Posts by flabberbob

    I'd say 2 possibilities here:
    1. Hypersaw -> lowpass filter with some resonance closing a little on a short filter env decay -> distortion.
    2. FMed sine where FM amount starts very high and sharply decays to medium low -> distortion.
    The difficult part is the burst of noise on attack. 3 options:
    1. Pass thrugh a distortion with low drive and high tone.
    2. Add a burst of white noise controlled by an env-mode LFO, but don't pass it through the filter - possible in filter split mode when you silence osc2 and let filter 2 pass all freq
    3. Make a separate patch of this attack sound and play both at the same time

    I find that brass/wind instruments tend to drift slightly higher in pitch when played louder (maybe due to the higher air pressure), This can be modulated straight from the controller, or just by modulation of the amount of a unipolar LFO to pitch.
    Another way to control brightness apart from the filter is to subtly add another oscillator that adds a few higher pitched harmonics to the sound.
    Accent the attack even further with a short distortion, FM or a burst of white noise (or a combination of the above).
    Hope this helps.

    This is actually an organ-like sound that has been given a piano-like amp envelope (or somewhere between a piano and a pluck). You can create an organ sound by combining sine waves from the harmonic series, and/or using some of the waveforms from the wave table.
    There is also some subtle pitch and amplitude modulation to this sound.
    Hope this helps.

    If you are referring to those rhythmic pulses (not the bass or other sounds), they are low notes of probably sawtooth (although all the other sounds seem to be composed purely of square waves - sounds like an intentional choice of the artist), that are filtered through a lowpass or bandpass filter with some resonance, which has its cutoff frequency modulated from high to low very quickly (use the filter envelope or LFO in envelope mode) and then passed through distortion.

    Hope this helps.

    If I was going to do it, I probably would try the folowing:
    - Oscillator 2 only, sawtooth waveform
    - FM modulation on osc2, with noise source
    - Lowpass or bandpass filter (or some combination of both), controlled by the filter envelope, to create the "talking" effect.
    - Distortion.

    Hope this helps.

    Well, I actually tested it so that I am not just talking from memory.

    Option 1:
    On the LFO effect page 2/3 set both Mod Rate = 0 and Mod Depth = 0. Set stages and spread to suit your taste. Set phaser freq. to middle position. Go to LFO1 (or LFO2) and go to its assignable slot and set it to phaser frequency (alternatively you can use the LFO as a source in the modulation matrix). Set the assign amount to your taste, and start playing with the LFO shape and timing.

    Option 2:
    Use other destinations instead of phaser frequency: (a) filter 1 (and/or 2) frequency when they are set to BS (band stop = notch) (b) EQ mid frequency

    16/1 means 16 beats and the timing depends on your tempo. 32 BPM should give you 30 sec, while you can shorten the original notes to play at the original speed.

    Maybe phasers are not that popular anymore?

    It depends on what you want to do exactly.
    In the init patch, osc1 and osc2 are free running independently.
    If you change osc2 init phase from 0 (off) to any other number they will start at a fixed phase difference but will continue to run freely and with the analog modeled behavior, will not hold that phase difference for long. If you sync osc2 to osc1, osc2 will stop running freely and adhere to the cycles of osc1, so that the phase difference is kept.
    Also check if osc init phase is a destination, the Virus is not in front of me right now.
    Hope this helps.

    CC#11 should make the part silent without changing the part mute setting. If you are interested in the part mute itself it can probably be controlled by sysEx to the multi parameter bank. There should be a little bit of info about it in the Virus C manual, or try capturing the sysEx messages that are sent when you toggle it (without VC connected). Come to think of it, I never tried to see if right clicking "M" (or "mute" for snow) offers to add this button to the automation list.
    Hope this helps.

    The heavily detuned character can be achieved with hypersaw oscillators (when you increase the attack time it stops being a trance sound ;) ) or classic pulse with modulated width, and also by applying chorus and phaser. The oscillators don't play the same note, probably 7 semitones apart (fifths), but I didn't check. On top of that, there is a slight "wah" effect that can be achieved with a modulated vowel filter mixed with the original signal (another option - a parallel filter routing with one allpass and one cutoff modulated bandpass).
    Hope this helps.

    The "live" button controls the size of the buffer between the Virus and the VC plugin. This buffer is needed becuse USB has a tendency to jitter while it streams. Since adding a buffer delayes the returning audio, you might hear an audible time difference between when you play a note live and when you hear its sound (when playing back recorded MIDI this delay can be compensated by the DAW). Live mode solves this by reducing the buffer size and thus shortening the dely but making the audio more susceptible to USB jitter. There are other ways to get the correct timing when recording/playing live without the live mode, such as monitoring from the analog outs instead of USB.
    Having said all that, you might still benefit from checking if another USB device (internal or external) takes USB bandwidth from the Virus. Open your system profiler and see which USB devices share the same "branch" as the Virus and how that changes when you connect the Virus to different USB ports.
    Hope this helps (re. this and your other post).

    Among other things, the C in comparison with the TI is missing:
    - Advanced oscillator types
    - Analog modelling filter
    - A few more modulation routes
    - Effects such as filterbank and character
    - Dedicated delay/reverb for each part.
    - Dynamic resource alloction, meaning the C has always an upper limit of a few dosens of voices.

    Regarding the sound, the Ti uses the same algorithms for all the features ported from the C. The only difference is the D/A converters which have a flatter frequency response (or the total lack thereof when you use a USB connection). You can use EQ and the character effects to give the TI sound a more analog color if you want to.

    Hope this helps.

    The phaser has its own free-running LFO which you can control. As a replacement you can use a notch filter (or both if you can) and/or the mid EQ with narrow Q and/or the comb filter and control their frequency with a clocked LFO.
    Hope this helps.

    If you are talking about note aftertouch (or poly-pressure) then the Virus doesn't support those (not as defined in the MIDI standard anyway). If you want to have separate notes of same patch behave differently you can use the modulation matrix with the random source or make sure your LFO-s are not in mono mode.
    Hope this helps.