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10
CHAPTER 3
Prologue
Dear VIRUS Owner,
Congratulations on your choice, the new VI-
RUS. You have purchased a cutting-edge syn-
thesizer that comes fully loaded with several
revolutionary features. Here are just a few of the
highlights:
RUS. You have purchased a cutting-edge syn-
thesizer that comes fully loaded with several
revolutionary features. Here are just a few of the
highlights:
The VIRUS delivers the sound characteristics
and tone of traditional analog synthesizers in a
previously unparalleled level of quality and han-
dling ease. We’re not kidding, the VIRUS actual
delivers the authentic response of an analog
synth via a digital signal processor chip, al-
though the sound shaping and voicing options
out-perform those of it historical predecessors
by a considerable margin.
and tone of traditional analog synthesizers in a
previously unparalleled level of quality and han-
dling ease. We’re not kidding, the VIRUS actual
delivers the authentic response of an analog
synth via a digital signal processor chip, al-
though the sound shaping and voicing options
out-perform those of it historical predecessors
by a considerable margin.
The VIRUS comes with up to 1024 slots for
storing SINGLE sounds. These are organized in
eight banks. The first two banks (A and B) are
located in the RAM, so you can overwrite them
with new sounds. The other six banks are
”hard-wired”, i.e. they’re programmed into the
FLASH ROM. To make use of the banks E-H
you need to install the second1024.mid file first
(“The 1024 sounds update” on page 158).
storing SINGLE sounds. These are organized in
eight banks. The first two banks (A and B) are
located in the RAM, so you can overwrite them
with new sounds. The other six banks are
”hard-wired”, i.e. they’re programmed into the
FLASH ROM. To make use of the banks E-H
you need to install the second1024.mid file first
(“The 1024 sounds update” on page 158).
The VIRUS offers a maximum of 32 voices. In
Multi Mode, these are allocated dynamically to
sixteen simultaneously available sounds.
Multi Mode, these are allocated dynamically to
sixteen simultaneously available sounds.
You have no less than three audio oscillators
plus one suboscillator, a noise generator, a ring
modulator, two Multi Mode filters, two enve-
lopes, a stereo VCA, three LFOs and a satura-
tion stage (SATURATOR) for cascade filtering,
tube and distortion effects.
plus one suboscillator, a noise generator, a ring
modulator, two Multi Mode filters, two enve-
lopes, a stereo VCA, three LFOs and a satura-
tion stage (SATURATOR) for cascade filtering,
tube and distortion effects.
The VIRUS offers a veritable arsenal of effects.
You have seven powerful sound-sculpting func-
tions, including chorus, phaser and distortion,
at your disposal, with each effect available sep-
arately for every sound. Thus, in 16-way MULTI
mode, the VIRUS offers over 98 effects, no
less!. Among them you also get a global reverb/
You have seven powerful sound-sculpting func-
tions, including chorus, phaser and distortion,
at your disposal, with each effect available sep-
arately for every sound. Thus, in 16-way MULTI
mode, the VIRUS offers over 98 effects, no
less!. Among them you also get a global reverb/
delay unit that lets you create high-quality re-
verb effects and rhythmic delay taps. Delay
time can be synced up to MIDI clock.
verb effects and rhythmic delay taps. Delay
time can be synced up to MIDI clock.
With the benefit of two external audio inputs,
the VIRUS may also serve as an FX device and
signal processor that you can use creatively to
come up with all kinds of effects. External sig-
nals can be processed with filter, gate and lo-fi
effects, routed to the VIRUS effects section and
serve as a modulation source for frequency and
ring modulation.
the VIRUS may also serve as an FX device and
signal processor that you can use creatively to
come up with all kinds of effects. External sig-
nals can be processed with filter, gate and lo-fi
effects, routed to the VIRUS effects section and
serve as a modulation source for frequency and
ring modulation.
Beyond that, you can use internal or external
signals as sources for the VIRUS’ on-board
vocoder serve. The vocoder works with up to
32 filter bands and offers diverse manipulation
and modulation options.
signals as sources for the VIRUS’ on-board
vocoder serve. The vocoder works with up to
32 filter bands and offers diverse manipulation
and modulation options.
The three main oscillators produce 66 wave-
shapes, three of which are dynamically mixable
so that spectral effects are possible within the
confines of a single oscillator. In conventional
synthesizers, this type of effect requires several
oscillators. Synchronization, frequency modula-
tion and ring modulation between the audio os-
cillators delivers additional complex spectral
effects that you can use for all kinds of sound
shaping purposes.
shapes, three of which are dynamically mixable
so that spectral effects are possible within the
confines of a single oscillator. In conventional
synthesizers, this type of effect requires several
oscillators. Synchronization, frequency modula-
tion and ring modulation between the audio os-
cillators delivers additional complex spectral
effects that you can use for all kinds of sound
shaping purposes.
The filters can be switched in series or in paral-
lel within the voices via several options. When
you switch the filters in series, the saturation
stage is embedded between the filters. Conse-
quently, an overdriven filter resonance can be
re-filtered within the same voice! A maximum of
six filter poles (36 dB slope!) enables radical
tonal manipulations.
lel within the voices via several options. When
you switch the filters in series, the saturation
stage is embedded between the filters. Conse-
quently, an overdriven filter resonance can be
re-filtered within the same voice! A maximum of
six filter poles (36 dB slope!) enables radical
tonal manipulations.
The LFOs feature 68 continuous variable wave-
shapes each, including a triangle with variable
symmetry and infinitely variable aperiodic oscil-
lations for random variation of the controlled
parameters. The LFOs are capable of poly-
phonic as well as monophonic oscillation. In
other words, if several voices are active, the
shapes each, including a triangle with variable
symmetry and infinitely variable aperiodic oscil-
lations for random variation of the controlled
parameters. The LFOs are capable of poly-
phonic as well as monophonic oscillation. In
other words, if several voices are active, the