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CHAPTER 11
The VIRUS and Sequencers
The VIRUS and Sequencers
solved by splitting up its parameters into three
Parameter PAGEs for data transport purposes.
Each of these three PAGEs can contain up to
128 parameters. A SINGLE program consists of
the parameters of the two first PAGEs. Parame-
ters of the first PAGE are assigned to the MIDI
controllers, while the parameters of the second
PAGE are sent and received by so-called poly-
pressure data. This structure of this data type is
identical to that of controllers; polypressure is
also supported by sequencer programs. (This
data type was initially created to allow the pres-
sure exerted on keys to be transmitted poly-
phonically, but this required a special approach
to playing that never really caught on. The VI-
RUS is the first instrument to exploit this data
type in the interest of putting further controllers
at your disposal.)
Parameter PAGEs for data transport purposes.
Each of these three PAGEs can contain up to
128 parameters. A SINGLE program consists of
the parameters of the two first PAGEs. Parame-
ters of the first PAGE are assigned to the MIDI
controllers, while the parameters of the second
PAGE are sent and received by so-called poly-
pressure data. This structure of this data type is
identical to that of controllers; polypressure is
also supported by sequencer programs. (This
data type was initially created to allow the pres-
sure exerted on keys to be transmitted poly-
phonically, but this required a special approach
to playing that never really caught on. The VI-
RUS is the first instrument to exploit this data
type in the interest of putting further controllers
at your disposal.)
Please note that the VIRUS allows you to
control several PARTs via the same MIDI chan-
nel. This means that an incoming controller
would collectively address this parameter in all
PARTs. This of course defeats the purpose of
routing several of these PARTs via the same
channel, which is to double up different sounds.
For this reason, the convention in the VIRUS is
that, when several of these PARTs are patched
through a single MIDI channel, only the PART
with the lowest PART number is addressed by
incoming controllers; all other PARTs ignore this
data. This applies solely to sound parameters
and not to so-called performance controllers
such as the modulation wheel.
nel. This means that an incoming controller
would collectively address this parameter in all
PARTs. This of course defeats the purpose of
routing several of these PARTs via the same
channel, which is to double up different sounds.
For this reason, the convention in the VIRUS is
that, when several of these PARTs are patched
through a single MIDI channel, only the PART
with the lowest PART number is addressed by
incoming controllers; all other PARTs ignore this
data. This applies solely to sound parameters
and not to so-called performance controllers
such as the modulation wheel.
As an alternative to parameter control via con-
troller and polypressure data, you have the con-
ventional system exclusive control option
available (see ”MIDI Implementation” in the ap-
pendix, “The VIRUS and Sequencers ” on
page 139). This system exclusive control option
may be activated independently for the first two
Parameter PAGEs (under MIDI in the SYSTEM
menu), in which case this control mode is the
troller and polypressure data, you have the con-
ventional system exclusive control option
available (see ”MIDI Implementation” in the ap-
pendix, “The VIRUS and Sequencers ” on
page 139). This system exclusive control option
may be activated independently for the first two
Parameter PAGEs (under MIDI in the SYSTEM
menu), in which case this control mode is the
only type of remote control option that is active
– you get exclusively system exclusive control,
as it were. The third parameter PAGE, in turn,
lets you control the parameters of the current
MULTI PROGRAM as well as global and/or sys-
tem parameters. This third PAGE is addressed
solely via system exclusive MIDI messages. The
advantage of system exclusive control is that
you can address PARTs individually irrespective
of what their current MIDI channel assignments
may be.
– you get exclusively system exclusive control,
as it were. The third parameter PAGE, in turn,
lets you control the parameters of the current
MULTI PROGRAM as well as global and/or sys-
tem parameters. This third PAGE is addressed
solely via system exclusive MIDI messages. The
advantage of system exclusive control is that
you can address PARTs individually irrespective
of what their current MIDI channel assignments
may be.
You’ll find a list of all controller and polypres-
sure assignments in the appendix.
sure assignments in the appendix.
HANDLING MIDI PARAMETER CON-
TROL
TROL
If you have configured your MIDI system in ac-
cordance with the instructions in the previous
section, you may activate the sequencer’s re-
cording mode and record the knob and button
movements as you see fit. Check the Event or
List editor of your sequencer to see if the re-
cording operation was successful.
cordance with the instructions in the previous
section, you may activate the sequencer’s re-
cording mode and record the knob and button
movements as you see fit. Check the Event or
List editor of your sequencer to see if the re-
cording operation was successful.
Good-to-know info: Do not record knob and
button movements to the same track that con-
tains the notes of any given passage. Instead,
use a new track that sends its data to the same
MIDI output and channel as the track containing
the notes. Although the sequencer merges
these two data streams internally, separating
the two tracks makes it easier for you distin-
guish between the information that they con-
tain. Besides, you’re thus able to edit and copy
the recording of t knob and button movements
without affecting the actual notes on the other
track.
button movements to the same track that con-
tains the notes of any given passage. Instead,
use a new track that sends its data to the same
MIDI output and channel as the track containing
the notes. Although the sequencer merges
these two data streams internally, separating
the two tracks makes it easier for you distin-
guish between the information that they con-
tain. Besides, you’re thus able to edit and copy
the recording of t knob and button movements
without affecting the actual notes on the other
track.
If you wanted to take this an extreme, you could
record the movements of every knob and but-
ton to a separate track. Although this sounds
like a classic case of overkill, it can facilitate the
process of editing the recorded sequences:
record the movements of every knob and but-
ton to a separate track. Although this sounds
like a classic case of overkill, it can facilitate the
process of editing the recorded sequences: