Read the Virus TI Snow Reference Guide!

Virus TI Snow
Parameter Reference Manual
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TABLE OF CONTENTS
Table Of Contents
11
Oscillators
Oscillator 1 (Classic) 11
Oscillator 1 (HyperSaw) 12
Oscillator 1 (WaveTable) 13
Oscillator 1 (Wavetable PWM Oscillator) 14
Tips for auditioning the Wavetables 15
Oscillator 1 (Simple Grain Table) 16
Oscillator 1 (Complex Grain Table Oscillator) 17
Oscillator 1 (Simple Formant Table Oscillator) 18
Oscillator 1 (Complex Formant Table Oscillator) 19
Oscillator 2 (Classic) 21
Oscillator 2 (HyperSaw) 22
Oscillator 2 (WaveTable) 24
Oscillator 2 (Simple Grain Table) 26
Oscillator 2 (Complex Grain Table Oscillator) 26
Oscillator 2 (Simple Formant Table Oscillator) 27
Oscillator 2 (Complex Formant Table Oscillator) 28
Oscillator 2 (Wavetable PWM Oscillator) 29
Common 29
Sub Oscillator 31
Noise 31
Ring Modulator 32
33
Filters
Saturation 33
Filter-1 34
Filter-2 35
Common 36
39
Envelopes
Filter Envelope
Amp Envelope
39
39
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PARAMETER REFERENCE MANUAL
41
Mod Matrix Parameters
43
Modulator Parameters
LFO 1 43
LFO 2 45
LFO 3 45
LFO 1 Destinations 45
LFO 2 Destinations 46
LFO 3 Destination 47
49
Arpeggiator Parameters
51
Effect Parameters
Delay 51
Reverb 53
Low EQ 54
Mid EQ 54
High EQ 55
Distortion 55
Analog Boost 56
Chorus 57
Phaser 58
Vocoder 59
Vocoder Parameters on Mod Matrix
Input Follower 62
Input Ring Modulator 62
65
61
Common
Unison 66
Velocity Map 67
Inputs 68
Categories 69
Soft Knob 69
73
Multi Mode Parameters
Multi Patch
Bank 73
73
TABLE OF CONTENTS
Program 73
Volume 73
Panorama 74
MIDI Channel 74
Output 74
Transpose 74
Detune 74
Priority 74
Master Clock 74
Init Volume 75
Low Key 75
High Key 75
Hold Pedal 75
Volume RX 75
Prog Change 75
Patch Volume 76
Tempo 76
81
Config Menu Parameters
MIDI 81
MIDI Dump RX 82
MIDI Dump TX 83
Inputs 84
Audio Clock 85
Global Soft Knob settings 86
Global Tuning 87
Random Patch Generator (PG)
89
System Settings
Switches 89
User Interface 89
Mem Protect 90
87
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PARAMETER REFERENCE MANUAL
Sound
Parameters
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PARAMETER REFERENCE MANUAL
OSCILLATORS
Oscillators
The Virus TI Snow offers several different oscillator modes, which between them offer classic analog emulation, HyperSaw (up to 9 saw waves from a single oscillator), Wavetable and even Granular synthesis.
The Virus has a total of five internal sound-generation sources: Three main oscillators, a sub-oscillator and a
noise generator.
The Virus TI offers five fundamentally different oscillator modes: Classic (as in previous Virus models), HyperSaw (up to 9 layered, detunable Saw waves), WaveTable (smoothly interpolated, additive waves), Grain Table
and Formant Table (which are both based on granular audio).
Oscillator 1 (Classic)
The following information applies to oscillator 1 in Classic mode only.
•• Mode
Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.
•• Shape
Spectral Wave ... Sawtooth ... Pulse: Waveform mix. At minimum, you will only hear one of the 64 spectral
waves, at dead centre you will hear a pure Sawtooth, at maximum a pure Pulse wave. Set intermediate values for different mixtures (these are displayed as percentages). Modulation destination “Osc1 Shape”.
•• Wave Select / Pulse Width
Two distinct functions, depending on the value of the Shape parameter (see below): If Shape is anywhere
below centre, WAVESELECT/PW will select a spectral wave. If SHAPE is set to “Sawtooth” or above, the
WAVESELECT/PW knob will control pulse width instead...
Sine, Triangle, Waves 3 to 64: Spectral Wave function. Modulation destination “Osc1WaveSelect“.
or
50.0% to 100%: Pulse width function. Modulation destination “Osc1PulseWidth“.
•• Semitone
-48 to +48 semitones: The nominal pitch of oscillator 1. Modulation destination “Osc1Pitch“.
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PARAMETER REFERENCE MANUAL
•• Key Follow
-64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note
number). Press both VALUE buttons at the same time for normal tuning (Norm).
•• Balance
-64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator
1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu. Modulation
destination “Osc Balance”.
Oscillator 1 (HyperSaw)
This information only applies to oscillator 1 in HyperSaw mode
•• Mode
Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.
•• Density
1.0 to 9.0: The number of sawtooth waves used. The volumes are cross-faded for completely smooth transitions. Modulation destination “Osc1 Shape“.
•• Spread
0 to 127: Detuning of individual sawtooth waves within the HyperSaw. Modulation destination “Osc1
PulseWidth”.
•• Semitone
-48 to +48 semitones: The nominal pitch of oscillator 1. Modulation destination “Osc1Pitch“.
•• Key Follow
-64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note
number). Press both VALUE buttons at the same time for normal tuning (Norm).
•• Balance
-64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator
1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu. Modulation
destination “OscBalance”.
OSCILLATORS
•• HyperSync
Off, On: Switches oscillator 1 HyperSync off/on. H-Sync Offset
0 to 127: The frequency offset of any HyperSaw (both oscillator 1 or 2) with respect to its own internal “master” oscillator. If HyperSync (see above) is set to Off, this parameter will not be available.
Unlike Classic oscillators where oscillator 2 can be synchronized to oscillator 1, HyperSaws are always synchronized to their own inaudible “master” oscillator. In HyperSaw mode, FM Amount controls a frequency
offset parameter instead, controlling how much higher the pitch of the oscillator is than its master. To differentiate this function from standard oscillator synchronization, it is called HyperSync.
Modulation destination “FM/HyperSync”.
Oscillator 1 (WaveTable)
•• Mode
Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.
•• Index
0 to 127: Selects the nominal position within the WaveTable. Modulation destination “Wavetable 1 Index“ or
“Osc1 Shape” (these are equivalent).
•• Table
Sine ... Violator: Selects one of many wavetables.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Since the number of waves differs with each Wavetable, the result of this will depend on which table you
have selected.
Each Wavetable refers to a selection of different original waves, through which the oscillator can sweep in realtime. At the default (0) setting of Interpolation, each of the 128 positions of the Wavetable Index represent
a unique mix of the two nearest waves, resulting in a smooth morphing of the timbre as you sweep the Index
position.
With Interpolation at zero position, the waves are blended as smoothly as possible, with the mid-point
between each wave representing a 50/50 mix of the two nearest waves. As you increase the value, an in-
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PARAMETER REFERENCE MANUAL
creasingly large “dead-zone” is created between each of the original waves, and the blend rate is increased
accordingly until, at the maximum value (127), a stepping effect is achieved.
The net result is a very different characteristic from when the waves are blended smoothly, in two very important ways: firstly, that slow LFO modulations of Wavetable Index will generally result in a somewhat rhythmic
effect that is difficult to achieve by other means, and secondly, the original waves will be presented much
more distinctly, and may often appear much brighter as a result (not that they are, mind – it’s just that pinpointing the exact value out of 128 possibilities at which a wave is not blended with any other, can be rather
tricky!)
Interpolation is also available as a destination in the Mod Matrix .
Please select Osc1/2 Interpolation.
•• Semitone
-48 to +48 semitones: The nominal pitch of oscillator 1. Modulation destination “Osc1Pitch“.
•• Key Follow
-64 to +31, Norm, +33 to +63: How much the pitch of oscillator 1 follows the keyboard (i.e. MIDI note
number). Press both VALUE buttons at the same time for normal tuning (Norm).
•• Balance
-64 to +63: Adjusts the relative levels of oscillator 1 and oscillator 2 (including FM), whereby -64 is oscillator
1 only and +63 is oscillator 2 only. Note that this parameter is mirrored in the oscillator 2 menu.
Modulation destination “Osc Balance”.
Oscillator 1 (Wavetable PWM Oscillator)
The WavePWM oscillator takes two instances of the same wavetable, and phase-shifts them against each
other to achieve an effect reminiscent of the traditional pulsewidth modulation of a pulse wave oscillator.
•• Index
This determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of
a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Wavetable 1/2 Index
from the list of available destinations
OSCILLATORS
Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no effect on it.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• PulseWidth
At zero position, all the even-numbered harmonics are cancelled out, creating a hollow sound similar to a
50% pulse wave - when the value reaches 127, the whole wave is almost entirely cancelled out, resulting in
a much thinner sound.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Pulse Width
from the list of available destinations
•• Detune
As with traditional PWM, much of the fun comes from modulating the pulsewidth by an LFO, which creates
the characteristic warmth of detuned oscillators - the Detune parameter creates this effect automatically,
with no further modulation assignments.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Hint: If you do not make use of either the PulseWidth or Detune parameters, switch back to Wavetable mode
to save on DSP and increase polyphony!
Tips for auditioning the Wavetables
As with the majority of the Wavetable content, it is advisable to audition them at relatively low pitch (we suggest setting Oscillator Semitone to -24). This is because the lowest audible frequency (the fundamental) in
any table is always pitched to middle C3, but in many of the brighter-sounding tables, the fundamental plays
little part in the overall timbre, and the upper harmonics (often where all the action is) can be very difficult to
perceive at high pitch, or are simply filtered out altogether.
Since there are many differences between the tables in terms of their spectral dynamics, it is a good idea
to audition them all in a variety of different ways. Simply sweeping through the Index by hand is one way,
but can give very misleading impressions as to the usefulness of the table. Try first with a slow LFO (triangle
wave) and then a fast envelope sweep in both directions to get a better idea of what the table may or may
not be good for.
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PARAMETER REFERENCE MANUAL
Remember, for those tables with several contrasting waves, subtle modulation is often the key.
Don’t forget to try them all with different settings of the new Interpolation parameter.
Oscillator 1 (Simple Grain Table)
The remaining oscillator modes all make use of a new technology for the Virus TI, called Grain Table. The
basic idea behind this technology, is to take the existing wavetables, and apply similar techniques as
those used in some granular sampling and pitch-shifting algorithms to open up a whole new world of
possibilities. Each of the two main types: Grain Table and Formant Table are presented in both Simple
and Complex formats. In each case, the Simple mode offers fewer parameters, and a higher polyphony
than Complex, with the values of parameters common to each mode remaining constant.
It’s important to note that the characteristics of the Grain Table and Formant Table oscillators are quite
different to those of traditional “granular” sampling/synthesis techniques, which tend to be associated with other-worldly “clouds” of sound. In the Virus TI, we have instead employed the technology to
achieve a very musical result which should prove every bit as useful as the other oscillator types in all
manner of musical projects.
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select ‘Wavetable 1/2 Index’
from the list of available destinations
Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no effect on it.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator sync, and can be useful for both extreme lead sounds (try broad sweeps!), as well
as subtle timbral variations.
The movement within a wavetable will still be recognisable as you sweep through the Index points, but you
will notice a very different character to the same table as played by the standard Wavetable oscillator.
OSCILLATORS
A useful property of the Simple version is that the fundamental frequency can always be heard, no matter
where you set Formant Shift.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Formant from
the list of available destinations.
Hint: Use the Simple modes where possible if polyphony is a concern – they eat a lot less DSP power than
the ‘Complex’ modes.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Oscillator 1 (Complex Grain Table Oscillator)
Here we have the purest application of the Grain Table technology – and a very powerful oscillator indeed.
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Wavetable 1/2 Index
from the list of available destinations.
Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no effect on it.
•• Wavetable
Selects the current wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral
variations.
At 12 o’clock position, the sound will be identical to that of the standard Wavetable oscillator. As you sweep
through the other values you will hear a fascinating shift in the spectra of harmonics, and a very different
character to the same wavetable played by the standard Wavetable oscillator.
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PARAMETER REFERENCE MANUAL
In contrast to the Simple version, the fundamental frequency is shifted along with the rest of the wave, resulting in a more dramatic effect.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Formant from
the list of available destinations.
•• Formant Spread
By adjusting the spread of the formants, a very complex effect is achieved – something like an unholy alliance between a sub-oscillator and a sync-sweep could be one way of describing it, although the depth of
the effect is highly-dependent on the current value of Formant Shift.
For an effective demonstration, try sweeping from 0 (default) through to 127, with Formant Shift set at 12
o’clock position.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Spread from the
list of available destinations.
•• Local Detune
Use this parameter to achieve the effect of two detuned oscillators an octave apart. Note that this parameter
is most effective when Formant Spread is set to a relatively low value.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Hint: Use the ‘Simple’ modes where possible if polyphony is a concern – they eat a lot less DSP power than
the ‘Complex’ modes
Oscillator 1 (Simple Formant Table Oscillator)
The Simple Formant Table oscillator is similar in concept to the Simple Grain Table oscillator, only with one
crucial difference: the formants remain fixed as you play up and down the keys. This effectively turns the
oscillator into a kind of filterbank, comprising up to 256 resonant bandpass filter poles, whereby the cutoff of
each pole is determined by the harmonics in the current wavetable index.
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
OSCILLATORS
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Wavetable 1/2 Index
from the list of available destinations
Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no effect on it.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral
variations.
The movement within a wavetable will still be recognisable as you sweep through the Index points, but you
will notice a very different character to the same table as played by the standard Wavetable oscillator.
A useful property of the Simple version is that the fundamental frequency can always be heard, no matter
where you set Formant Shift.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Formant from
the list of available destinations.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Hint: Use the ‘Simple’ modes where possible if polyphony is a concern – they eat a lot less DSP power than
the ‘Complex’ modes!
Oscillator 1 (Complex Formant Table Oscillator)
Similar to the Simple version, the Complex Formant Table oscillator keeps the formants at a fixed pitch as
you play up and down the keys. It also introduces the additional parameters found in the Complex Grain
oscillator.
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
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PARAMETER REFERENCE MANUAL
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Wavetable 1/2 Index
from the list of available destinations
Please note that Table 0 (Sine) contains only a sine wave, and as such, the Index parameter will have no effect on it.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral
variations.
The movement within a wavetable will still be recognisable as you sweep through the Index points, but you
will notice a very different character to the same table as played by the standard Wavetable oscillator.
In contrast to the Simple version, the fundamental frequency is shifted along with the rest of the wave, resulting in a more dramatic effect.
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Formant from
the list of available destinations.
•• Formant Spread
By adjusting the spread of the formants, a very complex effect is achieved – something like an unholy alliance between a sub-oscillator and a sync-sweep could be one way of describing it, although the depth of
the effect is highly-dependent on the current value of Formant Shift.
For an effective demonstration, try sweeping from 0 (default) through to 127, with Formant Shift set at 12
o’clock position!
This parameter can be modulated via the Mod Matrix and the LFO’s – please select Osc1/2 Spread from the
list of available destinations.
•• Local Detune
Use this parameter to achieve the effect of two detuned oscillators an octave apart – note that this parameter is most effective when Formant Spread is set to a relatively low value.
OSCILLATORS
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Hint: Use the ‘Simple’ modes where possible if polyphony is a concern – they eat a lot less DSP power than
the ‘Complex’ modes!
Oscillator 2 (Classic)
•• Mode
Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.
•• Shape
As in oscillator 1. Modulation destination “Osc2Shape“.
•• Wave Select / Pulse Width
As in oscillator 1. Modulation destination “Osc2WaveSelect“ or “Osc2PulseWidth“.
•• Semitone
As in oscillator 1 – see “Semitone” on page111. Modulation destination “Osc2Pitch“.
•• Key Follow
As in oscillator 1
•• Balance
Mirrors the Balance parameter in the oscillator 1 page
•• Detune
0 to 127: Fine-tunes oscillator 2 upwards. Modulation destination “Osc2Detune“.
•• FM Mode
Specifies the source of FM modulation:
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PARAMETER REFERENCE MANUAL
Mode
Meaning
Pos Triangle
Unipolar triangle wave from oscillator 1
Triangle
Bipolar triangle wave from oscillator 1
Wave
The selected wave from oscillator 1
Noise
The Noise signal
In L, In L+R, In R
One or both of the Audio inputs (see rear panel)
•• FM Amount
0 to 127: The intensity of frequency modulation. Modulation destination “FM/HyperSync“.
•• FiltEnv>Pitch
>-64 to +63: How much the filter envelope modulates the pitch of oscillator 2. This was implemented in previous Virus models to facilitate sync sweeps, and has been retained for compatibility reasons.
Modulation destination “FiltEnv>Osc2 Pitch“.
•• Sync
Off, On: Activates/deactivates oscillator synchronization. Whenever oscillator 1 starts a new cycle, oscillator
2 resets its phase).
•• FiltEnv>FM
-64 to +63: Controls how much filter envelope is applied to FM Amount. This was implemented in previous
Virus models to facilitate FM sweeps, and has been retained for compatibil- ity reasons.
Modulation destination “FiltEnv>FM/Hsync“.
Oscillator 2 (HyperSaw)
•• Mode
Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.
OSCILLATORS
•• Density
1.0 to 9.0: The number of sawtooth waves used. The volumes are cross-faded for completely smooth transitions. Modulation destination “Osc2 Shape“.
•• Spread
0 to 127: Nominal detuning between individual waves in the HyperSaw. Modulation destination “Osc2
PulseWidth“.
•• Semitone
As in oscillator 1 – see “Semitone” on page111. Modulation destination “Osc2Pitch“.
•• Key Follow
As in oscillator 1 – see “Key Follow” on page112.
•• Balance
Mirrors the Balance parameter in the oscillator 1 page.
•• Detune
0 to 127: Fine-tunes oscillator 2 upwards. Modulation destination “Osc2Detune“.
•• FiltEnv>Pitch
As in Classic mode
•• H-Sync Offset
Accessible from the panel via the FM AMOUNT knob. Note that this parameter is mirrored in the Common
menu because it can apply to oscillators 1 and 2 at the same time.
0 to 127: The frequency offset of any HyperSaw (both oscillator 1 or 2) with respect to its own internal “master” oscillator. Modulation destination “FM/HyperSync”.
About HyperSaw and SubOscillators : Similarly, HyperSaw oscillators also have their own integrated sub
oscillators – multiple square waves tuned an octave below the main oscillator. To differentiate these from the
Classic sub oscillator, they are called HyperSub. The sub oscillator volume control cross-fades between the
main HyperSaw oscillator and its HyperSub.About HyperSaw and SubOscillators. Similarly, HyperSaw oscillators also have their own integrated sub oscillators – multiple square waves tuned an octave below the main
oscillator. To differentiate these from the Classic sub oscillator, they are called HyperSub.
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PARAMETER REFERENCE MANUAL
Oscillator 2 (WaveTable)
•• Mode
Classic, HyperSaw, WaveTable: Selects the basic type of oscillator.
•• Index
1 to 127: Selects the nominal position within the WaveTable. Modulation destination “Wavetable 2 Index“ or
“Osc2 Shape” (these are equivalent).
•• Table
Sine ... Violator: Selects one of many wavetables.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
•• Semitone
As in oscillator 1 – see “Semitone” on page111. Modulation destination “Osc2Pitch“.
•• Key Follow
As in oscillator 1 – see “Key Follow” on page112.
•• Balance
Mirrors the Balance parameter in the oscillator 1 page
•• Detune
0 to 127: Fine-tunes oscillator 2 upwards. Modulation destination “Osc2Detune“.
•• FM Mode
Specifies the type of FM (see glossary). Note that the FM modes available in Wavetable mode are different
from those available in Classic mode
Value
Meaning
FreqMod
Analog-style FM i.e. true frequency modulation.
PhaseMod
DX7-style FM i.e. phase modulation.
OSCILLATORS
•• FM Amount
0 to 127: Controls the intensity of frequency modulation. Modulation destination “FM/HyperSync“.
•• FiltEnv>Pitch
-64 to +63: How much the filter envelope modulates the pitch of oscillator2. This was implemented in previous Virus models to allow (especially) sync sweeps without using up precious space in the modulation
matrix, and has been retained for compatibility reasons. Note that oscillator 2 in WaveTable mode does not
feature Sync. Modulation destination “FiltEnv>Osc2 Pitch“.
•• FiltEnv>FM
>-64 to +63: Controls how much filter envelope is applied to FM Amount. Modulation destination
“FiltEnv>FM/Hsync“.
•• Oscillator 3 Mode/Wave
Value
The waveform of oscillator 3
Off
Deactivates oscillator 3 (see OSC3 ON button). All other oscillator 3 parameters will be
invisible.
Slave
Oscillator 3 will follow oscillator 2. The mixture of waveforms i.e. SHAPE and any
modulation applied to oscillator 2 will also apply to oscillator 3. The values of “Semitone”
and “Detune” (see below) are ignored.
Saw, Pulse, Sine,
Triangle, Wave 3 to
Wave 64
Oscillator3 waveform. Note that if “Pulse” is selected here, its pulse width will follow that
of oscillator 2.
•• Semitone
-48 to +48: The pitch of oscillator 3. If Slave mode is selected, this value will be ignored and oscillator 3 pitch
will track oscillator 2 pitch.
Modulation destination “Osc3Pitch“.
•• Volume
0 to 127: The level of oscillator 3 when switched on. See “Mode/Wave” above.
Modulation destination “Osc3Volume”.
•• Detune
0 to -127: Fine-tunes oscillator 3 downwards. Ignored if Slave mode (see “Mode/ Wave” above) is selected.
Modulation destination “Osc3Detune“.
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PARAMETER REFERENCE MANUAL
Oscillator 2 (Simple Grain Table)
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator sync, and can be useful for both extreme lead sounds (try broad sweeps!), as well
as subtle timbral variations.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Oscillator 2 (Complex Grain Table Oscillator)
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
•• Wavetable
Selects the current wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
OSCILLATORS
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral
variations.
•• Formant Spread
By adjusting the spread of the formants, a very complex effect is achieved – something like an unholy alliance between a sub-oscillator and a sync-sweep could be one way of describing it, although the depth of
the effect is highly-dependent on the current value of Formant Shift.
•• Local Detune
Use this parameter to achieve the effect of two detuned oscillators an octave apart. Note that this parameter
is most effective when Formant Spread is set to a relatively low value.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Oscillator 2 (Simple Formant Table Oscillator)
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral
variations.
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PARAMETER REFERENCE MANUAL
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Oscillator 2 (Complex Formant Table Oscillator)
•• Index
Determines the playback position within the currently selected Wavetable. Each of the 128 available values
represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of a
wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• Formant Shift
Use this parameter to sweep the pitch of the formants in the wavetable by +/- 64 semitones. The effect is
reminiscent of oscillator ‘sync’, and can be useful for both extreme lead sounds, as well as subtle timbral
variations.
•• Formant Spread
By adjusting the spread of the formants, a very complex effect is achieved – something like an unholy alliance between a sub-oscillator and a sync-sweep could be one way of describing it, although the depth of
the effect is highly-dependent on the current value of Formant Shift.
•• Local Detune
Use this parameter to achieve the effect of two detuned oscillators an octave apart – note that this parameter is most effective when Formant Spread is set to a relatively low value.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
OSCILLATORS
Oscillator 2 (Wavetable PWM Oscillator)
•• Index
This determines the playback position within the currently selected Wavetable. Each of the 128 available values represents either a particular wave or the interpolation of the two nearest waves. Modulating the Index of
a wavetable with an LFO or Envelope will often result in a highly-dynamic variation in the timbre of a sound,
impossible via any other means.
•• Wavetable
Selects the current Wavetable – each being a unique collection of different waves from which all manner of
different timbres may be achieved.
•• PulseWidth
At zero position, all the even-numbered harmonics are cancelled out, creating a hollow sound similar to a
50% pulse wave - when the value reaches 127, the whole wave is almost entirely cancelled out, resulting in
a much thinner sound.
•• Detune
As with traditional PWM, much of the fun comes from modulating the pulsewidth by an LFO, which creates
the characteristic warmth of detuned oscillators - the Detune parameter creates this effect automatically,
with no further modulation assignments.
•• Interpolation
Use this parameter to determine the how smoothly the different waves in the current Wavetable are blended
into each other as the Wavetable Index of the respective oscillator is swept.
Common
The Common pages contain parameters which affect more than one oscillator at the same time.
•• Initial Phase
Value
Meaning
Off
The phase angle (see glossary) of each oscillator is reset to a random value at the start of each note.
This closely emulates the “free-running” oscillators found in real analogue synthesizers.
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PARAMETER REFERENCE MANUAL
Value
Meaning
1 to 127
The phase angle of oscillator 1 is fixed at 0°, oscillator 2 phase is shifted forward, oscillator 3 phase
is shifted backwards by the same amount. Because it ensures that the “click”at the start of notes
always sound the same, setting the Initial Phase to a value other than Off is particularly useful for
percussive sounds.
Modulation destination “Osc Initial Phase”.
•• Key Mode
Value
Meaning
Poly
Polyphonic
Mono 1
Monophonic, multi-trigger, full portamento
Mono 2
Monophonic, multi-trigger, legato portamento
Mono 3
Monophonic, single-trigger, full portamento
Mono 4
Monophonic, single-trigger, legato portamento
Hold
Polyphonic. Notes are held until they are all released and a new note is played.
•• Osc Volume
-64 to -63: Determines the total level of all oscillators and input signals (but not Noise or Ring Modulator) immediately before entering the filters. Note: The value 0 is unity gain i.e. already maximum volume – positive
values control Saturation intensity only.
Modulation destination “OscVolume“.
•• Portamento
Off, 1 to 127: Determines how slowly the pitch of notes glides from one to the next. The actual effect of portamento depends on the KeyMode.
Modulation destination “Portamento”.
•• Punch
>0 to 127: Enhances the percussive effect of short Attack times in the amplifier envelope. At higher values,
Punch becomes a noticeable “snap” at the start of each note.
Modulation destination “Punch Intensity”.
OSCILLATORS
•• FiltEnv>H-Sync
-64 to +63: Controls how much filter envelope is applied to. Only visible if at least one of the oscillators is in
HyperSaw mode.
HyperSync Offset. Analogous to FiltEnv>FM in the other oscillator models. If oscillators 1 and 2 are both HyperSaws, this parameter modulates the Sync Offset of both oscillators at the same time. Note that it will not
effect oscillator 1 if SYNC is not active.
Modulation destination “FiltEnv>FM/Hsync”.
•• H-Sync Offset
0 to 127: The frequency offset of the audible HyperSaw with
Only visible if at least one oscillator is in HyperSaw mode. Directly accessible from the panel via FM Amount.
respect to its own internal “master” oscillator. Modulation destination “FM/HyperSync”.
Sub Oscillator
An extra “slave” oscillator tuned an octave below its master oscillator. If oscillator 1 is in Classic mode, the
sub-oscillator is a Square or Triangle wave slaved to oscillator 1. If either oscillator 1 or 2 is in HyperSaw
mode, the sub oscillator is HyperSub instead
•• Volume
0 to 127: Sub oscillator mix. In HyperSaw mode, this parameter crossfades between HyperSaw and HyperSub.
Modulation destination “SubOscVolume“.
•• Shape
Square, Triangle: Selects the sub oscillator waveform.
Not available if oscillator 1 is in HyperSaw or WaveTable mode. See “About HyperSaw and SubOscillators”
Noise
•• Volume
Off, 1 to 127: The level of noise. If set to Off, the Color parameter will not be visible.
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PARAMETER REFERENCE MANUAL
Modulation destination “NoiseVolume“.
•• Color
-64 to +63: Adjusts the noise frequency range. Negative values are darker, positive ones are brighter. A value
of 0 is standard “white noise”.
Modulation destination “NoiseColor“.
Ring Modulator
The Ring Modulator creates additional frequencies (the sum and difference) by multiplying the oscillator 1
and 2 signals. It cannot be active in Split Mode.
•• Volume
Off, 1 to 127: The output level of the ring modulator. Independent of Osc Volume.
Modulation destination “Ring Modulator“.
FILTERS
Filters
The Virus TI has two multimode filters that can be configured in series, parallel or split (i.e. separate left and
right channels with differing signal sources).
Saturation
Type
Meaning
Off
No saturation. Note that positive OSC VOLUME values will still control
“analog” saturation if an Analog filter model is selected.
Light, Soft, Medium, Hard,
Digital
Four different distortion curves.
Wave Shaper
Sinusoidal waveshaping. Can cause drastic changes to a waveform
comparable to linear FM. Note that the Wave Shaper already starts to take
effect at low OSC VOLUME (i.e. negative values).
Rectifier
Full wave rectification. Inverts half of the signal, thus distorting the sound.
Bit Reducer
Bit depth reduction. Generates digital quantization noise similar to early
samplers.
Rate Reducer
Sample rate reduction. Generates digital aliasing similar to early samplers.
Rate+Follow
Rate reduction with Key Follow.
Low Pass
Simple low pass filter.
Low+Follow
Low Pass with Key Follow.
High Pass
Simple high pass filter.
High+Follow
High Pass with Key Follow.
•• Osc Volume / Saturation
-64 to -63:Because the OSC VOLUME knob also controls saturation, this parameter changes its name depending on the value. Please remember that some saturation types (especially Wave Shaper) already take
effect below the central position.
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PARAMETER REFERENCE MANUAL
Filter-1
•• Cutoff
0 to 127: Filter 1 threshold frequency. Modulation destination “Filter1 Cutoff”.
Accessible from the panel via CUTOFF.
•• Resonance
0 to 127: Accentuation of the filter 1 Cutoff frequency. The actual effect of resonance depends on the selected Mode (see below). Modulation destination “Filter1 Resonance”.
Accessible from the panel via RESONANCE.
•• Env Amount
0 to 127: The amount of filter envelope applied to filter 1 Cutoff. Note that this effect can be inverted. Modulation destination “Filter 1 Env Amount”.
•• Mode
Filter Mode
Meaning
Low Pass
LP. Allows frequencies below the cutoff point to pass through i.e rejects those
above the cutoff point
High Pass
HP. Allows frequencies above the cutoff point to pass through i.e. rejects those
below the cutoff point
Band Pass
BP. Allows frequencies close to the cutoff point to pass through i.e. simultaneously
rejects those above and below the cutoff point
Band Stop
BS. Rejects frequencies close to the cutoff point i.e. allows frequencies above or
below the cutoff point to pass through. Note that Resonance effectively narrows
this band, making the effect actually more subtle.
Analog 1 .. 4 Pole
Emulation of a classic analog cascade (or ladder) filter, but with a variable
number of poles. In this mode, the Saturation Type is ignored – it is replaced by
MiniMoog™ style filter saturation. This type is interesting for experimentation,
often yielding surprising results when the resonance is set very high.
About the Analog 1pole..4pole filter modes: In addition to the classic Virus filters, famous for their smooth,
musical character, the Virus TI Snow offers an analog-style filter, inspired by the ‘ladder’ cascade array of
FILTERS
the Minimoog synthesizer. However, where the original offered only a 4-pole lowpass, we have provided the
option to choose between 1 and 4 poles on a single filter. In fact, by using Filter 2 as well, it’s possible to
achieve a 5 or even 6 pole cascade filter! Embedded saturation and resonance that can be pushed all the
way to self-oscillation ensure a very convincing analog character.
Tip: Please be aware that when using the Analog filter, the polyphony for that Part will be reduced by up to
50%.
•• Key Follow
-64 to +63: How much cutoff follows the MIDI note and pitch bender.
•• Env Polarity
Positive, Negative: The effect of Env Amount on filter 1 can be inverted by setting this parameter to Negative.
Filter-2
•• Cutoff
0 to 127 or -64 to +63: Filter 2 threshold frequency. If Cutoff Link is active, filter 2 cutoff becomes a bipolar
offset to filter 1 instead of an absolute value.
Modulation destination “Filter2 Cutoff”.
•• Resonance
0 to 127: Accentuation of the filter 2 Cutoff frequency. The actual effect of resonance depends on the selected Mode (see below).
Modulation destination “Filter2 Resonance”.
•• Env Amount
0 to 127: Filter 2 envelope amount i.e. the amount of filter envelope applied to its cutoff. Note that this can
be inverted by changing the polarity.
Modulation destination “Filter2 Env Amount”.
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PARAMETER REFERENCE MANUAL
•• Mode
Mode
Meaning
Low Pass
LP. Allows frequencies below the cutoff point to pass through i.e rejects those above
the cutoff point.
High Pass
HP. Allows frequencies above the cutoff point to pass through i.e. rejects those below
the cutoff point.
Band Pass
BP. Allows frequencies close to the cutoff point to pass through i.e. simultaneously
rejects those above and below the cutoff point.
Band Stop
BS. Rejects frequencies close to the cutoff point (within a certain “band”) i.e. allows
frequencies above or below the cutoff point to pass through. Note that Resonance
effectively narrows this band, making the effect less obvious.
Note that filter 2 does not offer “Analog” modes.
•• Key Follow
0 to 127: How much cutoff 2 follows the MIDI note and pitch bender.
Modulation destination “Filter2 Key Follow”.
•• Env Polarity
Positive, Negative: The effect of Env Amount on filter 2 cutoff can be inverted by setting this parameter to
Negative.
Common
•• Routing
Mode
Meaning
Serial 4
The filters are routed in series, with 2 poles each.
Serial 6
The filters are routed in series, filter 1 has 4 poles and filter 2 has 2 poles.
Parallel 4
The filters are routed in parallel with 2 poles each.
FILTERS
Mode
Meaning
Split Mode
The filters are also routed in parallel with 2 poles each, but each filter receives a
different set of signals: Oscillator 1 and the sub-oscillator are sent to filter 1, oscillator 2
(including FM), oscillator 3 and noise are sent to filter 2. The ring modulator is disabled.
There is no difference between Serial 4 and Serial 6 if one of the “Analog” filter modes is selected .
•• Filter Balance
-64 to +63: Put as simply as possible, this is the relative contribution of each filter to the overall output of the
filter section. Actually a complex set of cross-fades, but the result is highly intuitive: At 64 you can only hear
the output of Filter 1. At 0, both filters contribute equally. At +63 you can only hear the output of Filter 2.
•• Cutoff Link
Position
Meaning
Off
The filter 1 CUTOFF knob only affects filter 1.
On
The upper CUTOFF knob also controls filter 2.
The lower knob (CUTOFF 2) becomes a bipolar
(64 to +63) offset to filter 1 cutoff instead of an
independant value.
•• Key Follow Base
C-2 to G8: The pivot-note for Key Follow. Notes below and above this point will be affected by Key Follow.
•• Pan Spread
0 to 127: The stereo width of the Split mode signal i.e. the relative levels of the left and right signals. Pan
Spread also applies to Unison sounds, and is therefore mirrored in the Master edit menu. Modulation destination “Pan Spread“.
Only visible here in Split mode (see “Routing” above).
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PARAMETER REFERENCE MANUAL
ENVELOPES
Envelopes
Note that the filter envelope generator can also be used for other purposes by setting Filter Envelope as
source in the Matrix.
Filter Envelope
•• Attack
0 to 127: The time it takes for the filter envelope to rise from 0 to maximum.
•• Decay
0 to 127: The time it takes to fall from maximum to the Sustain level (see below).
•• Sustain
0 to 127: The nominal level after the Decay.
•• Sustain Slope
-64 to +63: Negative values cause the sustain phase to decay to zero, positive values cause it to rise to
maximum.
•• Release
0 to 127: Starts as soon as a note is released – the time it takes to fall from the current level to zero.
Amp Envelope
•• Attack
0 to 127: The time it takes for the amplifier envelope to rise from 0 to maximum.
Accessible from the panel via the lower ATTACK knob.
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PARAMETER REFERENCE MANUAL
•• Decay
0 to 127: The time it takes to fall from maximum to the Sustain level (see below).
•• Sustain
0 to 127: The nominal level after the Decay.
•• Sustain Slope
-64 to +63: Negative values cause the sustain phase to decay to zero, positive values cause it to rise to
maximum.
•• Release
0 to 127: The time it takes to fall from the current level to zero after the note is released.
Accessible from the panel via the amp RELEASE knob.
MOD MATRIX PARAMETERS
Mod Matrix Parameters
The MOD menu contains all the parameters for the LFOs (Low Frequency Oscillators) and the Modulation
Matrix. You can use a wide variety of modulators to apply dynamic changes to the sound, such as vibrato
or tremolo effects, automated sweeps etc.
The modulation matrix is used for custom control routing. Six sources can be routed to three destinations
each. Available sources include the internal envelopes and LFOs as well as most MIDI controllers, channel
pressure (aftertouch) etc.. The list of destinations includes almost every Single Mode parameter in the Virus.
The information below applies to any slot in the matrix.
•• Source
Off, Pitch Bend ... Random: Specifies the modulation source (envelopes, LFOs, MIDI controllers etc.). This
source can be simultaneously routed to a maximum of three destinations per slot.
•• Amount
-64 to +63: Modulation amount for the specified destination. The range is bipolar so that modulation can be
inverted, and amounts are internally doubled so that unipolar destinations can be modulated over their entire
range (i.e. 128 values). The Amount itself can be controlled by another modulation source – modulation destination is e.g. “Slot4 Amount2”.
•• Destination
Off ... Wavetable 2 Index: Specifies a destination parameter.
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PARAMETER REFERENCE MANUAL
MODULATOR PARAMETERS
Modulator Parameters
The MOD menu contains all the parameters for the LFOs (Low Frequency Oscillators) and the Modulation
Matrix. You can use a wide variety of modulators to apply dynamic changes to the sound, such as vibrato
or tremolo effects, automated sweeps etc.
Traditionally, LFOs (low frequency oscillators) are used for cyclic modulation e.g. vibrato, tremolo etc.. Alternatively, two of the three LFOs in the Virus can serve as simple envelopes, so the label “Modulators” seems
more appropriate than “LFOs” for this section.
Note that each LFO in the Virus has a different set of preset destinations, and that LFO3 allows just one destination to be selected.
LFO 1
•• Clock
Value
Meaning
Off
LFO1 is not synchronized.
1/64 ... 16/1
LFO1 rate is synchronized to the Clock, expressed
as a fraction of one bar in 4/4 time.
•• Rate
0 to 127: The speed of LFO1 when not synchronized (see “Clock” above).
Modulation destination “LFO1 Rate“.
•• Shape
Sine, Triangle, Sawtooth, Square, S&H, S&G, Waves 3 to 64: Specifies the LFO waveform.
•• Contour
-64 to +63: Continuous control over LFO waveform.
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PARAMETER REFERENCE MANUAL
Modulation destination “LFO1 Contour“
SHAPE
Negative
Positive
Sine
to Triangle
to Square
Triangle
to falling Saw
to rising Saw
Saw
concavity
convexity
Square
pulse width <50%
pulse width >50%
S&H
---
---
S&G
---
---
3 to 64
zoom into wave
---
•• Mode
Mode
Meaning
Poly
Each voice has its own LFO, and these are slightly detuned against each other.
Mono
All voices share a common LFO. Only applies if the parameters Envelope Mode and Trigger
Phase (see below) are both set to “Off”.
•• Envelope Mode
Value
Meaning
Off
Standard (cyclic) LFO mode.
On
The LFO effectively becomes an additional Envelope. LFOs in Envelope Mode are unipolar and
stop after completing exactly one cycle. The start/finish point within the wave can be specified
via Trigger Phase...
MODULATOR PARAMETERS
•• Trigger Phase
Off, 1 to 127: When set to Off, LFO1 runs freely i.e. its phase is not reset by every note played (except in Envelope Mode). All other values set the starting point within the wave.
•• Key Follow
Off, 1 to 127: How much LFO1 rate is affected by MIDI note number. Note that Key Follow does not apply
when LFOs are in Envelope Mode or are synchronized to the Clock).
LFO 2
All edit parameters for LFO2 are the same as those for LFO1.
LFO 3
The edit parameters for LFO3 are the same as those for LFO1, except that Contour, Envelope Mode and
Trigger Phase are not available in LFO3.
LFO 1 Destinations
•• Osc1 Pitch
-64 to +63: How much LFO1 modulates oscillator 1 pitch.
Modulation destination “LFO1>Osc1 Pitch“.
•• Osc1+2 Pitch
-64 to +63: How much LFO1 modulates the pitch of all oscillators, controlling the other two values in this
page at the same time.
•• Osc2 Pitch
-64 to +63: How much LFO1 modulates oscillator 2 pitch. Note that oscillator 3 automatically follows any
pitch modulation applied to oscillator 2.
Modulation destination “LFO1>Osc2 Pitch“.
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PARAMETER REFERENCE MANUAL
•• Pulse Width
-64 to +63: How much LFO1 modulates the pulse width of both main oscillators.
Modulation destination “LFO1>Pulse Width”.
•• Resonance
-64 to +63: How much LFO1 modulates the resonance of both filters.
Modulation destination “LFO1>Resonance“.
•• Filter Gain
-64 to +63: How much LFO1 modulates the total level of all signals before entering the filters.
Modulation destination “LFO1>Filter Gain“.
•• Assign Target
Off, Amp Env Attack ... WaveTable 2 Index: Select from a list of available destinations for LFO1.
•• Amount
-64 to +63: How much LFO1 modulates the Target parameter.
Modulation destination “LFO1 Assign Amt“.
LFO 2 Destinations
•• Cutoff 1
-64 to +63: How much LFO2 modulates filter 1 cutoff frequency. Like automating the CUTOFF knob when
Cutoff Link is switched off.
Modulation destination “LFO2>Cutoff1“.
•• Cutoff 1+2
-64 to +63: How much LFO2 modulates filter 1 and filter 2 cutoff frequencies simultaneously, controlling the
other two values in this page.
•• Cutoff 2
-64 to +63: How much LFO2 modulates filter 2 cutoff frequency. Like automating the CUTOFF 2 knob.
MODULATOR PARAMETERS
Modulation destination “LFO2>Cutoff2“.
•• Shape 1+2
-64 to +63: How much LFO2 modulates the shapes of oscillators 1 and 2 simultaneously.
Modulation destination “LFO2>Shape“.
•• FM Amount
-64 to +63: How much LFO2 modulates the amount of frequency modulation.
Modulation destination “LFO2>FM Amount“.
•• Panorama
-64 to +63: How much LFO2 modulates the position of the signal across the stereo outputs. Modulation
destination “LFO2>Panorama“.
•• Assign Target
Off, Amp Env Attack ... WaveTable 2 Index: Selects one of the many possible destinations for LFO2.
•• Amount
-64 to +63: How much LFO2 modulates the specified Assign Target (see above).
Modulation destination “LFO2 Assign Amt“.
LFO 3 Destination
•• Fade In
0 to 127: The amount of LFO3 can be faded in after each note is played: 0 = instantaneous, 127 = about 40
seconds. Particularly useful for delayed vibrato effects etc..
•• Assign Target
Value
Meaning
Osc1 Pitch
Oscillator 1 pitch.
Osc1+2 Pitch
The pitch of all oscillators.
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PARAMETER REFERENCE MANUAL
Value
Meaning
Osc2 Pitch
Oscillator 2 pitch. Note that oscillator 3 automatically follows any pitch modulation
applied to oscillator 2.
Osc1 Pulse Width
The pulse width of oscillator 1.
Osc1+2 Pulse Width
The pulse width of both oscillators at the same time.
Osc2 Pulse Width
The pulse width of oscillator 2.
Sync Phase
When Sync is switched on, this defines the absolute phase of oscillator 2 each time
it is reset by oscillator 1. Modulating Sync Phase can cause effects similar to pulse
width modulation, thus giving the (typically rather cold) sync-sounds more warmth.
Unlike LFO1 and LFO2, LFO3 has only one modulation slot, offering a choice of one of targets above.
•• Amount
0 to 127: How much LFO3 modulates the selected target. Note that, unlike the other LFOs, this is a unipolar
parameter.
Modulation destination “LFO3 Assign Amt“.
ARPEGGIATOR PARAMETERS
Arpeggiator Parameters
ARP is short for Arpeggiator, a clocked processor that normally takes a chord and outputs individual notes,
one after the other. The Arpeggiator in your Virus also features repeated chords, preset and custom rhythmic
patterns, shuffle, infinite hold etc.
•• Mode
Mode
Meaning
Off
No arpeggiation. No other arpeggiator parameters will be visible.
Up
Ascending notes, starting with the lowest note.
Down
Descending notes, starting with the highest note
Up+Down
Ascending then descending notes, starting with the lowest note
As Played
In the same order as received MIDI notes
Random
Random note order, random octave (see Octaves parameter below)
Chord
Plays all entered notes at the same time.
•• Octaves
1 to 4: Notes can be successively transposed up an octave at the start of each new arpeggio cycle. The
value here is equal to the number of cycles before the arpeggio reverts to its original pitch – so a value of 1
means no transposition.
•• Pattern
User, 2 to 64: Selects the arpeggiator pattern. A “User” pattern can be created for each program using Virus Control. As well as positions and lengths, most patterns contain extra velocity data for added rhythmic
effect. To apply velocity data, set the Velocity parameters or use the modulation matrix with Velocity as the
source.
Modulation destination “Arp Pattern”.
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PARAMETER REFERENCE MANUAL
•• Resolution
1/128 to 1/2: The Arpeggiator’s rate expressed as a fraction of a bar in 4/4 time. The minimum rate is therefore one complete arpeggio every 4/4 bar. The standard setting is 1/16 (i.e. 16 beats per bar), and normally
does not need to be changed. The actual rate is determined by the Tempo parameter.
•• Note Length
-64 to +63: Scales the lengths (hold time) of all notes. Negative values shorten the notes, positive values
lengthen them. The audible effect of this parameter is highly dependant upon the envelope settings.
Modulation destination “Arp Note Length“.
•• Swing Factor
Off, 50.2% to 75.0%: Affects the position (in time) of every other 16th note. At 66% the rhythm is “full swing”
i.e. triplets. The values 16C, 16D, 16E and 16F are the same as those in Apple Logic (a popular sequencer
program).
Modulation destination “Arp Swing“.
•• Hold
Value
Meaning
Off
The arpeggio stops as soon as all notes are released
On
The arpeggio continues after notes are released. Playing new notes after releasing all previous
ones resets the arpeggio (i.e. the original notes disappear). Note that releasing a Hold pedal will
stop the arpeggio until new notes are played.
EFFECT PARAMETERS
Effect Parameters
‘Effect’ is the generic term used to describe a process which affects the sound of a patch at the output
stage. Traditionally, the output of an instrument, such as a keyboard or guitar, was sent through an external
device, like a chorus or delay unit in order to add an extra dimension to the sound. The Virus TI Snow offers
several such effects internally, and per Part - far more convenient than the 20+ external devices this would
have required otherwise! Furthermore, each of these effects can be modulated by the same sources as the
synth engine, which allows the effects to become an integral part of any sound, and a powerful synthesis
tool in their own right.
The Virus TI Snow offers multiple effects per patch which all can be used at the same time.
Delay
•• Mode
Value
Meaning
Off
No Delay effect.
Simple Delay
Standard delay effect, the left and right channels have the same nominal
delay times.
Ping Pong 2:1 ... Ping Pong 8:7
The left and right channels have different delay times, indicated by the
ratio.
Pattern 1+1 ... Pattern 5+5
The left and right channels can have different delay times. Pattern modes
are always synchronized to the Clock. The TIME / COLOR knob controls
the Coloration parameter.
•• Send
Dry, 1 to 126, Wet: Effect send – actually a crossfade i.e. the overall level remains fairly constant (the dry signal is faded out at higher values).
Modulation destination “Delay Send“.
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PARAMETER REFERENCE MANUAL
•• Clock
Off, 1/64 ... 3/4: Synchronized delay rate expressed as a 4/4 bar division.
•• Delay Time
0.0 ms to 693.6 ms: Non-synchronized delay expressed in milliseconds. This values is used if Clock (see
above) is set to Off.
Modulation destination “Delay Time”.
•• Feedback
0 to 127: For repeated delays. Determines how much of the output signal is fed back into delay input, affecting the number of audible repeats.
Modulation destination “Delay Feedback“.
•• Coloration
-64 to +63: Applies progressive filtering within the feedback path (see “Feedback” above). Negative values
make repeats successively mellower, whereas positive values make them brighter. Modulation destination
“Delay Coloration”. The Delay effect has its own dedicated LFO for modulating the delay time. Note that this
can cause interesting pitch modulation and stereo effects.
•• Mod Rate
0 to 127: The speed of the delay LFO.
Modulation destination “Delay Mod Rate“.
•• Mod Depth
0 to 127: The amount of modulation applied to Delay Time by the delay’s own LFO. Note that the left and
right channels are affected differently, so this parameter can be used to create stereo effects.
Modulation destination “Delay Mod Depth”.
•• Mod Shape
Sine, Triangle, Sawtooth, Square, S&H, S&G: The delay LFO’s waveform. Use S&G for “tape echo” type effects.
EFFECT PARAMETERS
Reverb
In the signal path, delay and reverb are routed in series i.e. the dry signal plus any delay is sent to the reverb
input.
•• Mode
Value
Meaning
Off
No effect. All other parameters will not be visible.
Reverb
Standard reverb effect with predelay (see “Predelay” parameter below).
Feedback 1
Reverb effect with a feedback loop in the pre-delay line, thus allowing multiple reverb
tails.
Feedback 2
The same as Feedback 1, except that the first reverb tail appears immediately.
•• Type
Ambience, Small Room, Large Room, Hall: Different types of room simulations, in order of size. This parameter affects the so-called “early reflections”.
•• Send
Dry, 1 to 126, Wet: Effect send. Actually a cross-fade between dry and wet – the overall level remains fairly
constant.
Modulation destination “Reverb Send”.
•• Clock
Off, 1/64 ... 3/4: Used to synchronize Predelay to the Clock (see “Predelay” below). Expressed as a 4/4 bar
division.
•• Time
0 to 127: The length of the reverb tail. Modulation destination “Reverb Time”.
•• Damping
0 to 127: For simulating different surface materials by progressively removing higher frequencies. Carpets
and drapes etc. tend to absorb a lot of high frequencies, while tiled floors and walls do not.
Modulation destination “Reverb Damping”.
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PARAMETER REFERENCE MANUAL
•• Coloration
-64 to +63: Post-EQ for the reverb signal. Negative values are mellower, positive values are brighter.
Modulation destination “Reverb Coloration”.
•• Predelay
0.0 ms to 300.4 ms: The time between the original signal and the reverb signal, expressed in milliseconds.
This can be fed back for multiple reverb tails.
Modulation destination “Reverb Predelay“.Only visible if the Clock parameter is set to Off (see above).
•• Feedback
0 to 127: How much of the reverb signal is fed back into it’s own input. The repeat rate is determined by the
Predelay parameter (see “Predelay” above).
Modulation destination “Reverb Feedback”. Only visible in Feedback 1 or Feedback 2 modes.
Low EQ
•• Frequency
32 to 458: Low shelf (1 pole) cutoff frequency in Hertz.
•• Gain
-16 dB to +16 dB: Low shelf cut or boost.
Mid EQ
•• Frequency
19 Hz to 24.0 kHz: Centre frequency of the MID EQ. Values above 10,000 are given in kHz.
Modulation destination “EQ Mid Frequency”.
EFFECT PARAMETERS
•• Q-Factor
0.28 to 15.4: Bandwidth around the centre frequency. Low values are wider, high values are narrower. For
wah-wah effects, set very high Q-Factor and Gain values, then modulate “EQ Mid Frequency”.
Modulation destination “EQ Mid Q-Factor”.
•• Gain
-16dB to +16dB: Mid frequency cut or boost, in decibels.
Modulation destination “EQ Mid Gain”.
High EQ
•• Frequency
1831 to 24.0: High shelf (1-pole) cutoff frequency in Hertz (values above 10,000 are given in kHz).
•• Gain
-16 dB to +16 dB: High shelf cut or boost.
Distortion
•• Type
Value
Meaning
Off
Distortion is disabled.
Light, Soft, Medium &
Hard
Four analog-style distortion curves with differing characteristics.
Digital
Digital clipping. Can even turn a Saw wave into a square wave.
Wave Shaper
A sinusoidal waveshaper, the effect of which is often similar to linear FM. Note that
the results of the Shaper are highly dependant upon the signal level (see INTENSITY
below).
Rectifier
Full wave rectification with subsequent DC-compensation.
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PARAMETER REFERENCE MANUAL
Value
Meaning
Bit Reducer
Variable reduction of bit-depth. For generating the digital quantization effects typical
of early samplers and digital synthesizers.
Rate Reducer
Variable reduction of sampling rate. For generating the aliasing effects typical of early
samplers and digital synthesizers.
Low Pass
Single pole low pass filter for variable reduction of high frequencies. This effect is
only included to ensure compatibility with older programs (early Virus models did not
feature a dedicated EQ section).
High Pass
Single pole high pass filter for variable reduction of low frequencies. Also included for
compatibility reasons.
The choice of “Distortion” effects are similar those available in the FILTERS menu, but here they treat the signal as a whole, i.e. not each individual voice. The difference is particularly noticeable when playing chords.
•• Intensity
0 to 127: Generally determines the amount of effect. In the two filter models (see “Low Pass” and “High
Pass” above), this is the cutoff frequency.
Modulation destination “Distortion Intensity“.
Analog Boost
Analog Boost can be used to emulate the frequency response of various real analogue synthesizers. Note
that boosting bass frequencies will reduce the proportion of high frequencies in the resulting signal.
•• Intensity
Off, 1 to 127: The degree of Analog Boost.
Modulation destination “Analog Boost Int“.
•• Frequency
0 to 127: The frequency where Analog Boost is applied. Very high values will even boost mid-range frequencies.
EFFECT PARAMETERS
Chorus
Typically, Chorus is a thickening effect caused by modulating a pair of very short delay lines via a dedicated
LFO, then mixing this with the original dry signal. In combination with Feedback, the Chorus effect in your
Virus is also capable of flanging, ensemble, vibrato or resonator effects. Note that if the Mix parameter is set
to Off, the other parameters will not be visible in the menu.
•• Mix
Off, 1 to 127: Cross-fade between the dry and wet signal. Set this to 64 for maximum Chorus, or to 127 for
a vibrato effects. If set to Off, none of the other parameters in this menu will be visible.
Modulation destination “Chorus Mix“.
•• Delay
0 to 127: The nominal delay time, modulated by a dedicated LFO (see “Mod Rate” etc. below). Very high
values result in a short but noticable stereo delay effect.
Modulation destination “Chorus Delay“.
•• Feedback
-64 to +63: The amount of signal fed back into the Chorus input. The Feedback parameter is bipolar because positive and negative values have different tonal characteristics.
Modulation destination “Chorus Feedback“.
•• Mod Rate
0 to 127: Modulation rate – the speed of the dedicated LFO.
Modulation destination “Chorus Mod Rate”.
•• Mod Depth
0 to 127: How much the LFO modulates the Delay parameter.
Modulation destination “Chorus Mod Depth“.
•• Mod Shape
Sine, Triangle, Sawtooth, Square, S&H, S&G: Selects the waveform used to modulate the Delay parameter.
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PARAMETER REFERENCE MANUAL
Phaser
Typically, phasing is the classic “whoosh” effect originally achieved by running two tape machines in parallel,
then slightly changing the speed of one of them. The Virus phaser uses up to six “all-pass” filters to achieve
a very similar effect. In combination with Feedback, the Virus phaser is also capable of resonator, ensemble,
vibrato and flanging effects. Note that if the Mix parameter is set to Off, the other parameters will not be visible in the menu.
•• Mix
Off, 1 to 127: Cross-fade between the dry and wet signal. Set this to 64 for normal phasing (together with
zero Feedback - see below).
Modulation destination “Phaser Mix“.
•• Frequency
0 to 127: The average frequency of resonant peaks (see Spread below). Modulation destination “Phaser Frequency“.
•• Feedback
-64 to +63: The amount of signal fed back into the Phaser input, causing a resonance effect. The Feedback
parameter is bipolar because positive and negative values result in different tonal characteristics.
Modulation destination “Phaser Feedback“.
•• Mod Rate
0 to 127: Modulation rate – the speed of the Phaser’s dedicated LFO (a triangle wave) used to modulate the
Frequency parameter (see above).
Modulation destination “Phaser Mod Rate“.
•• Mod Depth
0 to 127: How much the Frequency parameter (see above) is modulated by the Phaser’s LFO.
Modulation destination “Phaser Mod Depth“.
•• Stages
1 to 6: The number of all-pass filters used in the Phaser. This value affects the complexity of the phased signal.
EFFECT PARAMETERS
•• Spread
0 to 127: How far apart the resonant peaks between multiple stages are. Modulation destination
“Phaser Spread“.
Vocoder
Although available as “effect”, the Virus Vocoder actually replaces the entire filter section i.e. Vocoder and
normal filters cannot be used at the same time within a single program.
The Virus vocoder has two banks of up to 32 bandpass filters: One to analyse the frequency spectrum of a
modulator audio signal, and the other to process a carrier signal (usually the internal oscillators) accordingly.
•• Mode
Carrier Signal
Meaning
Off
The Vocoder is disabled, no other Vocoder parameters will be visible.
Oscillator
The carrier is the entire oscillator section, including any noise.
Osc Hold
Identical to “Osc” except that Hold mode is activated for the vocoder.
Noise
The carrier is the noise signal only. The rest of the oscillator section is disabled
In L, In L+R, In R
The carrier is one or both of the audio inputs.
•• Spread
-64 to +63: Simultaneously controls Carrier Spread and Modulator Spread (see below).
•• Q-Factor
-64 to +63: Simultaneously controls Carrier Q and Mod Q (see below), overriding those two parameters.
Only available if both filter SELECT buttons are active.
•• Carrier Spread
-64 to +63: How far apart individual Carrier bands are. The standard value is +63 (100% i.e. full range),
negative values effectively invert the order of bands – great for special effects.
Modulation destination “Filter1 Key Follow“.
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PARAMETER REFERENCE MANUAL
•• Carrier Q
0 to 127: Quality (steepness) of the Carrier bands.
Modulation destination “Filter1 Resonance“.
•• Modulator Spread
-64 to +63: How far apart individual Modulator bands are. The standard value is +63 (full range), negative
values effectively invert the order of bands.
Modulation destination “Filter2 Key Follow“.
•• Mod Q
0 to 127: Quality (steepness) of the Modulator bands.
Modulation destination “Filter2 Resonance“.
•• Center Freq
-64 to +63: Centre frequency of the Carrier bank.
Modulation destination “Filter1 Cutoff“.
•• Balance
-64 to +63: Balance between the carrier and modulator signals. For pure vocoder signal, set this value to
<0>.
Modulation destination “Filter Balance“.
•• Mod Offset
-64 to +63: Centre frequency offset of the modulator bank relative to the carrier bank.
Modulation destination “Filter2 Cutoff“.
•• Carrier Attack
0 to 127: Attack time of the carrier’s own “envelope follower”. Together with Carrier Release, this is used to
smoothen the vocoded signal.
•• Carrier Release
0 to 127: Release time of the carrier’s envelope follower. Together with Carrier Attack, this is used to
smoothen the vocoded signal.
EFFECT PARAMETERS
•• Spectral Balance
0 to 127: Balance between high and low frequencies in the vocoded signal. In effect, this parameter works
like a simple equalizer, determining the overall colour of the vocoder output. Higher values can improve the
clarity of speech.
Modulation destination “Filter Env Slope”.
•• Bands
1 to 32: The number of filter bands used. The higher this number, the higher the quality (e.g. speech becomes more intelligible). Lower values are better for robot voices etc..
Modulation destination “Filter Env Release”.
Vocoder Parameters on Mod Matrix
Vocoder Parameter
Modulation Destination
Carrier Freq
Cutoff 1
Mod Freq Offset
Cutoff 2
Carrier Q
Filter 1 Resonance
Modulator Q
Filter 2 Resonance
Q Factor
Filter 1 Resonance
Carrier Spread
Filter 1 Key Follow
Modulator Spread
Filter 2 Key Follow
Spread
Filter 1 Key Follow
Carrier Attack
Filter Env Attack
Carrier Release
Filter Env Decay
Spectral Balance
Filter Env Slope
Bands
Filter Env Release
Balance
Filter Balance
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PARAMETER REFERENCE MANUAL
Input Follower
A modulation signal is extracted from the level of the selected input (see “Input Select” below) and replaces
the filter envelope. To hear any effect, turn up ENV AMOUNT and/or use “Filter Envelope” as source in the
Matrix.
•• Input Select
Value
Meaning
Off
The Input follower is not used. The other parameters in this page will not be visible.
Left, L+R , Right
Signal source for the envelope follower.
•• Attack
0 to 127: Accessible from the panel via the filter ATTACK knob. Reaction time to sudden peaks in the input
signal level. Used to regulate how smooth the resulting envelope will be.
Modulation destination “Filter Env Attack“.
•• Release
0 to 127: Accessible from the panel via the filter DECAY knob. Reaction time to sudden drops in the input
signal level. Used to regulate how smooth the resulting envelope will be.
Modulation destination “Filter Env Decay“.
•• Sensitivity
0% to 100%: Accessible from the panel via the filter SUSTAIN knob. Controls the sensitivity of the envelope
follower to its input signal (note that this parameter does not directly affect signal level). The standard value is
50%.
Modulation destination “Filter Env Sustain“.
Input Ring Modulator
The source specified by the Input Select parameter can be ring-modulated with the oscillator signal.
EFFECT PARAMETERS
•• Mix
Off, 1 to 63, Ringmod, 65 to 126, Input: “Off” means no input ring modulation, other values determine the
balance between the two signals: “1” is mostly the untreated oscillator signal, “Ringmod” is the ring-modulated signal only, and “Input” is the input signal only.
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PARAMETER REFERENCE MANUAL
COMMON
Common
The ‘Common’ parameters are those which determine the performance of the overall patch, for example
how the pitch bender will affect the pitch, how MIDI velocity will affect certain parameters, how the Soft
Knobs function etc.
In here you find all paramters which do not belong to a specific section of sound engine.
•• Tempo
63 bpm to 190 bpm: The Virus has an internal clock to which the LFOs, arpeggiator and delay/reverb can
be synchronized (see the respective sections). The clock automatically slaves to any received MIDI clock signal, otherwise it adopts this value.
•• Patch Volume
0 to 127: Overall volume of a program, particularly useful for balancing levels between different programs
(or Parts when in Multi or Sequencer modes). Note that you may have to keep this value well below 127 to
avoid unwanted distortion, especially when playing many notes at the same time – 100 is a good starting
point. Patch Volume reacts to MIDI CC#7 (Channel Volume) as well as CC#11 (Expression).
Modulation destination “Patch Volume“.
•• Panorama
-64 to +63: The position of the signal across the stereo outputs. Reacts to MIDI CC#10 (Panorama).
Modulation destination “Panorama“.
•• Transpose
-64 to +63 semitones: Transposes the pitch of the entire program in semitones.
Modulation destination “Transpose“.
•• Smooth Mode
Right from the very beginning, we have been applying a technique called “Adaptive Control Smoothing”
(ACS) in all their synthesizer models, thus avoiding the zipper noise that rapid changes (knob movements,
modulation) would otherwise cause.
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PARAMETER REFERENCE MANUAL
•• Bend Up
-64 to +63 semitones: How much pitch bend is applied to the oscillators when the Pitch Bender (on a keyboard etc.) is at maximum.
•• Bend Down
-64 to +63 semitones: How much pitch bend is applied when the Pitch Bender is at minimum.
•• Bender Scale
Mode
Meaning
Linear
Pitch bend is directly proportional to the position of the Pitch Bender.
Exponential
Pitch bend sensitivity is lower when the bender is close to its middle position, allowing for
more subtle control over pitch.
Unison
“Unison” means several instances of the same note at the same time. In the Virus, voices can be stacked
up, detuned against each other and spread across the stereo field (see “Pan Spread” below) for a richer
sound. The trade-off is a reduction in polyphony.
•• Voices
Off, Twin, 3 to 16: How many voices are used for each note. “Twin” is relatively efficient, only halving the
maximum polyphony while giving fine control over LFO phase (see below). If set to Off, no other Unison parameters will be visible except Pan Spread (see below).
•• Detune
0 to 127: How much the stacked voices are detuned against each other.
Modulation destination “Unison Detune”.
•• Pan Spread
0 to 127: The stereo width of the signal. As well as applying to Unison sounds, this parameter also applies to
any Parallel and Split mode sounds so it is still visible even if Voices (see above) is set to Off.
Modulation destination “Pan Spread“.
COMMON
•• LFO Phase
-64 to +63: How much the phases of all LFOs are shifted against each other. For making Unison sound even
more complex.
Modulation destination “Unison LFO Phase”.
Velocity Map
These pages give you access to several fixed destinations for MIDI velocity data (i.e. how hard a key is
struck).
•• Volume
-64 to +63: How much velocity affects the total volume of all internal sound generation sources.
•• Panorama
-64 to +63: How much velocity affects panorama position.
•• FM Amount
-64 to +63: How much velocity affects the amount of frequency modulation (FM) between oscillators 1 and
2. For HyperSaw oscillators, this affects HyperSync offset instead.
•• Osc 1 Shape
-64 to +63: How much velocity affects oscillator 1 Shape. If oscillator 1 is in HyperSaw mode, this is the
Density parameter. If oscillator 1 is in WaveTable mode, this is the Index parameter.
•• Osc 2 Shape
-64 to +63: How much velocity affects oscillator 2 Shape. If oscillator 2 is in HyperSaw mode, this is the
Density parameter. If oscillator 2 is in WaveTable mode, this is the Index parameter.
•• Pulse Width
-64 to +63: How much velocity affects the pulse width of all main oscillators. For oscillators in HyperSaw
mode, this affects the Spread parameter.
•• Filter 1 Env Amount
-64 to +63: How much velocity affects the envelope amount of filter 1.
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PARAMETER REFERENCE MANUAL
•• Resonance 1
-64 to +63: How much velocity affects the resonance of filter 1.
•• Filter 2 Env Amount
-64 to +63: How much velocity affects the envelope amount of filter 2.
•• Resonance 2
-64 to +63: How much velocity affects the resonance of filter 2.
Inputs
•• Mode
Instead of using the internal oscillators, a signal from the external inputs can be treated using the Virus filters,
envelopes and effects.
Value
Meaning
Off
Standard setting i.e. the Virus oscillators are used as the basic source of sound.
Dynamic
The source specified by Input Select (see below) is routed to the FILTERS section, the
envelopes remain functional. This means you have to play a note to hear any sound.
Although there is only one audio source, each note has an independant envelope and
filter.
Static
The source specified by Input Select is routed to the FILTERS section, but all envelopes
are ignored. The filter section effectively becomes “monophonic”.
•• Input Select
Left, L+R, Right: Signal from the left, both or right inputs.
COMMON
Categories
•• Name Cat 1, Name Cat 2
Off, Acid ... Favourites 3: Select Category names. As certain sounds could conceivably belong to more than
one such category (e.g. Bass and Digital), two can be specified.
Programs are assigned one or two categories to make it easier to find particular types (Lead, Pad, Drums
etc.) via the SEARCH function.
Soft Knob
As well as being used for editing, the three VALUE knobs below the display function as extra performance
controls called “Soft Knobs” for instant access to parameters that might otherwise not be directly available.
•• Function as...
Off, Analog Boost Int ... Velo>Volume: Select from a list of Soft Knob destinations.
Tip: Instead of direct control, it is fairly common to specify a continuous controller (e.g. CC06 Data) here,
then use the same CC as source in the modulation matrix. This method not only lets you control a wider
range of destinations with the Soft Knobs, but also allows multiple destinations with variable ranges – complex morphing at the twist of a knob.
•• Name
+3rds ... Width: Specifies a word that will appear above the VALUE knob – try to choose the most appropriate name for the overall effect of adjusting this knob.
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PARAMETER REFERENCE MANUAL
Multi
Parameters
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PARAMETER REFERENCE MANUAL
MULTI MODE PARAMETERS
Multi Mode Parameters
In earlier Virus models, Multi mode programs consisted of multiple Parts, each one referencing a Single
program. The downside: Multi programs depended on the location of all their referenced Singles, so if you
changed any program while working in Single mode, Multi programs would change accordingly.
In the Virus TI Snow however, each of the 4 Parts actually contains the equivalent of a Single program. Parts
also require a few additional parameters (e.g. transposition, keyboard range) which are all accessed via
MULTI EDIT
Multi Patch
The Bank and Program parameters in the first page are used to copy existing Singles into the current Part.
ƒƒ Part Enable
Off, On: Specifies whether the selected Part is active.
Bank
A to Z: Selects the bank from which a Single program is automatically copied into the current Part.
Program
0 to 127: Selects the Single program to be automatically copied into the current Part.
Volume
-64 to +63: Bipolar parameter for balancing levels between different Parts.
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PARAMETER REFERENCE MANUAL
Panorama
-64 to +63: Stereo position of the Part. Overrides/overwrites the Single parameter of the same name.
MIDI Channel
01 to 16: The MIDI channel to which this Part will respond.
Output
Out1 L ... USB2 R: Sends this Part to the selected analogue or USB output.
Transpose
-48 to +48 semitones: Part transposition. Adds/subtracts from the Single parameter of the same name.
Detune
-64 to +63: Tunes all pitched elements (oscillators, filters) within a fairly narrow range.
Priority
Low, High: Specifies whether note-stealing will favour the current Part when all voices in the Virus have been
used up. The Virus TI has plenty of voices and applies a very clever note-stealing algorithm, so you should
seldom (or never) notice this happening.
Master Clock
63 bpm to 190 bpm: Specifies the tempo in Multi mode. Note: this is adopted by all Parts, ignoring individual Tempo values of the original Single Mode programs.
MULTI MODE PARAMETERS
Init Volume
Off, 1 to 127: Initializes MIDI volume (CC#7) for the current Part whenever this Multi program is selected. See
Volume RX below.
Low Key
C-2 to G8: The lowest MIDI note to which this Part will respond. If this is set higher than High Key (see below), the range between Low Key and High Key is disabled, and all notes outside this range are enabled.
High Key
C-2 to G8: The highest MIDI note to which this Part will respond. If this is set lower than Low Key (see
above), the range between Low Key and High Key is disabled, and all notes outside this range are enabled.
Hold Pedal
Disabled, Enabled: Specifies whether the Part will respond to MIDI CC#64 (usually a Sustain Pedal).
Volume RX
Disabled, Enabled: Specifies whether the Part will respond to MIDI CC#7 (Volume).
Prog Change
Disabled, Enabled: Specifies whether the Part will respond to MIDI Program Change messages. The global
“Program Change” parameter in the CONFIG menu is ignored.
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PARAMETER REFERENCE MANUAL
Patch Volume
Quick access to the Patch Volume parameter, used for balancing levels between different programs.
Tempo
Quick access to the internal clock rate In Multi Mode, this controls the Master Clock parameter.
MULTI MODE PARAMETERS
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PARAMETER REFERENCE MANUAL
Configuration
Parameters
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PARAMETER REFERENCE MANUAL
CONFIG MENU PARAMETERS
Config Menu Parameters
This menu is opened by pressing the CONFIG button to the left of the display. It contains global parameters
that determine how the entire Virus works. Configuration data does not have to be explicitly stored.
MIDI
ƒƒ Global Channel
1 to 16: Specifies a MIDI channel used for SINGLE mode, as well as for switching between MULTI mode
programs via the MIDI message “Program Change”.
ƒƒ Soft Thru
Off, On: Specifies whether received MIDI data is also directly routed to (i.e. mirrored at) the MIDI out socket.
Before switching this parameter on, make sure there will be no MIDI loop in your system. This parameter has
no effect when working with Virus Control.
ƒƒ MIDI Device ID
1 to 16, Omni (17): Identification number for transmitting/receiving System Exclusive data (see glossary). To
allow SysEx communication between two devices, they must be set to the same device ID. If set to Omni,
the Virus will receive Sysex data with any ID, and transmit with ID = 17.
ƒƒ Arp Note Send
Off, On: Specifies whether the notes created by the arpeggiator will be sent to the MIDI output instead of the
original played notes.
ƒƒ MIDI Volume
Disabled, Enabled: Specifies whether MIDI CC#7 (volume) will be recognized.
ƒƒ Program Change
Disabled, Enabled: Specifies whether the MIDI message “Program Change” will switch Single programs. This
applies to programs in Single mode as well as PARTs in Multi or sequencer mode.
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PARAMETER REFERENCE MANUAL
ƒƒ Multi Prog. Change
Disabled, Enabled: Specifies whether the MIDI message “Program Change” will switch the entire Multi Mode
program if received on the global MIDI channel.
ƒƒ MIDI Clock
Value
Meaning
Internal Sync
Any received MIDI Clock will be ignored. An internally generated clock is used instead.
Sync to External
Received MIDI Clock will be recognized. This is the standard setting.
Send
Internally generated MIDI Clock is sent to the MIDI output.
MIDI Dump RX
ƒƒ Receive Dump
The Virus automatically recognizes the type of data appearing at its MIDI input. Whenever individual programs are received, they will appear in the Edit Buffer (see glossary), and must be explicitly stored. Therefore, the following options only apply when receiving entire bank.
Apart from the Snow, all Viruses so far had banks each holding 128 patches. To maintain compatibility,
the Snow uses 2 banks of each 64 patches to load a Bank Dump. Use Virus Control and the Virus Control
Center to overwrite specific patches, banks or ROM locations.
Value
Meaning
Disable
Program data arriving at the MIDI input will be ignored.
Enable
Bank data (128 sounds) will be stored to the Bank from which it was originally dumped,
regardless of which bank is currently selected.
Force To Bank A+B
Bank data is always stored in bank A and B
Force To Bank C+D
Bank data is always stored in bank C and D
Force To Bank E+F
Bank data is always stored in bank E and F
Force To Bank g*h
Bank data is always stored in bank G and H
CONFIG MENU PARAMETERS
Value
Meaning
To Edit Buffer
Incoming bank data is not stored, but is treated as a series of individual programs. These
will appear sequentially in the edit buffer – useful for trying out sounds without having to
overwrite an entire bank.
Verify
Incoming bank data is compared with the memory in the Virus, after which a status
message appears. Use this setting to check whether a bulk dump has been successful.
MIDI Dump TX
ƒƒ Transmit MIDI Dump
Transmits various types of system exclusive data to an external device e.g. a computer or another Virus.
Value
Meaning
Single Buffer
The contents of the single Edit buffer i.e. the current Single program (or Part without the
Multi settings). This function is also available in the STORE menu for easy access.
Single Bank A
All 128 programs in Bank A.
Single Bank B
All 128 programs in Bank B.
Single Bank C
All 128 programs in Bank C.
Single Bank D
All 128 programs in Bank D.
Controller Dump
A Single program, but in the form of a succession of individual parameter changes.
These can take the form of MIDI CCs, Polypressure or Sysex, depending on the value of
two other parameters. The Controller Dump setting is mainly used for updating the data
in parameter-based editors (e.g. a Logic environment) and can be relatively slow.
Arrangement
All 16 sounds in the current Multi buffer or Sequencer mode buffer plus the additional
“multi” settings.
Multi Bank
All Multi programs.
MIDI Control: Governs how Page A and Page B parameters are handled during MIDI communication with
e.g. a computer or MIDI controller unit. Note that system exclusive data is always recognized, irrespective of
the settings here.
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PARAMETER REFERENCE MANUAL
ƒƒ Page A
Value
Meaning
SysEx
Page A parameters are transmitted/received as system exclusive packets. Controller
data reception is disabled.
Controller Data
Page A parameters are transmitted/received in the form of MIDI CC (see glossary)
data.
ƒƒ Page B
Value
Meaning
SysEx
Page B parameters are transmitted and received in the form of system exclusive
packets. Controller data reception is disabled.
Poly Pressure
Page B parameters are transmitted and received in the form of Poly-pressure data.
Inputs
ƒƒ Boost
0 to 127: Boosts the input - use this only for very low level signals.
ƒƒ Input Thru
0 to 127: The level of external signal sent directly to output 1.
ƒƒ Sensitivity
+16 dBV .. -16 dBV: Select sensitivity to suit different external audio sources.
CONFIG MENU PARAMETERS
ƒƒ Characteristic
Charateristics
Meaning
Linear
For all applications besides a phono input
Phono
Vinyl discs have a special frequency response which generally needs adjusting for. Set this
parameter to Phono when either connecting a turntable directly or using audio material
recorded directly from vinyl (i.e. without deemphasis).
Audio Clock
ƒƒ Source
Specifies the source of audio clock used for synchronization.
Source
Meaning
Auto
The default setting. Audio clock via USB or S/PDIF is automatically recognized, otherwise the
internal one is used.
Internal
Only use the internally generated audio clock.
ƒƒ Frequency
Frequency
Meaning
44.1 kHz, 48.0 kHz
Basic audio clocking frequency.
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Frequency
Meaning
Synced to Host
Virus is slave clocked by host.
Global Soft Knob settings
ƒƒ Destination
Off, Analog Boost Int ... Velo>Volume: Global destination. Used whenever the Soft Knob is left undefined in a
program or the Global parameter is set to On here...
ƒƒ Response
Determines when and how parameters react to knob movements. Required because the position of knobs
seldom reflects the stored values after changing to another program. The Snap and Rel modes are useful for
preventing sudden changes in the sound, especially during live performance.
Mode
Meaning
Off
Knobs have no effect whatsoever.
Jump
The value jumps immediately to reflect the new knob position.
Snap
The value is not affected until the original is reached by turning the knob.
Rel
The value immediately changes in the direction of knob movement (without jumping), but limits may
not be reachable directly – knob positions only reflect values after the original (stored) value has
been reached.
ƒƒ Knob Display Time
Mode
Meaning
Off
Knob values not be displayed.
1 to 127
Knob values will be displayed for up to 7 seconds.
ƒƒ Knob Target
CONFIG MENU PARAMETERS
Target
Meaning
Internal
Knobs control internal functions directly and do not send MIDI.
Internal+MIDI
Knob data is also sent to MIDI Out.
MIDI
Knobs do not directly control internal functions, the data is sent to MIDI Out only. This
setting is similar to the “Local Off” mode found in several other synthesizers.
Global Tuning
ƒƒ Master Tuning
-64 to +63: Fine control over the pitch of the entire Virus, from 50 cents lower to 50 cents higher. A “cent” is
one hundredth of a semitone.
ƒƒ Pure Tuning
Tempered, 1 to 63, Natural, 65 to 126, Pure: Variable degree of “Pure” tuning (see glossary) – slight pitch adjustment of each note within a chord to minimize dissonance between them. The default value is Tempered
i.e. standard (Western) keyboard tuning.
Random Patch Generator (PG)
The Random Program Generator global settings. Use the RANDOM function to randomly modify an existing
program.
ƒƒ Strength
0 to 127: How drastically the Random function will affect program parameters.
ƒƒ Scope
0 to 127: How many program parameters will be affected. Note that if this value is set very high, successive
use of the Random PG will tend to create sounds will little or no tonality.
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SYSTEM SETTINGS
System Settings
This menu is opened by pressing the CONFIG button to the left of the display. It contains global parameters
that determine how the entire Virus works. Configuration data does not have to be explicitly stored.
Switches
ƒƒ All Delays
Disabled, Enabled: Global switch to disable / enable any Delay effects.
ƒƒ All Reverbs
Disabled, Enabled: Global switch to disable / enable any Reverb effects.
ƒƒ All Arpeggiators
Disabled, Enabled: Global switch to disable / enable any Arpeggios.
ƒƒ All EQs
Disabled, Enabled: Global switch to disable / enable any EQ settings.
User Interface
ƒƒ LED Lux
0 to 127: Brightness of all LEDs.
ƒƒ BPM LED Brightness
0% to 100%: Relative brightness of the BPM LED.
ƒƒ LED Mode
Specifies what the multi purpose BPM/LFO LED will indicate.
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Mode
Meaning
LFO
The default value. LED intensity follows LFO oscillation.
Ext Inputs
LED intensity shows the level of external input.
Auto
Either of the above, depending on whether there is a signal at the inputs.
Output
LED intensity shows output levels.
Voice Steal
Indicates note-stealing (see glossary). LED intensity follows the immediate levels of notes
being stolen.
ƒƒ LCD Contrast
0 to 127: Optimize the display for different viewing angles.
Mem Protect
Mode
Meaning
Disabled
Data can be stored.
Enabled
Full memory protect – no data can be overwritten.

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© 2008 Kemper Digital GmbH. All rights reserved. VTISPR 01/08 Revision A