Even though the Virus is truly multi-talented instrument with great range, you still instantly know it when you hear it in a production. That’s because we really "get" synthesizer basics: outstanding oscillators, amazing filters and breathtaking effects.
Every part, even in multi-mode, comes with its own chain of independent effects (including reverb and delay). The massive voice count makes it possible to stack even complex sounds for the first time without breaking a sweat.
Listen to a short demo illustrating the onboard effects of the Virus TI.
Effects never have been more important to music production than they are today. The Virus TI features many simultaneous effect algorithms including Reverb, Delay, Chorus, Phaser, Distortions, Frequency Shifter, Characters and EQ. And did you know that the multi-mode you can use all effects including reverb and delay per part?
Atomizer is our performance-oriented beat slicer, allowing you to play on your keyboard what others can only cut and paste inside their audio workstation. Features like this keep the Virus at the forefront of innovative sound design.
Music evolves and we evolve the Virus for you. Every day.
An audio effect in the Virus' effect section which allows you to shred live audio using the keyboard. Every key represents a different loop length from 1/2 note to microscopically short phrases. Furthermore, your modulation wheel becomes a DJ style cross fader, the pitchwheel re-pitches the incoming audio in realtime and the whole FX section can be used to truly mangle the signal.
Virtual analog oscillators aside, the Virus TI offers an extensive range of musically exciting tonal building blocks. From wavetables, to hypersaw, to grain- and formant table oscillators, every single one was created with complete attention to detail, commitment to innovation, and a passion for musical potential.
That’s why the Virus TI can sound like a burning race bike on its way to hell or a choir of genetically enhanced tooth fairies. It’s just limited by your imagination.
Both audio files show some of the preset sounds without additional treatment.
Often it’s the little things which make all the difference. Section Locking for instance is preset mutation on steroids. You select what you like in a patch, lock it, and cycle through other presets to load only those aspects of the sound you want to explore changing. Imagine you were basing your lead melody around a user arpeggiator pattern and later in the game you realise that you want to keep the pattern but change the sound. Using Section Locking all you need to do is to lock the arp pattern and start browsing through your entire library to find something suitable.
As deeper instruments emerge many of us turn towards sound presets instead of building their
own patches from scratch. We honour this tendency by giving you one of the largest free sound
libraries anywhere, made by professional sound designers.
Even better, we make sure that all sounds officially released for the Virus TI are checked and refined by our internal sound design gurus first. This way we can assure that the sounds have a minimal CPU footprint and maximal flexibility with all sorts of controllers pre-assigned for your enjoyment.
Listen to a great selection of demo songs demonstrating the Virus in different contexts. All songs have been created in-house and feature the Virus exclusively (unless otherwise noted).
This demo song features one Virus TI2 and drum samples from Sample Magic and Xfer Deadmau5. Most of the background motion you can hear is tape delays with automated delay time and feedback. Everything went straight from the TI into Izotope Ozone which was used to compress the mix and add loudness.
Steampunx is a breaks oriented demo not holding back on bass and fat lead sounds. All tonal sounds including the FX were made with one Virus TI2. Most of the drum sounds and loops can be found on Sample Magic's Breakbusters library.
This short piece of ambient music was created on one Virus TI2 and a Tabla loop in Logic Pro. Some of the Virus tracks were bounced later in order to put a convolution reverb on top of them, others went straight from the Virus to the mastering channel where Izotope Ozone 4 and a Sonnox limiter were used to level out the song.