Posts by Timo-Infektedorg

    Kemper (aka Access-Music) have just announced and released new products at NAMM - Kabinet and Kone - for their guitar amp modelling lineup.

    Synths have undergone a massive renaissance the last few years. Would dearly love to roadtest a new Virus. At this point, I think it would have to be a major step change given it's been 7 years since the last feature update (TI OS v5) and 11 years since the TI|2 hardware refresh was released (2009).

    Loving the Korg Wavestate preview at NAMM.

    I think with learning any craft nothing beats spending time and experimenting.

    Easiest thing to experiment and learn a lot of functionality is just to have one dry sawtooth oscillator (init patch) and then start manipulating it. I heartily recommend doing this at the same time as looking at the waveform on an oscilloscope, it effectively let's you SEE sound, and therefore what you hear is reinforced by what you see.

    You are correct in the modulation matrix being required to modulate cutoff with LFO. However the Virus' LFO 2 already has dedicated Cutoff1 and Cutoff2 destinations already set up for you to use, which is a short cut, and frees up a modulation matrix slot.

    Yep, your battery definitely needs to be replaced. It's a standard 3-volt CR2032 lithium flat disc-shaped battery, easily available from supermarkets, and easy to slot into place, no soldering required.

    Above shows my Indigo, which is effectively a Virus B desktop with a keyboard attached to the chassis, so they should be relatively similar internally.

    Disassembly of Indigo:

    Any problems, give us a shout.

    You can audibly hear two filters there, not just one, with one filter completing its 'sweep' before the other, meaning they both have different (staggered) cutoff frequencies, with resonance on both amplifying this effect.

    The Virus is great for this, you have two filters and loads of different types and routing options (Serial1/2, Split, Parallel), and furthermore you have a CutoffLink option for Filter 2, where you can stagger the cutoff frequencies and use Filter 1 as the master 'cutoff controller' in effect. Try enabling CutoffLink, and then select Filter2 Cutoff to be something like -30. This means Cutoff2 is always offset -30 whatever value Cutoff1 is. However CutoffLink only tends to apply to the Cutoff1 knob, so if you use an LFO to sweep the cutoff you would need to make sure it modulates Cutoff1 and 2 simultaneously, rather than relying on the CutoffLink.

    So experiment. Sounds like filter 1 could be a low-pass, and filter 2 could be a high-pass, mixed in series, which creates the band-pass effect but with a larger 'bandwidth' due to the staggered frequencies. Both have resonance applied to them.

    Alternatively the new X-Fade filters that were released with the last TI OS might also be jolly useful in creating the Low>BP>Hi pass mix effect.

    #Oops, I was commenting on the soundcloud audio, not the youtube vid.

    For the youtube demo, try Hi-Pass as Filter 1, Band-Reject as Filter 2, CutoffLink Enabled, -20 for Cutoff2 Offset (creates a phased effect when slaved to Cutoff1 knob), and then sweep Cutoff1 downwards (with resonance) while arpeggiating the chord.

    Timo , what do you mean by 'tempered mode' ? … i generally use Anakey for this.

    Hi, I'm referring to the PureTuning (aka micro-tuning) option. Tempered (aka equal tempered) is default, as opposed to Natural and Pure.

    However Tempered mode also adds in subtle oscillator instability by default. The pitch of any given key will sound slightly different, by around +/-5 cents, each time you hit it.

    That's because samples are fixed variables Once you've sampled something you cannot (largely) change it.

    Virtual analog synths, while they may have fixed settings, their individual free running nature, oscillator phasing and modulation will make it sound different each time.

    For example, think of Oscillator 1 being one module, and Oscillator 2 being another separate module. They're not linked (unless you use sync), and they run freely and independently of each other. Now think of each and every LFO (per voice) being separate modules, then add free-running unison, and then take each of the individual effects as completely separate independent modules. All of these modules are working independently of one another. The time variable is not fixed, unless you bring things like phase-init into play.

    Also when tempered mode is selected, the tuning of the oscillators randomly change +/-5cents too each time you hit a key.

    Why are subtle changes driving you crazy? Can you give an audio example?

    The Virus sports free running, fine tunable oscillators, free-running polyphonic unison, free running polyphonic LFOs, free-running delay lines and time-variant modulated chorus/phaser effect in stereo, stereo modulation, and a whole host of other programmed 'instabilities' put in place (via mod matrix or otherwise) to make the sounds less ordered and more organic. Natural oscillator phasing will also directly affect other audible aspects such as RingMod, etc. Even LFOs running in poly mode is enough to dramatically change things every time due to phasing, let alone anything else.

    Of course the Virus will sound different every time you play the same sequence, if you're paying detailed attention.

    You can reduce the free running modulation capabilities to an extent by asserting control over phase-inits of oscillators and LFOs, altering the polyphonic LFOs, Unison, and turning off analog tuning, and generally making everything sound more boring, but there are still things you cannot control, such as the phase cycles of chorus, phaser and delay and these will continue to modulate the sound in a free nature if you employ their usage.

    Just to add the knobs on the virus control surface are also controlled at 7bit level... i.e. values run -64->+63, 0-127 and 0-100% (in 127 steps, i.e. about 0.8%)

    flabberbob , I remember seeing somewhere about changing the smoothing algo, but cannot find it in the menus... (or is it the smooth mode in patch/common, which can be quantised?)

    Yes, SmoothMode in the Common menu is the one.

    'Off' turns off the smoothing, so you can make immediate jumps from one value to another (such as from a step-seq or MIDI) without it attempting to smooth the transition between the values.
    'On' turns on the smoothing, eliminating the zipper artefacts. It sounds and feels great, but as it involves a time element (like portamento) to blend between values, naturally it can feel slightly slow/laggy depending on the types of knob twiddling modulations that you do (such as immediate, rapid or slow).
    'Auto' attempts to analyse the knob movements you do and alters the period of the 'smoothing' accordingly. Sometimes it makes the wrong calls though when doing modulations rapidly.
    'Note' uses smoothing, but jumps when you play a new note, such as when step-sequencing.

    It's all internal, so works whatever MIDI messages you input to the Virus, the Virus deals with it itself. It doesn't affect other devices.

    Run your synth into the main mixer as usual. Duplicate a second copy of your synth output, and place it into the sidechain of all the other people's compressors. Thus, every time you hit a key, all their instruments are silenced and your synth is heard in all its glory :D

    Alternatively. Switch on Osc-Sync. Raise the Pitch on Osc2. Add a little FM Amount to taste. Then widdle away... They will hear you all right. Bhuhahaa. :evil

    Grab the sound of one, and have a look in an oscilloscope.

    You're looking at a filtered bassy sound, with a slight squelchy blip as it opens up (when the air is ramping up into the horn), so make good use of the filter EG. For the squelchy attack, try using a sinusoidal LFO in one-shot mode to modulate the filter cutoff.

    Also whack up that Analog Boost, you want stacks of bass. Add saturation and play with the distortions to achieve an overblown character, and perhaps a narrowing of the overall frequency bandwidth.

    Occasionally there are two horns, therefore two oscillators with slightly different pitches, and pointing in slightly different directions (panned).

    I think a large part of the sound would be via external processing. Namely reverb before compression, to mimic the enormity and atmosphere of the sound as it echos and dissipates in its given environment after the horn stops sounding.