Beiträge von ozon

    Quite often, I'd like to assign the a parameter of the Filter Bank or the Distortion effect to a Soft Knob just to find out it's not possible.


    Please make all modulation destinations also available as destinations for the Soft Knobs.

    Sometimes, it would be nice to have a 100% constant as Matrix source in combination with the assignable Soft Knobs to destinations set to Assign 3 Amounts.


    This source value would be especially useful to fully access those parameters which are not directly available as control destinations for Soft Knobs.

    New examples of Render in Place failing for the Virus TI, this time with the arpeggiator going out of sequence and being out of tempo.


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    Quite the list for being a "guitarist, mainly" :thumbup:

    look up Matt Jessup, he created excellent Vox Humana patches


    Thanks for the hint. Here's a nice teaser video:


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    However, although Matt did a set of GN sounds for the Ultranova recently, it seems that the Virus TI patches can't be downloaded anywhere.
    If you know how to get them, please share your knowledge.


    Thanks!

    Use a tool like SysEx Librarian to load the SysEx file and send it to your Virus.
    On the Virus, you have to select the type of patch information that is accepted and the destination bank.


    Here is the relevant section from the Virus TI Reference, p 126-127


    Congratulations on getting a Polar!


    Not a DAW, but a AU Host that works very well is Mainstage. I use that all the time, when designing sounds outside of a Cubase project.
    I guess GarageBand should work as well, but proper MIDI setup could be limited.

    My Virus TI2 is STILL not usable in live situations - not even as a MIDI keyboard for external sound sources - because it STILL has the same silly software bugs (random pitch bend data being sent even when not touching the keyboard, and pitch bend range often incorrect until switching machine off and back on)


    Yet, a couple of well known world touring acts are using it in their live rigs...


    IMO, the keybed of your TI needs servicing. Sounds like dirty contacts to me. Google that issue. It's common on all keyboards.



    That said, I was a bit annoyed about the hiccup in the release notes as well. Very little info duplicated a million times.

    Do this has with complexity of some sounds?


    Yes. And naturally, polyphony is impacted by the Unison setting, the release time of the notes and how many notes are played at the same time. Here's some additional info on how voices are eaten up by long release tails and unison:
    TI Desktop losing voices


    This thread offers some great tips on how to get more polyphony:
    Tips for getting more voices out of your Virus Ti (or Ti2)

    I did the following and now VCC can connect to the Virus again:
    - Downloading the "Virus TI Software Suite 5.1.7.00" (again, today)
    - Run the "Uninstall Virus TI Software Suite" (previously installed in /Applications/Access Music/Virus TI/)
    - Run the new "Virus TI Software Suite 5.1.7.00" installer
    - Restart Mac
    - Start VCC --> connects to Virus


    Mac OS X 10.12.6

    Cool! Thanks for sharing back. Nice use of the LFO as envelope and different approach by changing the pitch instead of the resonant filter.


    BTW, to change the amount of "squelch" on my patches using the hardware:
    - select FILT 2
    - change ENV AMOUNT


    :)

    Lately I started to "print" the finished synth tracks for several songs to audio, so we can keep working on the songs without the need of a Virus TI being available in every home studio. For exactly this purpose, Cubase offers a very nice function called "Render in Place" (AFAIK since verions 8). It does as it's name suggests: Internally render a MIDI track to audio and optionally mute or even replace the MIDI track.


    Although this is a great feature, and is a huge time saver and no brainer to use with software synth-plugins, there are some issues with Virus Control which make the whole process quite tiresome. Normally, you'd ne able to start Render in Place for 10 tracks of a 4 minute song and get a perfectly finished result in about 40 minutes. In the mean time you could walk away and do something else. With Virus Control, it took me an average of 4 hours (!) for the same task, doing renderings over and over again, because something went wrong at random.

    • Pretty often, a whole sequence, or just the beginning notes of a sequence (!) would be rendered too early by as much as a 1/32 note (@130 - 160 bpm). It happens about 4 out of 5 times for every but the first part, when Render in Place is called in mode "As Separate Events". Sometimes this happens even in the middle of a track after a good part of the song is rendered correctly. What I found to help sometimes is to change the MIDI parts to start 2 bars before the first note. However, it still happens then that the whole rendered sequence is playing too early.
    • Some percussive sounds always start 5-8 samples early. This is within an acceptable musical tolerance, but it is odd and requires the resulting audio tracks to be always sliced before the beat to avoid clicks. My observation is that this is the case especially for more complex sounds using FM, the fold distortion modes or recursive Envelope modulation.
    • Sometimes, clock synchronized LFOs are completely off. Either the musical time seems to be in "slow motion" or "frozen". In "slow motion", the LFO runs apparently smoothly but much slower than it should. If "frozen", the LFO is stuck to a certain position, and can then either go back to smooth or even do a sudden change to a different value, making it sound as if it was set to S&H instead of sine or triangle. In the examples there's an LFO for the patch going from "slow motion" to "frozen" and back to "slow motion".


    All in all that means, that I have to compare the position of every note of a rendered sequence with it's original position in the MIDI part, and that I have to listen to all rendered parts to check for LFO issues. Which is far from what I would expect from Total Integration.


    Here are some examples for the LFO issue. I'll post more if I find something which is clearly audible without having a other reference tracks.


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    After I finally discovered I had to turn on the arp (I was wondering why the keyboard was transposed so high)


    Yeah, sorry, I forgot that the sound has an odd transposition if the ARP is used as step sequencer and switched off.
    I uploaded a new version of the patch library, two patches with ARP and two without.



    my mind is blown. :D Good job on the patch and this use of the arp was an eye opener for me!


    You're welcome :)
    I always try to learn more about synthesis by doing recreations of sounds.



    Do you have a cheatsheet on how the velocity values in the arp map to notes (given arp input->transposition is at +64 like in your example)? Thank you very much, highly appreciate this!


    If in the Matrix the ARP Input is routed to Transpose with a value of +64, then each velocity value in the ARP corresponds to a MIDI note pitch. The velocity value of 64 of the ARP velocity corresponds to "no transposition" and plays that note that is held on the keyboard. The value 52 (64-12) yields an octave below, 76 an octave above (64+12). That way, you can use the Virus ARP as step sequencer for melodic sequences.


    However, there are a couple of caveats, one being that if you switch off the ARP, the sound will often be transposed by to and odd pitch because of the Matrix still doing a transposition even though there is no ARP input anymore. The other is that the pitch and velocity are hard hard wired. Also, the 32 steps are quite limiting for faster lines. That Atron lead melody would need 128 steps for the full melody.

    Sound like a sawtooth with filter to me.
    Did some experiments, see attached patch file.


    PS:

    • IMO, the second patch which doesn't have any detune set for OSC 2 is closer to the sound in the example song
    • The ARP is set up so you can preview to sound with a part of the the Atron lead line, just activate the ARP and hold a F# in the middle octave.
    • Aftertouch and Mod Wheel control the detune of OSC 2 which allows you to modulate the sound like in the example song

    Enjoy, and let me know what you think! :)

    Recently, I ran into a situation on my TI2 where adding a third sound (all of them mono, 2 to 4 bars on the meter) playing the same 16th note movement started to distort one of the sounds. The sound in question was a FM based "sequence ticker" patch with very fast Amp and Filter envelopes. It wasn't that the Virus ran out of voices or had problems with timing, but it started to "squash" or "smear" this particular sound, totally losing the definition and focus.


    I guess there were simply too many calculations to be executed at the exact same moment.