Beiträge von ozon

Is the Virus used standalone or are you controlling the Virus from the VC plugin?

If the Virus is running in Sequencer Mode and is controlled from the VC plugin, the audio is on USB, except if you change it to go to different output for that Part.

BTW, if interested in a good overview of the D50 factory patches, here's a very nice compilation (8 videos)

Zitat von GESchwalm

I also discovered that keytracking the TI2 wavetable "Sniper" with a little detuned doubling was a great way for the TI2 to produce a very nice emulation of those captivating PPG choir patches.

Just watched this

And tried to find a suitable wavetable. To me, some waves of Pingox, Nasal and Voxinox sounded closer to that selected PPG wave.

Please find attached the TI2 RAM Patches. This is a backup I did of my freshly initialised and restored Virus TI2 model.

For MacOS there's a freeware app available called "MIDI Monitor". It lists all the events that occur on the selected port.

I'm sure equivalent software is available for Windows, too.

Ah this is hilarious! I just spend 2 quality hours having serious fun developing LA-ish sounds from your suggestion.

You have to check out the Hyper Chorus: It can be used to get that deep lush sound without adding unison! Mix 100%, amount between 2.0 and 3.0 and then add depth to taste (for me around 60% sounds just right). The Vintage Chorus is also nice to get that typical Roland vibe going on.

Also very nice:

• Using Wavetable PWM oscillator and adding some detune
• Using the HyperSaw OSC and Wavetable PWM OSC together to get some serious richness before even adding Chorus or Unison

BTW, I found a couple of other D50 type sounds in the ROM banks and free soundsets:

Discovering a whole new side of the Virus

Virus Control Tutorial, pages 13 - 14. This should be among the documentation installed by the VC Sowftware Installer.

And yes, using a supported DAW is crucial for proper operation of the plugin.

Zitat von GESchwalm

Is "Frequency" a parameter in the nine filter modes you listed?

It is. And as suggested by psylence, you can control it via Mod Matrix.

Zitat von psylence

Simply link filterbank frequency in the matrix to, for example, controller 12 (amount full positive +63) and assign control 12 to a soft knob. Filterbank frequency should be zero in the effects section. Then link controller 12 as a soft knob.

Thanks! This woraround is usable but less desirable:

• lose a valuable Matrix slot to control one single parameter
• the currently selected controller value is not saved with the patch or Multi
• IME using the Matrix often increases the CPU load of the patch, which is kind of silly if it does nothing but bring one parameter to the front panel

Zitat von GESchwalm

And I love that the TI2 is sophisticated enough to approximate some of the D50 patches.

Would you mind sharing them?

FYI, Roland also issued the D50 as VST plugin. I think there's a 30 day trial version available which could serve your purpose.

BTW, having craved for a D50 back in the day when it came out (but couldn't afford), I naturally also checked out all the videos about the D05. And in my opinion it fails to nail the D50 sound: It misses some of the deepness, movement and warmth. But that's probably highly subjective.

Indeed. Soft Knob can not control the Tape Delay parameters.

Same as with Filterbank parameters:
[BUG] Soft Knob destination Filterbank Frequency

It seems that the Polar plays the MIDI channel of the currently selected Part. The currently selected Part is stored with the Multi, so if you change Multis, the selected Part will change accordingly.

Say you want to play the sounds 1, 2 and 3 with the external keyboard (which sends on MIDI channel 2) and sound 4 with the Polar keyboard:

• Set Parts 01, 02, 03 to channel 2
• Set key range and transposition of Parts 1,2,3 so that they can be properly played from the external keyboard
• Set Part 04 to another channel (e.g. 4)
• Set Part 04 to full key range
• Make Part 04 the selected Part

Now your Polar's keyboard will control Part 04, while your external keyboard controls Parts 1, 2 and 3.

Does that help?

PS: I just realized that this means you could also "abuse" the Multis to be not only one set (e.g. for a song) but also to have several sets/groups within the Multi by assigning several Parts to the same channel and then switching between the selected Parts:

• Set Parts 01, 04, 05 to channel 1
• Set Parts 02, 06, 07, 08 to channel 2
• Set Parts 03, 09,10, 11, 12 to channel 3

This way you can build keyboard setups for sections of a song and access them by just selecting a different Part.

very nice indeed! please make your music also available on iTunes.

Organizing patches is really easy with the Virus Control Plugin. You create files for banks, as many as you like and where you like to have them (within the VC preset banks folder structure). Then you can drag and drop patches between banks, no matter whether these are virtual banks (i.e. bank files) or the RAM banks in your Virus.

It's really worth to read the documentation about the VC plugin. Although the visuals are pretty outdated, most of the user interface concept is still the same in the current version. Especiall regarding the whole patch managment.

Zitat von Topdog

I really love some drones, atmospheric soundscapes in Virus.

There are a couple of free sets available for download on the virus.info website. If I remember correctly, try these:

• The Unfinished Chiaroscuro Signature Set
• HGSounds Astronomy Patches
• Efrain Beccera Astral Demo Patches
• Numb - 0714 Sound Set
• Tarekith Elemental soundset

And a shameless plug for fellow forumite Sebastian and his Ultimate X Sounds. His sound sets are really well made. Personally I totally dig Atmosphere 1 & 2 and will probably get 4 as well:
https://www.ultimatexsounds.com/atmosphere4-more
https://www.ultimatexsounds.com/drone-x-sounds-vol-1-more

The Humanoid Sound Systems Sets are also nice:
http://www.humanoidsoundsystems.com/access-virus-ti/

Zitat von jan7geerts

doesn't Local Off mean that I can't play the keyboard of the Polar anymore? I want to use both keyboards.

Indeed I misread your request. In that case, set Local ON.
However, you now really have to carefully set up the Multi Parts key ranges and switch off unused Parts or you will have some unexlected results.

Yes, that's possible. It's not even complicated. It's how you use the Desktop / Rack model with any controller keyboard in a live setting. The synth section of all Virus TI's are identical, so the Polar is Desktop with a built-in keyboard. General steps:

• Switch Virus to Multis
• Set up keyboard to send MIDI to the Virus
• Set Virus to MIDI keyboard settings to Local OFF
• Set up your Multi's MIDI Channel and Key Ranges for each of the 16 Parts.

Also very helpful: Read up on the section about Multis in the User Manual

Zitat von jan7geerts

The choruses are really good, but I'd love that typical ARP Ensemble effect.

AFAIK, the Solina Ensemble effect used bucked brigades to build 3 individually modulated delay lines.
The Vintage and Hyper Chorus are designed to get you in that direction. So it might already be in there, but requires some parameter tweaking.

Here's a couple of excerpts from the Virus TI Addendum (4.5.1):

Zitat von Virus TI2 Addendum

Vintage Chorus
The Vintage Chorus is an emulation of the 70’s chorus technology based on a technique known as “bucket
brigades”, which can be considered a predecessor of today’s digital sampling technology. The Vintage Chorus
covers not only the exact sound of the famous Chorus Ensemble but also many other derivatives of that
era which were based on the same basic circuitry, most notably that of the built-in chorus of the Juno 60.
You may notice the somewhat dull sound of the effect signal; this is due to the limited sample-rate of the
bucket brigade. When this signal is mixed to the direct sound, it will result in a very warm chorus sound, because
the overall signal gets a low and mid frequency boost. The Vintage Chorus is always in full stereo as
you have one chorus each for the left and right sides, modulating in opposite ways.

Rate
Use the Rate parameter to adjust the speed of the chorus modulation.

Depth
Use the Depth parameter to adjust the intensity of the chorus modulation

Tip: For the original Chorus Ensemble sound leave the Depth parameter at middle position and dial your
sound by the Rate parameter - the original did not have a depth control.

For the original “Juno 60” Chorus sound leave Depth at 100% and dial your sound by adjusting Rate. The
“Juno 60” Chorus did not have a Rate or Depth control, just two buttons labeled ‘I’ and ‘II’ to switch between
two rates - the equivalent settings in the Vintage Chorus can be achieved by setting Rate Control at
25% (I) and 45% (II).

Mix
Use the Mix parameter to adjust the balance between the dry input signal and the output of the chorus effect.
For the maximum chorus effect, Mix should be set to 127.

[...]

Hyper Chorus

The Hyper Chorus is probably one of the most advanced choruses ever made; it is a six- voice chorus with
up to three delay lines each for the left and right side. Despite this, it is staggeringly simple to use, as it is
usually only necessary to adjust only the Depth parameter to achieve a huge, warm sound.

Depth
By adjusting Depth you change the amount of detune and fatness that the chorus adds to the signal - everything
else is perfectly adjusted to give you the lushest chorus sound with no further tweaking necessary. You
can even choose very small detunes without the typical comb filter effect of a regular chorus, and when you
bring Depth to zero the chorus effect completely goes away, even with the Mix parameter left at full position.

Amount
As the full sound could be too complex, you have the option to draw delay lines in and out of the chorus.
With the Amount parameter you can continuously control the numbers of delay lines from one to three per
side. So yes, even 1.5 choruses are possible: this simply means one chorus is at full volume, the other is at
half - you can think of the Amount parameter as being roughly equivalent to the Oscillator Amount parameter
for the HyperSaw oscillators of the Virus.

Mix
Use the Mix parameter to adjust the balance between the dry input signal and the output of the chorus effect.
For the maximum chorus effect, Mix should be set to 127.

[...]

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Armed with that knowledge, I'd first try the Hyper Chorus at high depth setting with the amount reduced to 50% (3 delay lines instead of 6).

I'm going to state a couple of mostly obvious facts and reasons, why you probably won't find the requested sound sets:

• Brand and model names are generally protected and registered trademarks of their respective holders (ARP, Elka, Korg, Moog, Roland etc.). You may not use these names to sell your own products. If you want to use these names you must obtain license for this use, which may be costly or not granted at all.
• The Virus is a synth, not a sampler. Although it is a great sounding and rather flexible hardware synth, the Virus has a predefined set of waveforms, a limited set of oscialltors and filters, and the signal path of its synth engine can not be re-arranged or changed in any way. Thus, its capabilities of exactly replicating the trademark sounds of other synths is limited.
• As a sound set customer, I would expect a sound set that is named after an existing hardware synth model to be a faithful recreation of the original sound banks, and some well known sounds of that synth. And I'd be very disappointed if it's not. The type of discussion and feedback this yields can be seen in the comment sections for reviews of VSTs that claim to offer exact replications of famous vintage sounds. As a sound designer, you don't want to go there; It's an exhausting uphill battle you can never win.

My personal opinion on this subject: Why would you want your Virus to exactly sound like a set of old hardware, which is only known because some world famous artists used one sound on a recording? The only thing you can do with such a trademark sound is play that famous tune. Because if you're not going to play that tune, it either doesn't matter what sound you use or it even has a negative impact because of audience expectations when hearing that trademark sound. (Hint: Try to play anything else with the D-50's "Pizzagogo" sound than Orinoco Flow by Enya). Thus, I only do classic sound re-creations for myself to learn more about how certain sounds can be acheived with the Virus.

The Filterbank Frequency is available as destination for the Soft Knobs, but it only works for the modes Frequency Shifter and Ring Modulator.

The assignment does not work for any of the 9 Filter modes:

• Vowel Filter
• Comb Filter
• 1 Pole XFade
• 2 Pole XFade
• 4 Pole XFade
• 6 Pole XFade
• LP VariSlope
• HP VariSlope
• BP VariSlope

It would be great if it worked on those modes as well.

Also, please make the other Filterbank parameters available as Soft Knob destinations as well.

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.