Beiträge von flabberbob

The oscillators themselves are mono, but unison with pan spread, and some of the effects such as ping-pong delay send separate signals to the out pair. Your best bet is to set the output to 1L or 1R (not 1R+L), and feed a mono channel in your mixer with it using a single cable from the Virus.
BTW some mixers allow you to mix stereo to mono if you keep the pan-pot of every mono channel in the middle position.
Hope this helps.

It will be a while until I get a chance to test this, but did you try the distortion from the saturation module of the filter section?

Zitat von Noelb

In VC, part 1 sounds fine, but every other part the volume drops to very low levels! When I change the sound for a part, the volume is at a proper level, then after a few seconds, it drops to very low levels for no apparent reason. And yes, the volume faders in VC for every part do remain at the level I set them.

Make sure that there isn't any other MIDI device connected that sends the Virus stray MIDI messages that result in volume decrease, such as expression (MIDI CC#11)

Zitat von Noelb

Sounds start to distort, crackles and pops everywhere.

Crackle and pop usually means that the Virus doesn't get the USB bandwidth it needs. Some of the bandwidth is taken by other USB devices (external or onboard). Open your system profiler and see what is connected near the Virus (doesn't have to be physically near...). Try to find a better USB port for the Virus to connect or disable USB devices unnecessary for music making such as webcam, bluetooth etc. If all of this fails, connect the Virus through an external hub (no other device connected to the hub) that might help by translating USB1.1 to USB2. Also try using VC in "2 out / 0 in" mode that might use less bandwidth.

Zitat von Noelb

When one of the sounds has an arpeggio, all the other sounds cut off. In other words if I hold a chord in a pad, it's notes cut off immediately when one of the other slots has a sound with an arpeggio in it!

You have probably programmed patches that take a lot of resources and steal notes from each other. Reduce the unison amount, envelope release tails, delay/reverb (especially the time element), complex oscillators and analog filters, and see if that improves things. If you absolutely have to have it the way you programmed it, try bouncing each part separately and mix the resulting audio tracks with the Virus muted. You can also set pad parts to a high part priority (but don't over-do this).

Zitat von Noelb

It's always been super-stable and able to run many instances of Massive, Razor, Kontakt. Never had a problem until I got that lousy Virus.

The difference is that those softsynths run on your local CPU. The Virus is an external sound generator and it relys on the USB to provide real time audio transfers.

There is a long safe way an a short dangerous way.
If you want to be safe, make a new copy of the project, connect the Snow, save all the patches to file (a .mid bank), disconnect the Snow, unload the plugin (you might lose some automation depending on how you recorded it), connect the TI2, load the TI2 plugin, reconnect all the tracks to the new plugin, load all the saved patches to the right parts and hope for the best.
The dangerous way is to exit cubase, disconnect the Snow, connect the TI2, rename the Snow VSTi binary into something unusable, start cubase with your project, and hopefully cubase will choose the "next best" VSTi it can find, although this may not work. If it worked, save to a new project so that you still have a backup of the old project if something goes wrong.
Hope this helps.

If you are referring to the "hiss" this is just the high end of the saw wave. If you don't want it you can lowpass it out on the Virus or in your DAW. If you want to spread it evenly you can use one of the chorus effects that have X-fade that you can bring to the high frequencies. If it is somewhere else in the sound try to check your detune and (in case of hypersaw) spread values.
Hope this helps.

I don't own a C so this is a general description.
Create 1 new MIDI track and 1 new audio track. Make sure that the UA25-EX L+R can be selected as an input when you arm the audio track. Make sure you can select the UA25-EX MIDI out as output on the left side (start with MIDI channel 1), when the MIDI track is highlighted. If you plan to use this Virus as a MIDI controller, you'll have to select the UA25-EX MIDI in when you arm the MIDI track.
Now to the connections. Connect the Virus audio outs to the UA25-EX audio in using 2 TRS-to-TRS cables (XLR cables will be preamped unnecessarily). Connect the Virus MIDI in to the UA25-EX MIDI out using a din5-to-din5 cable. If you plan to use the C as a controller, also connect the UA25-EX MIDI in to the Virus MIDI out with the same type of cable and disable local control on the Virus.
Keep the new audio track armed so you can hear what you play. Adjust levels on the Virus and the UA25-EX mixer.
Hope this helps.

There are quite a few videos such as this:
MrU6sIshevI
Very few deal with hardstyle. There are a few captures of ustream channels of hardstyle producers you may find helpful.
The real question is what do you mean by sounds getting messy? It also matters how much knowledge you have of subtractive synthesis and the physics of sound in general.

Actually, the unit does display the current wavetable name. After you select osc1 or osc2 and press the edit button next to it, you'll get to page 1 of the oscillator # menu. The value 1 soft knob allows you to change the osc mode, and after you select a mode that supports wavetables, the value 3 soft knob shows the full name of the currently selected wavetable.
Hope this helps.

You forgot to mention setting env amt and filter1 cutoff, but I was able to reproduce what you describe. The sustain slope only gives the mirror image of the phenomena: 0 and below vs. +1 and above, the skipping edge and the gliding edge merely switch places.
My guess is that it has to with internal smoothing algorithms.

My impression is that LFO retriggering is (was?) a side effect of LFO mode selection that was put to good use. But I guess the official word from Access is the final word.

Maybe the bass and vocals are too up front, and the snare could use a little reverb, but other than that I would probably do it the same way. Thumbs up.

Actually, this happens right after the USB connection is established. The Virus starts acting as a soundcard, so its MIDI ports belong to the computer now. If you want to play the synth engine with the MIDI input you need to close the loop - so to speak - using your DAW/application/utility and send the Virus MIDI input to the Virus Synth output.
Hope this helps.

If you played a project, closed it, reopened it and it didn't play again (unchanged) that's a problem. But if you simply want to play another sound (multitimbrally) at the same time with the Virus, you should use the plugin instance already loaded and send your MIDI to a different channel (you have up to 16).

Go through the available monophonic modes by pressing SHIFT+MONO. Some of them glide only if you actually play legato.
Hope this helps.

I had a chance to test it myself but it didn't seem to work. I was able to make the MONO indicator blink in VC, but I couldn't make the LFO retrigger - not by sending the same value repeatedly neither alternating 0 and 1.
I would really love to hear the official word from Access on this - was the above feature dropped, or was it simply overlooked?

My guess would be a high note playing a sine wave, which has its pitch extremely modulated by a sine/triangle LFO with a very high rate. It is then rate-reduced (bitcrushed) then high-pass filtered.
Hope this helps.

I guess that what you mean is that you don't want to mix between two free running waves. So yes, with the classic oscillators, you can mix between the waveforms tor the same wave cycle. Furthermore, if you sync osc2 with osc1, the osc mix will be on the same wave cycle as well.
Another neat way to morph between saw and square through a different transition, is to modulate saturation (osc volume) when the digital distortion is selected. This clamps the saw wave instead of fading it.
Hope this helps.

What I do in this case is use the filter split mode. I set osc1 to the waveform I want to distort, then using filter1 I highpass as much as I want, and the use the saturation module to distort. I set osc2 to sine or triangle just to get a clean bottom. I reduce the detune to 0 and sync the oscillators with init phase on 1 to get a prdictable waveform.
Hope this helps.

So this is the old notes phasing with the new notes - perfectly natural. Then just make the AMP ENV release shorter, maybe even close a lowpass filter on release.

My guess would be: 1 sawtooth --> filter --> distortion
You can make the filter say "Ah" by setting it in parallel mode, setting both filters to bandpass, adding a little resonance to both and finding the best cutoff positions for each of the filters.
There are many ways to make the pitch glide - increase the span of the pitch bend, use mono+portamento or control pitch with envelope/LFO. Note that the slower glides where made by stretching samples, not playing the keys/knobs slower.
Hope this helps.