Sometimes, it would be nice to have a 100% constant as Matrix source in combination with the assignable Soft Knobs to destinations set to Assign 3 Amounts.
This source value would be especially useful to fully access those parameters which are not directly available as control destinations for Soft Knobs.
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However, although Matt did a set of GN sounds for the Ultranova recently, it seems that the Virus TI patches can't be downloaded anywhere. If you know how to get them, please share your knowledge.
Use a tool like SysEx Librarian to load the SysEx file and send it to your Virus. On the Virus, you have to select the type of patch information that is accepted and the destination bank.
Here is the relevant section from the Virus TI Reference, p 126-127
Zitat von Virus TI Reference
Receive Dump The Virus automatically recognizes the type of data appearing at its MIDI input. Whenever individual programs are received, they will appear in the Edit Buffer (see glossary), and must be explicitly stored. Therefore, the following options only apply when receiving entire bank.
Apart from the Snow, all Viruses so far had banks each holding 128 patches. To maintain compatibility, the Snow uses 2 banks of each 64 patches to load a Bank Dump. Use Virus Control and the Virus Control Center to overwrite specific patches, banks or ROM locations.
Value
Meaning
Disable
Program data arriving at the MIDI input will be ignored.
Enable
Bank data (128 sounds) will be stored to the Bank from which it was originally dumped, regardless of which bank is currently selected.
Force To Bank A+B
Bank data is always stored in bank A and B
Force To Bank C+D
Bank data is always stored in bank C and D
Force To Bank E+F
Bank data is always stored in bank E and F
Force To Bank g*h
Bank data is always stored in bank G and H
To Edit Buffer
Incoming bank data is not stored, but is treated as a series of individual programs. These will appear sequentially in the edit buffer – useful for trying out sounds without having to overwrite an entire bank.
Verify
Incoming bank data is compared with the memory in the Virus, after which a status message appears. Use this setting to check whether a bulk dump has been successful.
Not a DAW, but a AU Host that works very well is Mainstage. I use that all the time, when designing sounds outside of a Cubase project. I guess GarageBand should work as well, but proper MIDI setup could be limited.
My Virus TI2 is STILL not usable in live situations - not even as a MIDI keyboard for external sound sources - because it STILL has the same silly software bugs (random pitch bend data being sent even when not touching the keyboard, and pitch bend range often incorrect until switching machine off and back on)
Yet, a couple of well known world touring acts are using it in their live rigs...
IMO, the keybed of your TI needs servicing. Sounds like dirty contacts to me. Google that issue. It's common on all keyboards.
That said, I was a bit annoyed about the hiccup in the release notes as well. Very little info duplicated a million times.
Yes. And naturally, polyphony is impacted by the Unison setting, the release time of the notes and how many notes are played at the same time. Here's some additional info on how voices are eaten up by long release tails and unison: TI Desktop losing voices
I did the following and now VCC can connect to the Virus again: - Downloading the "Virus TI Software Suite 5.1.7.00" (again, today) - Run the "Uninstall Virus TI Software Suite" (previously installed in /Applications/Access Music/Virus TI/) - Run the new "Virus TI Software Suite 5.1.7.00" installer - Restart Mac - Start VCC --> connects to Virus
Lately I started to "print" the finished synth tracks for several songs to audio, so we can keep working on the songs without the need of a Virus TI being available in every home studio. For exactly this purpose, Cubase offers a very nice function called "Render in Place" (AFAIK since verions 8). It does as it's name suggests: Internally render a MIDI track to audio and optionally mute or even replace the MIDI track.
Although this is a great feature, and is a huge time saver and no brainer to use with software synth-plugins, there are some issues with Virus Control which make the whole process quite tiresome. Normally, you'd ne able to start Render in Place for 10 tracks of a 4 minute song and get a perfectly finished result in about 40 minutes. In the mean time you could walk away and do something else. With Virus Control, it took me an average of 4 hours (!) for the same task, doing renderings over and over again, because something went wrong at random.
Pretty often, a whole sequence, or just the beginning notes of a sequence (!) would be rendered too early by as much as a 1/32 note (@130 - 160 bpm). It happens about 4 out of 5 times for every but the first part, when Render in Place is called in mode "As Separate Events". Sometimes this happens even in the middle of a track after a good part of the song is rendered correctly. What I found to help sometimes is to change the MIDI parts to start 2 bars before the first note. However, it still happens then that the whole rendered sequence is playing too early.
Some percussive sounds always start 5-8 samples early. This is within an acceptable musical tolerance, but it is odd and requires the resulting audio tracks to be always sliced before the beat to avoid clicks. My observation is that this is the case especially for more complex sounds using FM, the fold distortion modes or recursive Envelope modulation.
Sometimes, clock synchronized LFOs are completely off. Either the musical time seems to be in "slow motion" or "frozen". In "slow motion", the LFO runs apparently smoothly but much slower than it should. If "frozen", the LFO is stuck to a certain position, and can then either go back to smooth or even do a sudden change to a different value, making it sound as if it was set to S&H instead of sine or triangle. In the examples there's an LFO for the patch going from "slow motion" to "frozen" and back to "slow motion".
All in all that means, that I have to compare the position of every note of a rendered sequence with it's original position in the MIDI part, and that I have to listen to all rendered parts to check for LFO issues. Which is far from what I would expect from Total Integration.
Here are some examples for the LFO issue. I'll post more if I find something which is clearly audible without having a other reference tracks.
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After I finally discovered I had to turn on the arp (I was wondering why the keyboard was transposed so high)
Yeah, sorry, I forgot that the sound has an odd transposition if the ARP is used as step sequencer and switched off. I uploaded a new version of the patch library, two patches with ARP and two without.
Do you have a cheatsheet on how the velocity values in the arp map to notes (given arp input->transposition is at +64 like in your example)? Thank you very much, highly appreciate this!
If in the Matrix the ARP Input is routed to Transpose with a value of +64, then each velocity value in the ARP corresponds to a MIDI note pitch. The velocity value of 64 of the ARP velocity corresponds to "no transposition" and plays that note that is held on the keyboard. The value 52 (64-12) yields an octave below, 76 an octave above (64+12). That way, you can use the Virus ARP as step sequencer for melodic sequences.
However, there are a couple of caveats, one being that if you switch off the ARP, the sound will often be transposed by to and odd pitch because of the Matrix still doing a transposition even though there is no ARP input anymore. The other is that the pitch and velocity are hard hard wired. Also, the 32 steps are quite limiting for faster lines. That Atron lead melody would need 128 steps for the full melody.
Recently, I ran into a situation on my TI2 where adding a third sound (all of them mono, 2 to 4 bars on the meter) playing the same 16th note movement started to distort one of the sounds. The sound in question was a FM based "sequence ticker" patch with very fast Amp and Filter envelopes. It wasn't that the Virus ran out of voices or had problems with timing, but it started to "squash" or "smear" this particular sound, totally losing the definition and focus.
I guess there were simply too many calculations to be executed at the exact same moment.
Apple has announced its new macOS version, High Sierra, to be released on September 25. On October 17, Microsoft releases Fall Creators, their latest update to Windows 10.
From the end of October on, we shall begin testing our current line of products on both these operating systems.
Therefore, we strongly recommend to wait with the update to macOS High Sierra and Windows 10 Fall Creators until the entire compatibility chart for all Steinberg products has been published. This is especially important to customers relying on a trouble-free operation of our products.
Which means, Access (and any other plugin developer) can start their final testing way after that. Ain't that fun!