Access VIRUS C SERIES User manual

©2000, 2001 Access Music GmbH, Germany. Virus™ is a trademark of Access Music GmbH.
All other trademarks contained herein are the property of their respective owners. All
features and specifications subject to change without notice.
Written by Christoph Kemper, Uwe G. Hönig, Wiland Samolak
Guido Kirsch and Marc Schlaile.
Translation by Thomas Green. Graphic design and DTP by Babylonwaves Media.
http://www.access-music.de | [email protected]
The Virus - Resistance is futile.

Table Of Contents

2

Important Safety Remarks
- Set-up 6
- Connections 7
- Operation 7
- Memory battery change 8
- Care 8
- Fitness for Purpose 8

Prologue

Introduction
The Virus 14
- Cable Connections 15
- Power Up the Virus 15
- Listening to the Factory Sounds 16
- Listening to the Multi Programs 17
- Your First Sound Program 17
The Amplifier Envelope 19
The First Filter 22
Filter Modulation 25
The Saturation Stage 27
The Second Filter 28
Filter Routing 32
The First Oscillator 34
The Second Oscillator 37
The MIXER Section 39
The LFOs 41
- LFO 1 42
- The modulation targets 42
- LFO 2 45
Volume and panorama 46
- Volume and Panorama Position 46
Velocity 47
Unison Mode 48
The Chorus/Flanger Effect 49
The Delay Effect 50
More to Come 51

Concept and Operation
Operating Modes 54
The Multi-Single Mode 55
the Edit Buffers 57

Operation
Parameter Selection and Data Entry 60
Display of values 64

All About The Memory
Store 66
Compare 67

Modmatrix And Definables
Creating Modulations via Assign 70
The Definable Knobs 72

Master Clock And Midi-Clock
Master Clock and MIDI-Clock 74

The Effects Section
The Effect Section 76

Audio Inputs
Audio Inputs 78
- OSC Volume / Input 79
- Input global Settings 80
- Input Level Indicator 80

Audio Routing
The Audio Outputs 82

Categories
Sound Categories 84

Random Patch Generator
Random Patches 86

Additional Functions
Additional Functions 90
- Panic Function 90
- Audition function 90
- Reset Function 91

The Parameters
OSC Section (Encoder) 94
- Oscillator 1 95
- Oscillator 2 95
OSC Sektion (Menu) 96
- Oscillator 1 96
- Oscillator 2 97
- Oscillators 98
- Sub Oscillator 99
- Ringmodulator 100
- Noise 100
Filter Section (Encoder) 101
Filter Section/Menu 102
- Filter 1 102

ACCESS VIRUS RACK 3
- Filter 2 103
- Filters 104
Envelope Section (Encoder) 107
- Filter Envelope 107
- Amplifier Envelope 108
LFO Section (Encoder) 109
- LFO 1 109
- LFO 2 110
- LFO 3 110
LFO Section (Menu) 111
- LFO 2 112
- LFO 3 113
EFX Section 115
EFX Section/Encoder 116
- Chorus 116
- Reverb 117
- Delay 119
- Input 120
- Vocoder 123
- Analog Boost 123
EFX Section/Menu 124
- Chorus 124
- Delay/Reverb 125
Edit Section/Encoder 129
Edit Section/Menu 131
- Common 131
- Unison 134
- Punch 135
- Assign 136
- Velocity 138
Arpeggiator&Ctrl Section (Encoder) 141
Arpg&Ctrl Section (menu) 143
- Arpeggiator 144
- Random Patch Generator 145
- Definable 1+2 146
MIDI 149
- Midi Dump TX 149
- Midi Dump RX 150
System 154
Multimode parameters 156

The Vocoder
Vocoder 162
- The Modulator Bank 163
- The Envelope Follower 163
- The Carrier Bank 163
The parameters of the Virus vocoder 164
Notes about the vocoder 166

The Virus and Sequencers
Parameter Control via MIDI 168
Organizational Information 169
Handling MIDI Parameter Control 172
Notes on Adaptive Parameter Smoothing 173
Problems Related to Parameter Control 175
Dump - The Sound in the Song 176

Tips, Tricks& Words Of Wisdom
Tips and Tricks 180
- Multi Single Mode 180
- Value Buttons 180
All abouts Inputs 182
- Audio Inputs and Audio Routing 182
- OSC Vol / Input 182
- Input Level Indicator 183
About Effects 184
- Delay/Reverb Effect Send 184
- The Virus as an Effect Device 184
Oscillators 185
- Pulse Width Modulation 185
- Oscillator Sync/FM 186
Filters 187
- 24-dB Filter Variations 187
- Filter Balance 187
- Filter Routing: Split 188
Saturation for Added Grit and Dirt 189
- Saturation and OSC Vol 189
- Saturation Curve: Shaper 189
LFOs 190
- LFO Env Mode 190
- LFO Mode 191
- LFO Trig Phase 191
- External LFO Trigger 192
- Filter Gain 192
Volume Control 193
- Patch Volume 193
- Part Volume 193
- Channel Volume 193
Assign and the Definable Knobs 194
Arpeggiator 195
MIDI 196
- MIDI Dump RX 196
- Expression Controller 197
- Bank/Program Change via SysEx 197
- Priority 198
The Operating System (OS) 200
- Installing an operating system update 200
- Loading the OS from One Virus to Another 201
- Software Updates 201

4

Appendix
System Exclusive Data 204
- System Exclusive Implementation 204
- Control Change message (only Page A) 205
- Polyphonic Pressure message (only Page B) 206
- System-Exclusive-Message 206
- SysEx Parameterchange 206
- Single Dump 207
- Multi Dump 207
- Single Request 208
- Multi Request 208
- Single Bank Request 208
- Multi Bank Request 209
- Arrangement Request 209
- Global Request 209
- Total Request 209
- Controller Dump Request 209
MIDI Implementation Chart 210
FCC Information (U.S.A) 212
FCC Information (CANADA) 214
Other Standards (Rest of World) 216
Declaration of Conformity 218
Garantie Bestimmung 220
Warranty 222

ACCESS VIRUS RACK 5

6 CHAPTER 2
Important Safety Remarks
s Please read and heed the follow-
ing safety guidelines!
A few fundamental rules on handling
electrical devices follow.
Please read all notes carefully before you
power the device up.

Set-up
 Operate and store the device in
enclosed rooms only.
 Never expose the device to a damp
environment.
 Never operate or store the device in
extremely dusty or dirty environments.
 Assure that air can circulate freely on
all sides of the device, especially when
you mount it to a rack.
 Don’t set the device in the immedi-
ate vicinity of heat sources such as
radiators.
 Don’t expose the device to direct
sunlight.
 Don’t expose the device to strong
vibrations and mechanical shocks.

ACCESS VIRUS RACK 7

Connections
 Be sure to use exclusively the
included mains power supply adapter.
 Plug the device only into mains sock-
ets that are properly grounded in com-
pliance with statutory regulations.
 Never modify the included power
cord. If its plug does not fit the sockets
you have available, take it to a quali-
fied electrician.
 Always pull the power plug out of
the mains socket when you won’t be
using the device for prolonged peri-
ods.
 Never touch the mains plug with wet
hands.
 Always pull the actual plug, never
the cord, when you’re unplugging the
device.

Operation
 Don’t set beverages or any other
receptacle containing liquids on the
device.
 Make sure the device is placed on a
solid base. Set it on a stable tabletop
or mount it to a rack.
 Make sure that no foreign objects
fall into or somehow end up inside the
device’s housing. In the event that this
should occur, switch the device off and
pull the power plug. Then get in touch
with an authorized dealer.
 Used on its own and in conjunction
with amps, loudspeakers or head-
phones, this device is able to generate
levels that can lead to irreversible
hearing damage. For this reason,
always operate it at a reasonable vol-
ume level.

8 CHAPTER 2

Memory battery change
The Virus stores its sound programs in a
battery-buffered RAM. This battery (gen-
eral type designation: CR2032) should be
replaced every three to four years. The
housing has to be opened to change the
battery, so take the device to a qualified
service technician. Do your part in pro-
tecting our environment and take it to a
shop that disposes of batteries properly.
Before you have the battery changed,
save the entire memory content of the
RAM by loading it to a sequencer via
"Total Dump". Be advised that RAM con-
tent is lost when the battery is swapped
(see “Midi Dump TX” on page 149).

Care
 Do not open the device, it is not
equipped with any user-serviceable
parts. Repair and maintenance may
only be carried out by qualified spe-
cialists.
 Use only a dry, soft cloth or brush to
clean the device.
 Do not use alcohol, solvents or simi-
lar chemicals. These can damage the
surface of the housing.

Fitness for Purpose
This device is designed exclusively to
generate low-frequency audio signals
for sound engineering-related pur-
poses. Any other use is not permitted
and automatically invalidates the war-
ranty extended by Access Music Elec-
tronics GmbH.

ACCESS VIRUS RACK 9

10 CHAPTER 3
Prologue
Dear Virus Owner,
Congratulations on your choice, the new
Virus. You have purchased a cutting-
edge synthesizer that comes fully loaded
with several revolutionary features. Here
are just a few of the highlights:
The Virus delivers the sound characteris-
tics and tone of traditional analog syn-
thesizers - for instance the Prophet 5 or
Memorymoog to name just two popular
examples of the species - 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 pro-
cessor chip, although the sound shaping
and voicing options out-perform those
of it historical predecessors by a consid-
erable margin.
The Virus comes with 512 slots for stor-
ing SINGLE sounds. These are organized
in four banks. The first two banks (A and
B) are located in the RAM, so you can
overwrite them with new sounds. The
other two banks are ”hard-wired”, i.e.
they’re programmed into the FLASH
ROM.
The Virus rack offers a maximum of 16
voices. In Multi Mode, these are allo-
cated dynamically to 16 simultaneously
available sounds.
You have two audio oscillators plus one
suboscillator, a noise generator, a ring
modulator, two Multi Mode filters, two
envelopes, a stereo VCA, three LFOs and
a saturation stage (SATURATOR) for cas-
cade filtering, tube and distortion
effects.
The Virus offers a veritable number of
effects. You have a powerful Chorus/
Flanger section at your disposal, as well
as the Analog Boost - a controllable bass
emphasis, with each effect available sep-
arately for every sound. You also get a
global reverb/delay unit that lets you
create high-quality reverb 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 signals can be pro-
cessed with filter, gate and lo-fi effects,
routed to the Virus effects section and
serve as a modulation source for fre-
quency 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 modula-
tion options.

ACCESS VIRUS RACK 11
You'll find parallel external audio inputs
on the front and back panel. You can
determine the input sensitivity via a gain
selector switch. You're also free to acti-
vate a special Phono EQ that enables you
to connect a record player via a suitable
cord.
The two main oscillators produce 66
waveshapes, three of which are dynami-
cally mixable so that spectral effects are
possible within the confines of a single
oscillator. In conventional synthesizers,
this type of effect requires several oscil-
lators. Synchronization, frequency mod-
ulation and ring modulation between
the audio oscillators 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
parallel within the voices via several
options. When you switch the filters in
series, the saturation stage is embedded
between the filters. Consequently, an
overdriven filter resonance can be re-fil-
tered within the same voice! A maximum
of six filter poles (36 dB slope!) enables
radical tonal manipulations.
The LFOs feature 6 continuous variable
waveshapes each, including a triangle
with variable symmetry and infinitely
variable aperiodic oscillations for ran-
dom variation of the controlled parame-
ters. The LFOs are capable of polyphonic
as well as monophonic oscillation. In
other words, if several voices are active,
the LFOs can run independently or in
sync. A number of keyboard trigger
options enable you start LFO wave-
shapes with variable phase lengths at
the beginning of a note and/or to cycle
once only, like an envelope.
Next to the numerous ”hard-wired” or
fixed modulation configurations, you
can assign three modulation sources to
up to six different modulation destina-
tions via the Modulation Matrix. For
your modulation sources, you have LFOs,
velocity, the pitch bender, aftertouch,
the modulation wheel, numerous MIDI
controllers and other sources to chose
from. For your modulation destinations,
you can select any sound parameter of
the Virus that is conducive to being
remote controlled.
Up to 16 arpeggiators are available in
MULTI mode. These give you countless
options for creating arpeggios, which
can also be synced up to MIDI clock.
Sounds and effects are patched out via
four audio outputs which of course can
also be used to route two stereo signals
out.
The Virus Rack comes with a powerful
software editor for PC and Macintosh. It
lets you edit and manage sounds on a
large-scale user interface. You can access
every sound parameter of the Virus Rack
directly via mouse click. When you edit a
parameter, the Virus will render the
changes immediately in real time.
Accordingly, every parameter change
that you make using the encoder knobs
(those knobs without left and right con-
trol range limits) on the Virus Rack

12 CHAPTER 3
appears immediately on the screen. Inci-
dentally, this editor is based on Emagic's
popular SoundDiver.
In all modesty, we are especially proud of
a feature we developed called Adaptive
Parameter Smoothing. For the first time
in the history of synthesizers equipped
with memories, you can manipulate a
knob or control feature without an audi-
ble step or increment. In other words,
the sound does not change abruptly but
SEAMLESSLY. No more zipper noises! The
Virus responds just as smoothly as analog
synthesizers did prior to the introduction
of digital sound storage.
And users of contemporary software
sequencers will appreciate the fact that
the Virus sends all sound shaping com-
mands immediately in the form of MIDI
Controller or Poly Pressure data (and of
course accepts all of the corresponding
Controller and SysEx messages). This fea-
ture lets you dynamically control the
Virus and all its functions via computer.
Although far from complete, the fea-
tures listed above give you some indica-
tion that you now own an exceptionally
versatile, high-quality musical instru-
ment that will give you plenty of joy for
years to come. We certainly hope you
can fully exploit the enormous potential
of this fine instrument.
Have fun and enjoy!
Your Virus Development Team
Many thanks to:
Ben Crosland, Thomas Green, Axel Hart-
mann, Uwe G. Hönig, Jörg Hüttner, Timo
Kaluza, Frank Katzer, Shehryar Lasi,
Oliver Käser, Andrea Mason, Paul Nagel,
Kai Niggemann, Rob Papen, Wieland
Samolak, Howard Scarr, Jörg Schaaf,
Hans-Jörg Scheffler, Matt Skags, Joeri
Vankeirsbilck, Jay Vaughan and Jens
Wegerhoff.

Introduction

14 CHAPTER 4
Introduction
THE VIRUS
This section provides deliberate, step-by-
step guidelines on operating and han-
dling the Virus for those of you who are
new to the world of synthesizers and
MIDI. The following covers basics such as
how to connect the Virus to an AC
power supply, your MIDI system and your
audio system. Then we will guide you
through a series of experiments
designed to demonstrate the different
functional groups, their control features
and the tasks they execute.
After you have finished reading this sec-
tion, you will be able to handle virtually
all of the sound generating and sound
shaping functions of the Virus. All of
these are described in context. Even the
majority of less significant functions,
accessible via menus, are discussed here.
You will find a detailed, comprehensive
description of all functions of your new
synthesizer in the section following this
introduction.
Please keep in mind that within confines
of this introduction, we are unable to
impart all of the knowledge and skills in
acoustics, sound synthesis and MIDI con-
trol you might desire or need to acquire.
If you are keen to learn more about
these subjects, you should consider
becoming a regular reader of one or sev-
eral of the leading trade publications in
your country. Your local musical instru-
ments dealer or more experienced musi-
cians will be able to recommend the best
magazines to you. And of course there is
a wide range of books available on these
subjects.
If you decide to read this section, we rec-
ommend you read it in its entirety from
the start - rather than begin with a sub-
section that is of particular interest to
you. A fitting metaphor for the basics
discussed in this section might be a
house where each bit of information in a
subsection is a brick that builds on a pre-
ceding brick and interlocks with those
next to it. You want your knowledge
base to be a sound structure so you
won’t run into problems when you find
one of the “bricks” is missing.

ACCESS VIRUS RACK 15
The Virus

Cable Connections
Before you connect the Virus to an AC
outlet and the rest of your equipment,
ensure that all of the devices are
switched OFF. If your Virus does not have
a build-in keyboard, then connect the
MIDI OUT of the desired MIDI send
device (keyboard, computer, hardware
sequencer, etc.) with the MIDI IN of the
Virus.
Connect the audio outputs of the Virus
with the signal inputs of your audio sys-
tem. In order to receive a signal, as a
minimum you must connect the output
OUT 1 R/MONO. However, we recom-
mend you also connect the output OUT 1
L so you are able to enjoy the stereo
sounds of the Virus.
Once you have established the desired
cable connections, make sure the main
volume controls of all the connected
devices are dialed to the lowest possible
setting. Switch the devices on in the fol-
lowing sequence: the MIDI send device
(computer, master keyboard, etc.) first,
then the sound generators (Virus and
the other signal sources), followed by
the mixing console and finally the ampli-
fier.

Power Up the Virus
Power up the Virus Rack by pressing the
POWER button. To shut the device down,
press and hold this button for approx.
two seconds.
Now while you are sending notes on
MIDI Channel 1 of the Virus, turn the
master volumes of the connected devices
up in the same order that you switched
the devices on. Be sure to keep on eye
on the signal level indicators of your mix-
ing console.

16 CHAPTER 4
Introduction

Listening to the Factory
Sounds
The program memory of the Virus was
loaded with sound programs (SINGLE
PROGRAMs) and sound combinations
(MULTI PROGRAMs) before it left the
factory. To hear the SINGLE PROGRAMs
(and gain an initial impression of the
possibilities your new instrument has to
offer in terms of sounds), first make sure
your MIDI source is sending on MIDI
Channel 1.
Press the SINGLE button. A number, a let-
ter, number and name appear in the dis-
play. These indicate the the MIDI
Channel, the current Program Bank (A to
D) as well as the number and name of
the current sound program.
Now if you play notes you should be able
to hear this sound and a quarter note
(the round dot at the end of the note
staff is solid black) should appear in the
display every time you press a key and
release a key. If you do not hear a sound
but you see a half note (blank note
head) check to see if you are sending on
the wrong MIDI Channel.
Press the VALUE button to call up the
128 single programs of Bank A in
sequence. (The VALUE encoder is inac-
tive in this operating mode.) In order to
hear the sound programs in banks B, C
and D, simply use the PARAMETER/BANK
buttons to step from one program bank
to another.
You’ll find that some sound programs
are labeled with the abbreviations ”INP”
or ”VOC”. These use the external audio
input as a signal source for the filter sec-
tion (INP) or vocoder (VOC). This means
that you won’t hear anything until you
route an audio signal into the external
audio inputs.

ACCESS VIRUS RACK 17
The Virus

Listening to the Multi
Programs
The Virus not only has the capability of
playing SINGLE PROGAMs, but also com-
binations consisting of more than one
sound simultaneously (MIDI Multi
Mode). To call up the MULTI PROGRAMs,
press the MULTI button and select these
combination programs via the VALUE
button. The Virus features “only” 128
MULTI PROGRAMs, so you don’t have to
switch back and forth between banks
they way you just did while activating
single programs.
The majority of available MULTI PRO-
GRAMs contain sound combinations that
are controlled via a single MIDI channel.
In these MULTI PROGRAMs, the sounds
involved are allocated side-by-side (split)
or on top of one another (layered) on
the keyboard. In other MULTI PRO-
GRAMs, the sounds are divided up over
several MIDI channels to make it easier
to work with a sequencer. If you activate
a MULTI PROGRAM and hear a single
sound only, then you can control this
MULTI PROGRAM via several channels.

Your First Sound Pro-
gram
If you have never created or changed a
sound on a synthesizer, we now have the
pleasure of introducing you to this fasci-
nating process.
Press the button
SINGLE and select the
single program “A127 - START -” by
using the
VALUE buttons. Press any key
on the connected keyboard. You should
hear a sound that, for lack of better
description, is a bit harsh or biting, but
above all completely static. It should
start immediately after you press a key
and sustain indefinitely for as long as
you hold the key down. As soon as you
release the key, the sound should end

18 CHAPTER 4
Introduction
abruptly. This sound is not designed to
be especially pleasant; it is intended to
be as neutral as possible to give you a
basis from which you can begin creating
or shaping your own sound.