Posts by oliAtBass

    I'm mainly using Cubase and only rearly do something with Logic.

    What I can say from my own experience:

    • Good USB hubs with MTT help. I got myself two Exsys EX-1188-HMS USB 3.0 industry grade hubs to connect all my music gear. Very few USB releated problems with these. Most likely you should als be fine with the Elektron Overhub.
    • Ever sInce upgrading to MacOS Mojave (10.14.6), the Virus TI runs much more stable compared to Sierra / High Sierra, but I guess your iMac is not suppoerted anymore by newer OS.
    • Random bursts of noise which require the Virus to be restarted are most probably related to one or both of the DSP crashing, which could indicated a hardware problem
    • The arpeggiator was not designed to be used from within a DAW (Arp as Step Sequencer Glitch?), and often gets out of sync, also with other setups. I gave up on using it in the context of a DAW.

    Maybe some of that helps.

    As optimistic as I am I decided to give the Beta a try to see what changed regarding the Virus TI. Unfortunately I am sad to inform you guys that on MacOS Big Sur Beta, The Virus TI software now completely ceased working. The installer can only run by turning off System Integrity and while it does install the VST, VST3 and AU plugins, only AU is actually recognized by plugin validation. I’ve tried this in Studio One and Logic Pro and both just crash while trying to open the plugin. The VST and VST3 version don’t even make it to the validation process.

    And that could be the reason why we still haven't heard anything from Access: Imagine they fix it for Catalina and it breaks again for Big Sur...

    Not happy with the idea of a half baked substitite, I still hope for a real TI solution.

    If there is an Input signal this patch sounds quite normal "vocodish" on both stereo channels with normal volume and no recognizable difference between channels.

    With inputs plugged but no signal (played over MIDI (USB as well as MIDI IN)) I got a significant louder signal only on one Stereo channel.
    Im not sure about this… is that normal and only sounds weird missing any input Signal or does my machine behave wrong ?

    I only tried with Input via USB (using the Virus Control Plugin), but it generally behaves the same.

    Sounds normal and behaves as Vocoder when input signal is available (side chain input for VC plugin enabled) and has about 20 dB louder output on right channel only if not input signal is available (side chain input for VC plugin disabled).

    Behaviour, seems hard to understand to be normal.

    Did some further experiments, also with Cubase's Distroyer plugin, and I am very sure that the source of the artefacts ist not OTT (although it does some weird stuff and seems to add distortion in the upper frequency range) but the bit resolution of the Virus. It's rather easy to expose those artefacts, and you can clearly see the bit resolution show up in an oscilloscope during a long decay when boosting the oscilloscope's zoom factor.

    In the end, the Virus is an early 2000's digital hardware synth design running on roughly 20 year old DSPs. Its computing power is probably only a tiny fraction of a modern computer and is bound to produce audio artefacts. Which will become audible if boosted with extreme gain (40 - 60 dB). By applying OTT (or similar plugins) you are listening to the sound as if looking through a magnifying glass -- you hear hidden details, also unwanted ones.

    OTOH, I was not able to produce anything similar from Massive, except when applying Bitcrush in its Insert effects. Then it sounded remarkably similar to the Virus.

    IMO, it's simply the limitation of the Virus sound engine. Would be interesting to see if other VA synths behave similarly.

    I have a feeling that you assume I want to make the virus seem a bad synth

    No. But by not providing the information we ask, you seem not to be willing to help us to help you.

    and to answer your non-relevant question: i like the reverb on the virus and it wasn't cheap and doesn't eat my CPU :D

    The question is very relevant, and if you had invested a little bit of energy, you would have found the solution right after trying my suggestion.

    Anyway, I just tried this on my Virus TI in Cubase:

    1. OTT on the Virus TI audio in with default settings
    2. Play a sound with two sine waves two octaves apart (= no other overtones) with a very long release.
      Result: No audible artefacts at all (at least not at my normal listening levels)
    3. Play a short percussive sound two square waves two octaves apart (loads of overtones) with a short release BUT into the Reverb (Large Room, -2.75dB, Decay 103)
      Result: Lots of noisy artefacts in the reverb tail, exactly as you recorded.

    So what's your professional conclusion?

    Please let us know which Factory preset, so we can repeat the test on our own systems.

    I assume this is normal, since you're adding probably over 40 dB of gain and start to hear the quantisation errors of the very low volume signal in the release tail. You can do a similar test and record your Virus at a very very low volume, and then boost the audio in your DAW. You will hear and see a very degraded signal with lots of quantisation artefacts.

    I am pretty sure you can get the same result with any synth or pluging if your release tail is long enough and with very low volume.

    Oli, how about you control distortion mix using the internal virus controllers? I managed to get it working - provided I understood your issue correctly...

    Hey Psylence, good to see you!

    That's a good workaround as well, but there is one major drawback:

    The "Controller" destinations match actual MIDI Controllers (MIDI Controller Events) and in contrast to the "real" Soft Knob destinations, there is no initial value saved so the patch always is loaded with value 0 for e.g. Distortion Mix.

    Thats great but , my question was regarding the use of ‘constant’ and what you would apply it on and why

    That's what I tried to explain in my answer.

    - some destinations are not available for Soft Knobs

    - those destinations are available for the MOD Matrix

    - the MOD Matrix slots are available as destinations for Soft Knobs

    - a (100%) constant can be used as source for the MOD Matrix

    --> in this way the MOD Matrix can be used to redirect Soft Knobs to all available destinations

    An example:

    Assume you want to control the Distortion Mix during a performance. Unfortunately, the Type/Mix Knob is hard wired to Distortion Type and there's no way to change that. Now you go for the Soft Knobs, there you can assign any parameter, right? Wrong. Some are missing. And Distortion Mix is one of those missing parameters. However, oddly enough, the destination Distortion Mix is available in the MOD Matrix. So how to set that up.

    - Go to MOD Matrix

    - Set Slot 4 Assigment 1 to Distortion Mix

    - Go to Common / Soft Knobs

    - Set Destination 1 to Assign 4 Amount 1

    - Go to the Distortion (set up a healthy distortion you can really hear well)

    - Set Distortion Mix to 50%

    But now, there's still nothing happening with the Distortion Mix, because we only set up an attenuator but the actual control signal is missing in the MOD Matrix. However, since the MOD Slot Input is by default set to Mod Wheel, you can control the Distortion Mix with the Mod Wheel.

    Now try the following:

    - Go to MOD Matrix

    - Set Slot 4 Input to 10% Constant

    Now, the Distortion Mix is controlled by the Soft Knob 1, but only for 10% of its range. But we may want to have the full range available.

    So here's where any of the above 100% tricks comes into play. Let's apply the ARP trick.

    - Got to the MOD Matrix

    - Set Slot 4 Input to Arp Input

    - Go to the ARP

    - Set Mode to Up (or anything but Off)

    - Change first Step to full height (127)

    - Set Mode to Off

    This should allow us to control the whole rage of the Distortion Mix via Soft Knob 1.

    Hope this explains it better.

    My question is, is the article in synthmorph wrong about the chips inside the ti2, or did access just put 2 older Dsp chips in to my ti2 desk top?

    IMHO, although that Synthmorph article is very interesting and seems well researched, it seems to be wrong about some DSP models.

    Looking at the specs of the DSP 56367 shows that it was available in a 100MIPS and 150MIPS version, which would comply with Access stating that the TI2 had roughly 30% more processing power than the TI.

    Also, the 56321 seems to have a completely different feature set, which IMHO would make it unlikely to use the same firmware for the TI and TI2.

    see this discussion on