Access virus os2 Manuale Utente
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In the Virus, this problem is solved by subdividing its parameters into three Parameter PAGEs for data
transmission purposes.
Each of these three PAGEs contains up to 128 parameters.
A SINGLE PROGRAM consists of the parameters on the first two first PAGEs. Parameters on the first
PAGE are assigned to MIDI Controllers and parameters on the second PAGE are sent and received via so-
called PolyPressure data. The structure of this data type is identical to the structure of Controllers and is
also supported by sequencer programs. (This data type was originally created to transmit the polyphonic
pressure data of keyboards, but the requisite playing technique wasn’t a big hit with keyboard players.
The Virus is the first instrument to use this data type as additional Controllers.)
transmission purposes.
Each of these three PAGEs contains up to 128 parameters.
A SINGLE PROGRAM consists of the parameters on the first two first PAGEs. Parameters on the first
PAGE are assigned to MIDI Controllers and parameters on the second PAGE are sent and received via so-
called PolyPressure data. The structure of this data type is identical to the structure of Controllers and is
also supported by sequencer programs. (This data type was originally created to transmit the polyphonic
pressure data of keyboards, but the requisite playing technique wasn’t a big hit with keyboard players.
The Virus is the first instrument to use this data type as additional Controllers.)
This form of sound control is exceptionally simple, reliable and versatile, but it does have its
disadvantages: For instance the Virus enables you to control several PARTs via the same MIDI Channel
so that theoretically an incoming Controller should control the parameter in question for all involved
PARTs. This of course doesn’t make a great deal of sense since one of the reasons you are using several
PARTs on a single channel is it that you can double up on different sounds. Consequently, the Virus has a
convention dictating that in the case of several PARTs on a single MIDI Channel, only the PART with the
lowest PART number of all incoming Controllers is addressed; all other PARTs ignore these data.
disadvantages: For instance the Virus enables you to control several PARTs via the same MIDI Channel
so that theoretically an incoming Controller should control the parameter in question for all involved
PARTs. This of course doesn’t make a great deal of sense since one of the reasons you are using several
PARTs on a single channel is it that you can double up on different sounds. Consequently, the Virus has a
convention dictating that in the case of several PARTs on a single MIDI Channel, only the PART with the
lowest PART number of all incoming Controllers is addressed; all other PARTs ignore these data.
As an alternative to parameter control via Controllers and PolyPressure, you have conventional system
exclusive data available for control purposes (see the MIDI Implementation in the Appendix). The first
two Parameter PAGEs can be switched independently to system exclusive control (under MIDI in the
CTRL menu).
With the third Parameter PAGE, you can control the parameters of the current MULTI PROGRAM as well
as the global or system parameters. This third PAGE is addressed via system exclusive MIDI Messages
only.
exclusive data available for control purposes (see the MIDI Implementation in the Appendix). The first
two Parameter PAGEs can be switched independently to system exclusive control (under MIDI in the
CTRL menu).
With the third Parameter PAGE, you can control the parameters of the current MULTI PROGRAM as well
as the global or system parameters. This third PAGE is addressed via system exclusive MIDI Messages
only.
In addition to direct assigning parameters directly to Controllers/PolyPressures, the Virus offers another
option for real-time control, the three so-called CONTROLLER ASSIGNs. Each CONTROLLER ASSIGN
features a Controller input (SOURCE). ASSIGN 1 has a modulation destination (DESTINATION) with
variable Intensity (AMOUNT). ASSIGN 2 can address two DESTINATIONs via independent AMOUNTs.
ASSIGN 3 also addresses DESTINATIONs via independent AMOUNTs. You will find a list of available
SOURCEs and DESTINATIONs in the Appendix of this manual.
option for real-time control, the three so-called CONTROLLER ASSIGNs. Each CONTROLLER ASSIGN
features a Controller input (SOURCE). ASSIGN 1 has a modulation destination (DESTINATION) with
variable Intensity (AMOUNT). ASSIGN 2 can address two DESTINATIONs via independent AMOUNTs.
ASSIGN 3 also addresses DESTINATIONs via independent AMOUNTs. You will find a list of available
SOURCEs and DESTINATIONs in the Appendix of this manual.
The ASSIGNs serve several purposes: First of all, they enable you to assign a Controller, for instance the
modulation wheel of a master keyboard, to a specific parameter. You can also limit the control range of
a Controller or invert it so that only this narrowly-defined range of values of the destination parameter is
affected. And finally, the ASSIGNs allow you to control several parameters simultaneously with different
intensities and polarities via the same Controller, for instance so that a single adjustment of the
modulation wheel initiates complex sound modulations. If the three DESTINATIONs of ASSIGN 3 are
insufficient for this purpose, you have the option of assigning the same control to the other two ASSIGNs
so that you can control a maximum of six parameters simultaneously.
modulation wheel of a master keyboard, to a specific parameter. You can also limit the control range of
a Controller or invert it so that only this narrowly-defined range of values of the destination parameter is
affected. And finally, the ASSIGNs allow you to control several parameters simultaneously with different
intensities and polarities via the same Controller, for instance so that a single adjustment of the
modulation wheel initiates complex sound modulations. If the three DESTINATIONs of ASSIGN 3 are
insufficient for this purpose, you have the option of assigning the same control to the other two ASSIGNs
so that you can control a maximum of six parameters simultaneously.
EDIT MODE
The number of available sound parameters are increased substantially by activating EXPERT MODE. You
can access EXPERT MODE via the EDIT menu. Once you have activated EXPERT MODE, you have access
to many more parameters, some of which you may never have encountered before. These parameters
require a bit more attention and time to work with, so we devised EXPERT MODE to distinguish these
from the more conventional parameters accessible in standard operating mode.
can access EXPERT MODE via the EDIT menu. Once you have activated EXPERT MODE, you have access
to many more parameters, some of which you may never have encountered before. These parameters
require a bit more attention and time to work with, so we devised EXPERT MODE to distinguish these
from the more conventional parameters accessible in standard operating mode.