thx. I'll play around with what you suggested.
Posts by maddragon
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is there a way to set the default value for the patch’s soft knobs? just imagine having controller 14 as the source in the mod matrix modulating fm amount for example. also imagine soft knob 1 set to controller 14. now you just want to have the patch’s default sound somewhere in the middle between that warm analogue and that sharp fm sound, but you don’t want to loose the option to go to either end. or sometimes I have to turn the soft knob all the way up before it catches the value (which is oddly the opposite than the actual current value) and then suddenly jumps while turning down from the actual to the new value.
I could deal with both problems by defining a default value for the soft knobs which is activated once I change patches. Is there something like that?
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I'd like to know more detail waty using 'Audio Midi Setup' to get this over. I can't see any MIDI patch configuration.you can drag connections from the listed devices by clicking and dragging from the grey-boxed arrow that symbolize the virtual midi in/outs.
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If you don't want to bypass the computer by physically connecting the MIDI controller with the synth, you must use some kind of SW to make the connection between the MIDI in port and the MIDI out port, inside the computer. It doesn't have to be as heavy as Logic, it can be something as simple as MidiPipe.
if you are using OS X you can use OS X’s native ‘Audio Midi Setup’ app for that.
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you cannot sidechain the individual parts of the multitimbral instrument. think of it like 16 different midi channels sending notes and cc changes to the virus. the virus generates sound out of that and sends the audio back to logic as a single stereo feed.
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it depends on your DAW’s configuration whether it'll send midi to all available midi ports or just a single midi port.
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too bad that the hardware controller is just a product ad mockup
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also would like to see paraphonic modulation of monophonic destination parameters (such as fx) by the envelopes (at least 3 and 4).
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have you checked musician’s friend? they have the ti2 desktop for 2240 and both the polar and keyboard for 2990.
* musiciansfriend.com virus t2 desktop
* musiciansfriend.com virus ti2 keyboard
* musiciansfriend.com virus ti2 polar -
It's because no connection is made (even though there appears to be one in the mod matrix).
I assume that this is a technically hardcoded limitation. and that it won’t work with a monophonic patch either.
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You cannot use a polyphonic source (envelopes are per voice) to modulate a monophonic parameter (all of the effects are monophonic (applied to every voice for that part). The envelopes still cannot be used even if the synth is in mono mode. Instead of using an envelope try one of the LFO's in envelope mode instead.
thinking more about this, I wonder why this does not yield in any audible change. should, in his case, the envelope not result in a paraphonic modulation of the monophonic destination parameter, or at least some odd modulation result (like erratically jumping values)
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dang, that does make sense. thx. now I just have to free up an LFO somehow (there can never be enough LFOs ^^).
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Yesterday I wanted to run distortion mix thru envelope3 to have the distortion kick in after the attack of the sound has already hit. I failed miserably. what I did:
* set mod matrix slot 5 source to envelope 3, amount to 0, destination to distortion mix.
* set mod matrix slot 6 source to controller 14, amount to +63, destination to slot 5 amount 1
* set soft knob 3 to controller 14.
* distortion is set to some badass onion distortion, intensity is around 60%, mix is set to 0%
* tried different values on attack, decay, sustain of envelope 3I just couldn’t get it to work. It was like env3 wasn’t affecting anything at all. There’s probably a stupid mistake in there somewhere. Thx for any help.
ps: yes, I did turn soft knob 3 all the way up ^^. driving distortion mix directly yields in the expected results (though without the envelope).
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basically a DI deals with impedances and converts an asymmetrical to a symmetrical (noise-canceling) signal. most DI boxes also offer the option to lift the ground.
with modern op amps in the mixing consoles and preamps, you never really need a DI box, though it might be beneficial to use one for different reasons. in the case of the virus, you only need one if you are encountering ground noise problems, which you cannot eliminate otherwise.
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+1 for gate fx
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+1 for more complex envelope shapes (AHDSR, DAHDSR, ADSASRAR, ADSDSR, Loop Envelopes, …) and/or adjustable slopes
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+1 for a bug reporting / bug tracking tool
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Motorised pots would probably increase the fragility of the virus and make it more likely to break down, also more expensive to fix a break down!
I highly doubt that. Yamaha uses motorized faders on their digital consoles for a long time now. they’ve proven to be reliable and do not fail earlier than regular faders. I see no reason why it should be any different with motorized pots.
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with the filter in split mode and saturation only affecting filter 1. can this be the source of the difference? anyone tried to reproduce the effect in ser4 mode?
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Endless rotary encoders would be a better idea, motorised encoders would probably double the bill of materials cost
some people prefer pots, because it’s easier to replicate manual automation during live performances. also, it’s easier to read their current value by the position of the pots marker. just imagine what 127-piece LED rings around the rotary encoder will cost just to have the same amount of usability.
But yes, either give us motorized pots or rotary encoder with surrounding display rings showing the current value (high resolution, 9-part led ring is not going to cut it).
