of the VELOCITY control for the modulation of Filter-2s cutoff frequency by the lter envelope. Determines the intensity of the VELOCITY control for the resonance of Filter-1. Determines the intensity of the VELOCITY control for the resonance of Filter-2. Determines the intensity of the VELOCITY control for the volume. Determines the intensity of the VELOCITY control for the Panorama position.

Within The Cong-Menu

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). MENU DISPLAY CONFIG > CLOCK > TEMPO

EFFECT SEND

The level at which the given sound is patched to the DELAY or REVERB effect is adjusted here. EFFECT SEND is identical to a post-fader effect bus on a mixing console. When you move the control toward the end of its control range, the dry signal is faded out and only the wet DELAY/REVERB signal is audible.
Heres where you select the algorithm for the DELAY/REVERB section. Lets take a tour of the different algorithms: Mode OFF DELAY REVERB REV+FEEDB1 Description Not surprisingly, this setting deactivates the DELAY/REVERB section. Mono echo. Same delay time on the left and right sides. Room simulation. This the Virus' trademark room simulation. Here you can use the FEEDBACK control to generate pre-delay feedback. The feedback effect generates rhythmic repetitions of the REVERB signal, which are repeated at the intervals determined by the assigned pre-delay time. Room simulation with feedback and REV+FEEDB1. Here the REVERB signal is audible immediately after you hear the dry signal rather than after a dened amount of pre-delay time has elapsed. The rhythmic repetitions are independently variable depending on the pre-delay time and feedback intensity (FEEDBACK). Ping-pong delay. Although the delay times on the left and right sides are different, they have a xed relationship to one another. For example, 2:1 means that the delay time of the left side of the delay signal is twice as long as that of the right side. The absolute delay time refers to the longer delay time of the two sides. It is determined via DELAY TIME or DELAY CLOCK. Feedback is also generated using the signal with the longer delay time of the two.

REV+FEEDB2

DELAY X:Y

Mode PATTERN X+Y

Description The PATTERN delay algorithms are also ping-pong delays, but here the delay times are locked into sync with the master clock. For this reason, you wont nd DELAY Time or DELAY Clock parameters here. Consequently, the absolute delay times are determined by the tempo of the global clock generator (CLOCK SPEED) or by the song tempo dictated by a connected sequencer that is sending a clock signal. The two numbers represent sixteenth note increments and indicate the delay for the left and right side on the basis of sixteenth notes. Used in conjunction with the FEEDBACK parameter, these groove algorithms create interesting rhythmic patterns and accents when you patch in appropriately rhythmic signals, for example arpeggios. The unique sonic character of the PATTERN delay algorithms is due to among other things - odd time signatures (based on sixteenth-note values). Each delay algorithm puts at least one of these options at your disposal. Feedback is always generated via the left delay tap.

REVERB CLOCK

When you set it to OFF, the absolute predelay time is determined in milliseconds. If you select a note value, then the predelay time is set to the value of this note. The absolute length of this note value depends on the value entered to CLOCK TEMPO in the global clock generator (refer to this section). In this case, the absolute predelay time in milliseconds is ignored.

REVERB FEEDBACK

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

REVERB OUTPUT SELECT

Here you can select the external or internal output for the REVERB section.
Global And System Parameters
The following parameters are global parameters and are accessible at any time in the CONFIG menu regardless of the current operating mode.

MIDI DUMP TX

This feature transfers the sound data of one Virus to another Virus, a computer or a hardware sequencer via MIDI. The dump is executed via so-called system exclusive data (SysEx). You can chose from the following dump options: Mode TOTAL Description 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. Here you can transfer all global data (i.e. all parameters that are not stored with a Single or a Multi e.g. Global Channel). This option lets you send a Single to the MIDI Out in the form of a controller dump. Here all parameters are sent in succession as individual parameter changes. The parameters are sent either as controllers, polypressure or SysEx messages, depending on the setting in CONFIG: MIDI CONTROL LoPage / HiPage. This function sends the SINGLE program that you are currently processing (the contents of the Edit buffer). The Controller Dump is not an alternative to a normal Single Dump since it takes so much longer to transmit data. However, it does allow you to send a complete Single sound to a parameter-based editor (Logic Environment, Cubase Mixer) that is compatible with the Virus for the purpose of updating the editor. SINGLE BUFFER This option dumps the data of the SINGLE program that you are currently processing (the Edit buffer).

GLOBAL CONTROLLER DUMP

VIRUS CLASSIC MANUAL Global And System Parameters
Mode SINGLE BANK A SINGLE BANK B MULTI BUFFER
Description All 128 sound programs of Bank A are sent. All 128 sound programs of Bank B are sent. 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. 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. 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.

0.9 0.12 0.67 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127 0.127
0: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 -64.+63 -64.+63 -64.+63 -64.+63 -64.+63 -64.+63 0:Off 1.127: Front.Center.Rear
0.127 -64.+63 0.127 -64.+63 see Soft Knob List see Soft Knob List see Assign Sources List see Assign Destinations List 0.127 -64.+63 see Assign Sources List see Assign Destinations List 0.127 -64.+63 see Assign Destinations List 0.127 -64.+63 see Assign Sources List see Assign Destinations List 0.127 -64.+63 see Assign Destinations List 0.127 -64.+63 see Assign Destinations List
B 78 B 79 B 80 B 81 B 82 B 84 B 85 B 86 B 87 B 88 B 89 B 90 B 97 B 98 B 99 B100 B101 B112 B113 B114 B115 B116 B117 B118 B119
b b b b b b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b,Vb b b b b b b b b
Assign3 Amount3 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 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
0.127 -64.+63 see Assign Destinations List 0.127 -64.+63 see Assign Destinations List 0.127 -64.+63 0.6 0.127 0.127 0.127 0.127 0.127 -64.+63 0.127 0.127 0.127 0.127 0.6 0.127 32.32.32.32.32.32.32.32.0:Off, 1.6 Phaser Stages
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

B120 B121 B122 B123 B124

b b b b,Vb b,Vb
Single Name Char9 Single Name Char10 Filter Select
32.12 ASCII 7 32.12 ASCII 7 0.2
0:Filt1 1:Filt2 2:Filt1*2 Category1 Category2
32.32.32.32.32.32.32.32.32.32.0.14 0.3 0.3 0.127 0.15 0.127 0.127 0.127 0.127 0.127 0.127 0.14 0.15

Mod Matrix Sources

All sources of the Soft Knob 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

Mod Matrix Destinations

All destinations of the Modulation Matrix
Off Osc1Shape Osc2PlsWdh FmEnvAmt Cutoff Flt1Keyw FltSusTime AmpRelease Lfo1>Reso Lfo2>Cut1 UniSpread ChorusFeed Osc1ShpVel Reso1Vel Ass2Amt2 RingMod RingmodMix PhaserMix RevbDecay ArpNoteLen PatchVol Osc1PlsWdh Osc2WavSel Osc2Keyw Cutoff2 Flt2Keyw 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 Osc1Keyw 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
Soft Knob Knobs Destinations
All destinations of the Soft Knob knobs 1/2
Off Data Contr13 ChannelVolume UnisonPanSprd ChorusDelay DelayRate Osc1Keyfollow Osc2Keyfollow Filt2EnvAmount Lfo1>Osc2 Lfo2>Shape Lfo3Rate FmAmountVel AmplierVel Assign3Amt1 OscInitPhase AnalogBoostInt Osc3Semitone PhaserRate RevDecayTime ArpMode ArpOctaves ModWheel Balance Contr14 Panorama UnisonLfoPhase ChorusFeedback DelayDepth Osc2WavSelect NoiseVolume Filt1Keyfollow Lfo1>PulsWidth Lfo2>FmAmount Lfo3OscAmount Filt1EnvVel PanoramaVel Assign3Amt2 PunchIntensity AnalogBstTune Osc3Detune PhaserDepth ReverbDamping ArpPattern ArpHold Breath Contr9 Contr15 Transpose ChorusMix EffectSend Osc1WavSelect Osc2PulseWidth Filt1Resonance Filt2Keyfollow Lfo1>Resonance Lfo2>Cutoff1 Osc1ShapeVel Filt2EnvVel Assign1Amt1 Assign3Amt3 Ringmodulator DistortionInt Lfo1AssignAmt PhaserFrequenc ReverbColor ArpClock Contr3 Expression Contr16 Portamento ChorusRate DelayTime(ms) Osc1PulseWidth Osc2EnvAmount Filt2Resonance Lfo1Symmetry Lfo1>FiltGain Lfo2>Cutoff2 Osc2ShapeVel Resonance1Vel Assign2Amt1 ClockTempo NoiseColor RingModMix Lfo2AssignAmt PhaserFeedback ReverbFeedback ArpNoteLength Foot Contr12 PatchVolume UnisonDetune ChorusDepth DelayFeedback Osc1Semitone FmEnvAmount Filt1EnvAmount Lfo1>Osc1 Lfo2Symmetry Lfo2>Panorama PulsWidthVel Resonance2Vel Assign2Amt2 InputThru DelayColor Osc3Volume PhaserMix PhaserSpread SecondBalance ArpSwing