Beiträge von ozon

First wild guess: The pad not only sends the note off of the last note but also sends other events on the same channel as the Virus is listening to...

Maybe All Sounds Off? CC7 (Volume) or CC11 (Expression) with value 0?

Use Virus Control to make a backup of both Virus. You want that in case anything goes wrong or ends up to work not as expected.

Then transfer your backup to the other Mac and restore it to the other Virus.

Please provide a bit more information about the version of TIOS that was on your Virus, the version you upgraded to, and the version of computer OS you're using.

PS: What hardware test mode?

Still growlin'. But there's a couple of great sound sets available to get you started in the right direction. However, I found this threat just a couple of months ago and it helped me tremendously to learn the growling basics. Also worth to check out the other threads where Chewie shares his wisdom.

OK, now I know what you are talking about: The notes are not played properly in time.

Zitat von Felix311

But the real problem is it : even without TI (no usb, just midi cables) I still have latency when playing my Virus.

Do you have any other hardware synths which you could use to check whether the problem is related to your soundcard or FL Studio? Do you have another DAW to check whether it doesn't happen there?

Zitat von Felix311

I just recorded it, to give you an example : http://picosong.com/vxPN/

Are the notes directly from your DAW or the Virus Arpeggiator?

Zitat von Felix311

Here is how simple chord sounds with only Virus linked with midi :http://picosong.com/vx6L/

So we can hear that there is clearly a sync issue...

Sounds fine to me... but I don't know what to listen for.
Maybe your problem with the chords is related to this thread:

Unison strumming why??? Help please!!! (edit: previously thought to be Hypersaw)

Confirmed. Maschine 2.6.7, macOS Sierra 10.12.6.

When loading the Virus TI (VST), Maschine loads the Virus Snow plugin instead.

Zitat von GESchwalm

Did you do a comparison check with the other modes?

Yes, I did compare them. These mode all work differently, and once you understand what they do, it becomes more clear why they don't sound identical in the neutral setting. Thus, I highly recommend reading the chapter about the Grain Table Synthesis from the Addendum. Here's an excerpt:

Zitat von Access Virus Addendum

Grain Table Synthesis

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 for-
mats. 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 dif-
ferent 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.

[...]

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 ef-
fect 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.

In contrast to the Simple version, the fundamental frequency is shifted along with the rest of the wave, result-
ing 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 alli-
ance 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

Alles anzeigen

Seems like normal operation to me: In the initial position of all controls, Grain Complex doesn't do any changes to the wave and therefore sounds identical to the plain Wavetable oscillator. Grain Complex is similar to the Bend modes in NI Massive.

BTW, two tricks I tried and which seem to work quite well:

1. Using a Random glide (S&G) LFO with a rate between 90 and 120 on the wave select index of a wavetable oscillator yields a result which sounds a bit like a grain cloud. (ex. sound "PD Air 18")

2. Using a classic wave LFO with a medium high rate on the wave select index of a wavetable oscillator yields a much rougher sound... as if the wave catched a cold (ex. sound "PD Air 19")

Every now and then, I fear we still have only scratched the surface of what sounds the Virus can achieve.

Would be interesting to know what the ingredients of the sound are. I heard a couple more examples on Youtube and it did sound a bit different in every one.

Anyway, I did some more experimenting and came up with 4 more presets. Didn't try to copy the sound exactly but instead to capture the vibe of those typical airy, glassy pad sounds. Especially 17 and 18 scream "D50 / Wavestation", IMO.

Enjoy.

It's pretty hard to do without hearing the sound all by itself played as a single note.

Just for fun, and a little exercise in sound design, I did a couple of pads that are somewhat in that direction. However, I wasn't able to achieve the same "hollowness" and "breath". Mostly it's a detuned Hypersaw with Sub (Hypersquare) plus a wavetable with a bell like sound, some noise and lots of reverb.

Maybe these presets can get you started in the right direction.

Have fun, and let me know how it works out.

Edit: New version of presets.

PS: Listening to this https://www.youtube.com/watch?v=QvyPiUEabvw# (which I should have done before I started...) would indicate that the pure Afterthought sound is actually only a bell and should be rather well to achieve using one of the the "Sundial" wave tables.

Most probably you only need to change the Mono Mode from 3 or 4 to 1 or 2.

Check the manual under Oscillators > Common > Key Mode. There's a table explaining the differences of the four mono modes.

I currently work with a Desktop and a Darkstar (Polar) and can affirm that they are identical except for the keyboard, pitch wheel, controller wheel and the configuration menus for those elements.

Actually, I prepare Multis on the Darkstar and then transfer them to the Desktop. All the settings for parts (channel, key zones, etc) are available on both machines.

However, I had the Desktop first and heavily missed the capability to use it without anything else hooked up. Thus, I'd rather have a keyboard version if I only could have one.

cool! thanks for sharing.

Set up a MIDI track in your DAW to receive input from your controller keyboard, and send out data to the Virus.
How that's done is very much depending on your DAW.

You can use it just like it was a VST. Just configure your track that you'd send to a MIDI channel of Virus Control to receive MIDI input from your Virus via USB.

If you want to record the sound of your Virus by playing it live, then you don't need any extra cables.
If you want your sequencer (or any other controller) to trigger notes on your Virus, you need MIDI cables from your sequencer/controller to your Virus.
If you want your DAW to play notes on your Virus, you should also be able to use a USB cable to send MIDI notes to your Virus.

Export as Type 0, and make sure you use the file extension ".mid" (not ".midi" as proposed by Cubase).

That worked for me.

Virus Control plugin:

FX 1 > Input > Input Menu

On the hardware it should be in the Common section:

Common > Inputs > Input Select