Beating the Disease
Oct 1, 2003 12:00 PM, By Jason Scott Alexander
In its end-of-the-year “Best of 2002” roundup this past December, Remix awarded Access Music Electronics the Best Hardware Synth of 2002 prize for the Virus C, an instrument upon which I bestowed my own glowing review in October of that year. Needless to say, I was instantly hooked (one might say infected?), and my review unit never did find its way back to Deutschland. In celebration of the year that has passed since Remix's first look at this German wunderbox, the time is right to compile the synth's hottest tips and trick-outs that are currently circulating.
The following is a culmination of both technical and practical tips resulting from discussions with Marc Schlaile and Jay Vaughan, Access product director and R&D, respectively; Ben Crosland, UK-based Virus beta tester and Access product-development focus-group member; and Matthew Stolley, New York-based producer and Virus sound designer extraordinaire. I recently caught up with all four at their cyber hangout, Ampfea.org's Virus user group, which Vaughan operates in his spare time.
Herein, I'll assume that you've at least installed OS 5.5 into your Virus. (At press time, Access had just released OS 6, featuring Pure Tuning, front-panel shortcuts and 24 new dance-oriented arpeggiator patterns.) It's also assumed that you're somewhat familiar with the Virus user interface and have a grasp of basic analog-synth concepts.
OS AND NAVIGATION
The 1,024 expansion
You know that the Virus demo song rocks, but wouldn't you rather have more sounds? The Virus OS comprises two parts: The first contains the operating system itself whereas the second carries the 256 ROM sounds contained in banks C and D, as well as the demo song. That second part can be replaced by the so-called 1,024 Patches Update (available from the Access Website), which overwrites banks C and D and the demo song and instead organizes that space to store 768 ROM sounds in banks C through H. There's no need to worry about nuking your beloved user programs: Banks A and B remain untouched in the process.
With the demo song removed and your Flash ROM banks C through H primed and ready to take on sounds, you can now perform a nifty little function that was introduced in Virus OS 5.5: The Store to Flash function allows you to write your favorite patches from the user banks (A or B) into the ROM banks in a process similar to that used to update the operating system. However, for technical reasons, only complete banks can be written, and patch orders cannot be changed in Flash ROM without reburning the entire bank, so it's best to wait until you have your sounds organized just the way you want them in RAM.
The Store to Flash function is found under the System menu, where you're given the choice of copying all of bank A or B to bank C, D, E, F, G or H. The A > C prompt means, for instance, that the RAM bank A will be written to ROM bank C. Hit the Store button and confirm the safety-alert message to write the chosen bank.
Even though the manufacturer of the flash ROMs guarantees thousands of write cycles, Access recommends that you use this function wisely — that is, only once you've made significant changes to the entire bank. It's not worth wasting a burn cycle for the sake of a simple name change or parameter tweak. Save those to RAM. Think of the flash ROM as your favorites archive.
Stepping backward
By holding down the Edit key and then pressing the corresponding Select buttons, you can step backward through menu items in the modulation matrix and effects section. This is handy if, say, you want to select Mod Assign 5 when you're on Mod Assign 6 without having to rotate through the entire list. Similarly, by holding down the Edit key of any section, the Virus scrolls through all edit categories without the need for repeated pressing. By pressing the Multi key and turning the Value knob, you can quickly scroll through patches in Single mode and parts in Multi mode.
Forcing a bank
Typically, the Virus will load SysEx bank dumps into the RAM bank from which they were initially dumped. Should you wish to load those sounds to another bank, you can always choose Force to Bank A or B, which is found in System > MIDI Dump RX. This is great for ensuring that third-party banks, for which you don't know their inherent destination, don't go overwriting your own banks.
Copy delay/reverb effects
In another wise addition to the Virus, OS 5.5 realized the ability to copy the delay or reverb settings from a single patch into the current multi patch. The function is located in the Delay/Reverb edit menu. To perform a copy, switch to Single mode and recall the patch that contains the delay/reverb setting that you wish to use within the multi patch. Next, switch back to the Multi mode, select the Copy function and press Store to proceed. The same procedure works in Multi and Single modes — no more jotting down settings on paper and re-entering them in Multi mode.
MIDI timing meter
Sometimes, users notice that their Virus' normally stable delay sounds out of tune or has shaky timing. In reality, the Virus is one of the most stable and tightly synchronizing synthesizers on the market — especially those models equipped with OS 5.5's Sync Xtreme function, based on LTB (Linear Time Base). But according to Schlaile, don't blame the Virus! “It synchs very tightly to the MIDI Clock, and all of its parameters follow the tempo changes — even the delay,” he says. “What's happening here is that if the MIDI Clock jitters and the Virus tempo-interpretation algorithm ‘thinks’ that the tempo has changed, it changes the delay time and pitches the delay. That's why it is extremely important that it receives a very stable clock.”
When you notice these symptoms, Schlaile suggests trying the Virus' handy built-in MIDI timing meter. To do so, switch the LED Mode parameter in the System menu to “—” and start your computer's sequencer (obviously with MIDI Clock being sent). If the LFO-indicator LEDs start to flicker on a regular basis, it's a sign that the Virus is receiving a dodgy MIDI Clock and that you need to optimize your PC setup.
LFOs AND THE MATRIX
Additional LFO shapes
By assigning LFO 1 to modulate its own rate (LFO 1 > LFO 1 Rate), you can create additional LFO shapes. In LFO Envelope mode (Env Mode > On), it's easy to achieve interesting results, as the LFO rate actually determines the total duration of the single cycle envelope.
Stronger modulation
Obviously, you can't modulate a mod-matrix target with anything more than a -64/+63 value. However, you can use two mod-matrix slots, and the modulation will be double as deep.
Definable pitch bend
A neat little trick for pitch-bending each oscillator independently is to define Mod Wheel as the source for mod Assign 1 and set each of the three mod destinations to Osc 1 Pitch, Osc 2 Pitch and so on. Here, you can assign a pitch-bend amount of your choosing to each oscillator. Note the difference between this and simple transposition.
Wobble bass
Check out this signature drum 'n' bass “wobble bass” recipe — a great lesson in LFO and matrix routing — from Stolley. By adding some dynamic movement to a typical patch via the mod matrix, he takes boring to soaring.
“First, set up a good standard bass — perhaps a triangle and a detuned sine, add distortion, whatever,” Stolley says.” “Set up your LFOs however you want, but make LFO 3 a sine wave with a fade-in of 24 or so. This lets eighth notes pass unaffected while longer notes will ‘wobble’ accordingly. Set LFO 3 clock to one-eighth or however you want your bass to wiggle. Set LFO 3 > Osc 1+2 to a value of 86.” Now, to add a bit of direction to the sound, Stolley bends the bass with a soft knob. “Set LFO 1 to Sawtooth and eighth-note Clock, which will allow the notes to progressively rise or fall,” he continues. “Select LFO 1 > Osc 1+2, value -36. Now, in the mod matrix, assign Mod Wheel as a source with two destinations: LFO 1 > Osc 1 and LFO 1 > Osc 2, both set to +36. Finally, assign Soft Knob 1 (main Edit menu) to Mod Wheel.”
Placing the knob's value at 64 will give you a standard sound without bending. Moving the value to 0 will give you a three-octave bend up to your note, and placing the knob at 127 will do the opposite.
Modulating EQ
Although it seems obvious, using the EQ section can drastically change the sonic scope of a patch. On the Virus C, you can achieve wonderfully thin sounds that were difficult to program with previous Virus models. Try linking the Velocity to control both the Mid EQ Frequency (+18) and the Mid EQ Gain (+24).
Modulating vocoder parameters
The vocoder parameters are actually overlays to the filter section on the Virus. A particular vocoder parameter can be modulated through the mod matrix just as you would modulate a filter-section parameter: simply by choosing the corresponding modulation-matrix destination from the corresponding chart (see p. 54). Of course, the front-panel filter-section knobs also take on these overlay parameters for real-time control when the vocoder is active.
FUN WITH FILTERS
SER 6 mode
The characteristically aggressive sound of the Virus is often attributed to its “secret weapon,” SER 6 mode, in which Filter 1 operates with four poles (24 dB), and Filter 2 with two (12 dB). To achieve maximum potency, you must have the Filter Balance pot set to the center position (12 o'clock), where the two filters are routed in series and working in tandem as if they were a single filter with six poles and, consequently, a great deal of slope (36 dB). But what's really cool about the Virus' filter section is that Filter Balance allows you to morph smoothly from one slope to another. As you turn the knob to the left, you're fading Filter 2 out and consequently steadily reducing the slope until you arrive at 24 dB/oct. Remember: In this mode, you need to pay especially close attention to the Cutoff, Cutoff 2, Filter 1 and Filter 2 mode settings, as it's easy to choke off a sound using both filters of such high slope in a series.
More notches!
If you've ever craved a third filter, particularly of the sweeping-notch variety, here's a wicked tip: Use EQ Mid as an additional notch/bandstop filter by turning EQ Mid Gain to -16 dB. Set both Filter 1 and 2 two to Band Stop and then assign Mod Wheel in Mod Slot 3 to control Cutoff, Cutoff 2 and EQ Mid Freq to achieve a superwide notch that you can sweep with the mod wheel.
Envelope polarity effects
For some interesting filter-envelope effects, dig into the Filter Edit menu and try setting one filter Env Polarity to positive and the other to negative. This works particularly well if one filter is set to LP and the other is set to HP. Don't forget that you need to set Env Amount to a reasonable level for this to work.
LFO 1 > Filt Gain
Crosland points out a favorite — and much overlooked — feature of the LFO section that he puts to good use in many of his aggressive sound designs. “The LFO 1 > Filt Gain assignment is one of the hard-wired destinations for LFO 1 that is hardly ever used,” he says. By experimenting with this parameter, found in the LFO panel section, you can open up interesting dynamics in the Virus sound.
As an example, Crosland suggests trying this particular setting with a pad sound: Use a saw wave for LFO 1 and set Saturation to Digital in the Filter section. Set LFO 1 > Filt Gain to +50. Set LFO 2 to Sample & Glide (Shape S&G) and LFO 2 Assign to LFO 1 Rate with Amount set to +30 or so. Finally, set LFO 1 Rate to approximately 42 and LFO 2 to 80. This should result in a kind of random, pulsing or plucking effect being superimposed on the pad. Try adjusting LFO 1's rate, shape and filter-gain amounts for cool variations to this effect.
Refiltering
Contrary to popular belief, you can refilter and re-EQ a patch internally on the Virus, but it requires a quirky work-around: You have to do it as part of a Multi setup. In Multi Edit, set Part 1 Output Select to Aux 1 L+R. In Effect Edit, set Part 2 Input Mode to Static, Input Select to Aux 1. Part 1 is now being routed through the filters and effects of the (dummy) sound on Part 2.
EFFECTIVELY SPEAKING
Reverb and delay effects
To achieve reverb with delay effect, use either the Rev + Feedb 1 or Rev + Feedb 2 algorithm and dial in a short reverb time, a long predelay and a high value for feedback. This is a handy trick for creating dynamic reverbs.
But for something really out of the ordinary, try setting LFO 1 to Sawtooth with the rate set to 47 and contour set to -32. Set LFO 1 Assign to Reverb Predelay with the amount set to +63. For the reverb settings, try Rev + Feedb 2 and Ambience mode. Set a reasonably short predelay (clock off), quite a long reverb time and decent feedback amount. Experiment with LFO Rate and Trig Phase positions.
Flange fan
Although the Virus doesn't have a flanger listed as one of its effects, per se, setting a high feedback on the chorus effect lets you boost specific frequencies in the delayed signal to create a flanger effect. The parameter is bipolar with positive and negative values providing different flanger characteristics.
Even the kitchen sync
It goes without saying, but the Virus makes an excellent stand-alone effects device, in either Single or Multi mode, for processing any of your studio gear. What's more, in Multi mode, you can process external signals using the same global reverb or delay that you're using internally on the Virus for your other parts, and everything will be in sync: no fuss, no muss.
WHAT COMES IN MUST GO OUT
Level indicators
The LFO rate LEDs can serve as audio-input-level indicators. Go to System and set LED Mode to Ext Input. If you set it to Auto, the Virus automatically activates level indicators for single programs that access the inputs. The LEDs flash rapidly to signal overload. Of note, you can also assign the LEDs to act as output and bus meters there.
Envelope follower
When activated, the follower replaces the filter envelope so that when Env Amount is turned up, it directly affects the filter frequencies. When combined with the power of the Virus' elaborate mod matrix, the envelope follower is the crown jewel of audio-input manipulation, generating a modulation signal from external audio that can be used to control sound parameters in several ways.
For example, apply the modulation signal to the audio directly for a typical auto-wah effect, or assign it to control the wave-shape value of the program for a wave-scanning effect in rhythmic time to a loop, not simply to MIDI Clock. Any Virus parameter can be modulated. Select Filt Env as the modulation source in the matrix and experiment.
Vocoder L+R
Try feeding a drum loop to the vocoder by selecting Mode set to In L+R. The vocoder is now using the same signal as both Carrier and Modulator, which can result in a pretty cool sound. Set Cutoff 1 (Carrier Center Frequency) to the desired value; then, use LFO 2 to modulate Filter 1 or 2 for added movement.
iPod live!
Vaughan has the following great tip for live-performance Virus users: “The most fun thing I've added to my Virus in months is my Apple iPod. Using it as a backing-track machine playing my MP3 loops, I can tweak and distort the iPod input with one hand while playing a synth lick with the other. Treat the Virus' analog inputs as a submixer or effects box for your other gear and reduce onstage stress.”
Second output
In Multi mode, you can choose to output as mono or stereo, independently, for each part. This is excellent for remedying phase-cancellation issues or when mixing bass for vinyl. Add to that the Second Output function, whereby you can further assign each part to another mono or stereo out, complete with pan and balance controls, and you have the makings for a quadraphonic mix. Even more practical, though, is using the Second Output Balance as a variable effects send for patching out a specific part or parts to your mixer or effects rack. Instructions on all of these routings are well-documented in the manual.
BIG TIP-OFF
Perhaps the biggest tip that I can offer is to join the Virus users mailing list (www.ampfea.org/mailman/listinfo/access-list). This is one of the best resources around for finding tips and tricks for your Virus and will open many doors for you, regardless of your skill level. Moderated and attended daily by Access engineers and product specialists, your questions are typically answered within hours. Next to that, update, update, update! I can't stress this enough with the Virus. Access is known for its policy of free software updates, and the company does a fantastic job in posting feature-packed OS upgrades — such as the latest OS, 6.0 — to its Website on a regular basis. It would be a great injustice for Virus users not to keep their machines current, as so many of the best features have come through user feedback. Not only that, but you can also find thousands of free sounds posted online by Access programmers, professional producers and generous Virus users. Either way, www.access-music.de should be in your bookmarks.
VOCODER CHART
| Desired Vocoder Parameter | Modulation Matrix Destination |
|---|---|
| Carrier Center Frequency | Filter 1 Cutoff |
| Modulator Frequency Offset | Filter 2 Cutoff |
| Modulator Q-Factor | Filter 1 Resonance |
| Carrier Q-Factor | Filter 2 Resonance |
| Carrier Frequency Spread | Filter 1 Env Amount |
| Modulator Frequency Spread | Filter 2 Env Amount |
| Vocoder Attack | Filter Env Attack |
| Vocoder Release | Filter Env Decay |
| Spectral Balance | Filter Env Sustain Time |
| Band Quantity | Filter Env Release |
| Source Balance | Filter Balance |
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