Posts by djdizzy216

    Have you tried using the Adaptive Control Smoothing? See page 129 of the Virus TI User Manual.
    http://www.virus.info/api/download/dlid/214/alternate/0/User manual Virus TI (series 1) in English


    thanks! your patches were a great template. i played around with them a little bit and mapped soft knob #1 to the pitch amount that's modulated by LFO1 to get some of that squelchy sound when needed :)
    here's what i came up with based on your patches

    Files

    • Kicks.mid.zip

      (1.01 kB, downloaded 9 times, last: )

    i've always wondered what this sound is, ever since i was a kid and loved listening to 80's b-boy music. then around the late 90's and early 00's you heard it in alot of freestyle and electro mainly (the real electro - electro breaks - not electro house).


    The sound is layered over the kick drums so you hear it when the drums start @ 0:17. The first one might be hard to hear cuz the drums start off with a stab too, ignore the stab. It's also in the Afrika Bambaataa song Play At Your Own Risk


    Its also in this song @ 0:29 when the drums start:


    I've tried using a sine wave and pitch envelope, but I haven't been able to get very close to this sound.

    I sold my Virus TI Snow and replaced it with a Virus TI Polar that I bought used from a store around a year ago, it's screen was messed up when I bought it. It was marked down enough to where I just thought I'd get it repaired when I can afford it, besides I was already used to using the TI software for everything except the 3 mapped knobs... due to previously owning a Snow.


    I quickly started to enjoy using the knobs more than the software but the messed up screen is a real bummer. What do I need to replace to make it right? The first picture below was taken when the Polar was powered off, you can see where the screen is messed up (you have to look close on the right-hand side). Then the 2nd picture is with the Polar powered on, the 3rd picture is the Polar powered on and the lights turned off so it's more noticeable. What confuses me is that the problem area is visible even when it's powered off.


    [Blocked Image: http://i75.photobucket.com/albums/i284/dizzy216/1.jpg]


    [Blocked Image: http://i75.photobucket.com/albums/i284/dizzy216/2.jpg]


    [Blocked Image: http://i75.photobucket.com/albums/i284/dizzy216/3.jpg]

    does anyone know how to make this lead? i recently heard it in "wilkinson - need to know" and immediately recognized that lead sound from a song that was a big guilty pleasure of mine back in the day - "kreo - burn for you". my guess is that this sound might be square wave-based and is monophonic with a fair amount of portamento but i can't get the tonality right so there's definitely something else to it. it's such an infectious sound.


    the sound is at 0:00 in the song below:
    http://www.youtube.com/watch?v=-PoX1cPgCRg

    the sound starts at 0:45 in the song below:
    http://www.youtube.com/watch?v=bp9xdVV6uxQ

    is there any way to modulate the local Detune knob that is an option for Wave PFM waveforms? i'm using it so the sound phases and creates a wobble. specifically, i want to use keytracking so there's more detune with higher notes. i see f-spread and f-shift are available destinations to use with granular and formant waveforms but i don't see any option for that detune knob to use with wave pfm waveforms in the mod matrix.


    i could modulate a lfo-based wobble with keytracking but it doesn't have the same tonality, in other words it doesn't achieve the sound i'm looking for in this circumstance.

    how does a mod matrix's destination amount correspond to the parameter's value? for example if use the mod matrix to modulate an oscillator's shape/index to change a hypersaw's density, which has a value range of 1.0 to 9.0 for 1-9 saws. the mod matrix has an amount range of -64 to +63. example: if i set the hypersaw density to 2.0 and want to use the mod matrix to modulate it to a maximum of 5.0, what should i set it's amount to within the mod matrix?


    also, if i want to do the same thing except to modulate the oscillator's detune - how does the mod matrix amount correspond to that? the detune parameter has a range of 0 to 127. do the mod matrix's negative amounts represent 0-64, the middle stationary position represents whatever you have it set to, and the mod matrix's positive amounts represent 65-127?

    thanks for the reply! those are good tips. i couldn't get the harmonics down really but i was able to get nice movement out of it by following your reply. i tried modulating pwm on a square wave but eventually settled on hypersaw. i tried transposing one oscillator to a couple different chords but eventually settled on the +7 semitones like you mentioned, seemed to sound the best. i wasn't able to get the vowel filter to compliment the sound but setting the filters to parallel and modulating a bandreject with one and bandstop with the other gave it nice sounding movement.


    alternatively, setting one LFO to envelope mode and letting it modulate the opening of a LPF as one of the filters got it fairly close to that sweepying sound the original has. i spent the night trying all sorts of variations of your recommendation with a few different waveforms, fx, etc, and got some really nice atmospheric pads. so you really helped open up a new way of approaching pads, the type i've been trying to make for awhile, thank you!

    Thanks for the reply, I'd already gone through all the OEM PDF's and tried Googling for the answer. I should narrow it down, there are some sources I don't understand and put in red text below with my best attempt at random guessing. The destinations are all self-explanatory for me except for the "filterbank" ones which I also typed in red below. I typed all the source explanations in case anyone can benefit from it because only a few of them are listed in the PDF.


    Can anyone help me understand the ones I typed in red text below?


    SOURCES:
    Pitch Bend
    – Self-explanatory, this is to map a setting to the pitch bend wheel on a MIDI controller.
    Chan Pressure – Also known as “Aftertouch” which is similar to velocity. Velocity is the how hard you initially press the key and aftertouch is the amount of pressure applied to the key after the initial velocity.
    Mod Wheel – Self-explanatory, this is to map a setting to a mod wheel on a MIDI controller. You can alternatively map the mod wheel to one of the 3 assignable soft knobs.
    Breath – This maps a setting to a breath controller as a source, if you own one.
    Controller 3 – This is an assignable controller that uses MIDI CC channel 3.
    Foot Pedal – This is for a foot pedal, I’m not entirely sure on the difference between a foot pedal controller and an expression pedal but I think foot pedal controllers offer a lot of versatility/options whereas an expression pedal is like a piano foot pedal.
    Data Entry – I don’t know what this is.
    Balance – I don’t know what this is – oscillator balance, filter balance, etc?
    Controller 9 - This is an assignable controller that uses MIDI CC channel 9.
    Expression – This is for use by an expression pedal if you have one, I’m not entirely sure on the difference between an expression pedal and a foot pedal controller. I think that expression pedals are conceptually similar to a piano foot pedal.
    Controller 12 - This is an assignable controller that uses MIDI CC channel 12.
    Controller 13 - This is an assignable controller that uses MIDI CC channel 13.
    Controller 14 - This is an assignable controller that uses MIDI CC channel 14.
    Controller 15 - This is an assignable controller that uses MIDI CC channel 15.
    Controller 16 - This is an assignable controller that uses MIDI CC channel 16.
    Hold Pedal – Also known as a “sustain pedal”, I’m not sure what this is for but it’s one of the MIDI pedals that’s conceptually similar to piano foot pedals.
    Portamento Sw – This is short for “portamento switch” and I think this parameter is used to toggle portamento on/off from a MIDI controller.
    Sost Pedal – This is short for “sostenuto pedal.” If you press down this pedal and hold notes on the keyboard, then those keyboard notes will remain sustained even after the keys are no longer being pressed down. The keys will be released from sustain when the sostenuto pedal is no longer held down.
    Amp Envelope – This is similar in concept to using LFO’s, the modulation follows the ADSR curve of the amp envelope.
    Filter Envelope - This is similar in concept to using LFO’s, the modulation follows the ADSR curve of the filter envelope (located to the left of the amp envelope).
    Envelope 3 - This is similar in concept to using LFO’s, the modulation follows the ADSR curve of envelope 3.
    Envelope 4 - This is similar in concept to using LFO’s, the modulation follows the ADSR curve of envelope 4.
    LFO Unipolar – This is what you’re probably the most used to, this type of modulation moves the entire LFO wave up or down depending on how you have it set so the entire LFO wave changes if you increase/decrease modulation.
    LFO Bipolar – This type of modulation leaves the negative (bottom) part of the LFO wave in place and only moves the positive (top) part of the LFO wave so only the top half of the LFO wave changes if you increase/decrease modulation.
    Velocity On –
    I think that this causes the key’s velocity to control the positive or negative value change of the destination, the harder you press the key on the MIDI controller the more the destination’s value is applied?
    Velocity Off – I think that this source causes the note’s release velocity to control the positive or negative value change of the destination.

    Key Follow –
    I think that this source causes the destination to change its value as you play up or down the keys of a keyboard in the same manner that key follow would change the note’s pitch except instead of just changing the note’s pitch, when you use the mod matrix feature it will treat the destination like it would normally treat the pitch.
    Random –
    This source option just applies a completely random pattern to whatever you assign its destinations to be.
    Arp Input – I think that this source allows the pattern of the arpeggio to control the values of its destinations. The more velocity that’s applied to each arp note (the vertical bars), the more modulation is applied to the mod matrix destination?
    AnaKey1 & 2 – This is short for “Analog Key” and there are 2 different unique AnaKey sources (1 & 2). This source tries to emulate the eccentricities of analog gear (drift/wavering parameters) that add to the signature analog sound. You can use a small amount to make it subtle or a large amount to make it emulate pattern anomalies like those found in a 30 year old uncalibrated analog synth.

    AnaKey Fine –
    The AnaKey1 and AnaKey2 Fine sources are best used with destinations that affect pitch on certain keys. These destinations would include a filter cutoff with high resonance, if used on other destinations then the change might be so subtle that it isn’t noticeable, if you are unable to notice a difference then you should try AnaKey Course instead.
    AnaKey Course –
    The AnaKey1 and AnaKey2 Course sources cause a more extreme “Analog Key” effect on the destination than AnaKey Fine does. This source is best suited for anything that isn’t pitch-related.
    Constant Offsets (1% constant & 10% constant) –
    MIDI only allows for a resolution of 128 values per each parameter (the reason why the mod matrix destination parameter goes from -64 to +64) but the Virus is 24-bit and capable of 16 million values per parameter. So this option lets you fine-tune the parameter’s values. The first option is 1% constant which may not be noticeable in most circumstances but might be good for destinations such as pitch and the filter cutoff (if the filter cutoff has a very high resonance). The second option is 10% constant which would be the best choice for fine-tuning a modulation value for most destinations.


    DESTINATIONS:
    Filterbank Poles– Changes from SER 4 to SER 6 for both filters?
    Filterbank Reso– Changes resonance for Filter 1 or 2?
    Filterbank Slope– Changes slope for Envelope 1 but not Envelope 3, 4 or Amp Envelope?
    Filterbank Freq– Changes the cutoff frequency for Filter 1 or 2?

    Most of the Mod Matrix destintations and sources are self-explanatory but there are definitely some that I'm not sure what they are and would like to get a thorough understanding of them all so that I can take advantage of them since the mod matrix really is such an important aspect. Problem is, Access doesn't cover an explanation/description of the Mod Matrix sources/destinations in any of the documentation and I haven't been able to find anything like that online either.


    Does anyone know where I can find a full list of Mox Matrix source/destination descriptions?

    thanks for the replies... the stuck key/note problem is definitely tied to the error, when i use the ASIO driver and the virus as a sound card then there's no problem. when i select the ASIO option, the only option i have is the virus and focusrite. i have a focusrite sound card for non-USB synths but i won't get into that cuz that setup is unrelated, this laptop/virus snow setup is for mobiity, when dragging around a bunch of other stuff isn't an option. my onboard soundcard has been great for music production with softsynths so far, but i realize the sound card doesn't really have much importance when it comes to using softsynths, it's my quad-core and lots of ram that is important. so i understand that softsynths versus the virus is apples and oranges.


    so is the onboard soundcard and using the virus as just a usb line-in device is a no-go or is there an ASIO driver that allows me to use my onboard sound card? i just really don't want to use the virus as my laptop's sound card, that setup causes some really inconvenient problems that i'd rather not have to get into.

    also sometimes in ableton, the virus snow keeps making sounds as if there were a stuck key. i'm using ableton as the midi controller (just my laptop keyboard) and don't have this problem with any vst's so it's definitely not a physical stuck key. i have to delete the virus' vst instance from the MIDI channel and re-add it to make it stop.


    i'm on OS v5.0.4.02 (64-bit) with a 32-bit VST because i'm running Ableton 9 (32-bit) on Windows 7 (64-bit). so i'm running all 32-bit apps in a 64-bit environment, all my VST's were 32-bit so i didn't want to jump to 64-bit Ableton 9.

    i just bought a virus ti snow the other day and i want to keep using my computer's onboard sound card, not the virus snow's sound card. so i have the virus snow hooked up via usb and in ableton i have the audio driver set to my onboard sound card instead of ASIO (ASIO only offers the virus snow's sound card as an option). then i set ableton's "audio input device" to "line-in (virus ti audio 2.9.49) dx" (there is a "dx" and "wave" option for the virus). i set the "input buffer size" down to 256 samples, as low as it goes. whenever i set the audio driver type to ASIO and do use the virus snow as the soundcard, there is no error and the "input buffer size" and "input config" are different - due to using a different driver.


    the virus snow's USB Audio Mode is set to "3 outs / 1 input mode" since i don't want to use it as a sound card, might as well take advantage of the additional output channel. i just want to use the virus as a USB line-in device and use my laptop speakers so i don't have to deal with analog cables, etc.


    i'm not sure why i'm getting this message even though the input buffer size is set to 256 samples, well under 512 samples.