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Access Virus A

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    Description
    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 characteristics and tone of traditional analog synthesizers - for instance the Prophet 5 or Memorymoog to name just two popular examples of the species - in a previously unparalleled level of quality and handling ease. We're not kidding, the Virus actual delivers the authentic response of an analog synth via a digital signal processor chip, although the sound shaping and voicing options out-perform those of it historical predecessors by a considerable margin.

    • The Virus offers a maximum of twelve voices. In Multi Mode, these can be allocated dynamically to sixteen simultaneously available sounds.

    • You have no less than two audio oscillators plus one suboscillator, a noise generator, two Multi Mode filters, two envelopes, a stereo VCA, three LFOs and a saturation stage (SATURATOR) for cascade filtering, tube and distortion effects.

    • Two of the three oscillators produce 66 waveshapes, 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 and frequency 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-filtered within the same voice! A maximum of six filter poles (36 dB slope!) enables radical tonal manipulations. And if for some reason these options are insufficient for what you have in mind, the Virus features a well-engineered signal routing system that allows you to patch the voices to the filters of other voices in parallel or in series for further sound shaping.

    • You can also process two external audio signals - either two independent mono signals or a combination stereo signal - via the filters, VCAs of the voices and the Virus' internal effects in virtually any manner you see fit.

    • Four of the sixteen sounds in Multi Mode feature individual (!) chorus/flanging units. You also have a delay at your disposal. It can be routed to all sixteen sounds via the internal FX loop. All effects process stereo signals.

    • The LFOs feature five waveshapes each, including a triangle with variable symmetry and infinitely variable aperiodic oscillations for random variation of the controlled parameters. 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 waveshapes with variable phase lengths at the beginning of a note and/or to cycle once only, like an envelope.

    • Sounds and effects are patched out via six audio outputs which of course can also be used to route three stereo signals out.

    • And last but not least, you have all of these features without the major hassles inherent in vintage analog synthesizers. Compared with its behemoth predecessors, the Virus is exceptionally compact, light-weight and dependable. You never have to contend with lengthy warm-up periods and pitch instability due to temperature changes. (You might even feel that the Virus is TOO small. Those massive analog beasts certainly had a stunning visual effect, especially on stage. However, we will guarantee that you will change your mind the first time you carry your Virus into a rehearsal room and find that you are not even winded. The long-term benefits become apparent when your chiropractor stops sending you Christmas cards.)

    In additional to its killer sounds and tone, the Virus was designed to deliver ultimate handling and control comfort. It is equipped with dedicated knobs and buttons for the crucial synthesizer functions, the more unusual parameters are accessible via data entry procedures. We distinguished between these two levels of expertise to enable you to create complex sounds while keeping the user interface as clear and uncluttered as possible. If you enjoy devising complicated sound structures, you can set the Virus to Expert Mode, where you will find a wide range of additional intriguing sound parameters. A novice might find the vast number of options daunting, so we kept them separate from the standard operating mode.

    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 audible 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. Additionally, the four control feature operating modes let you program a sensible as well as practical setup for the diverse live and sequencerbased applications.

    And users of contemporary software sequencers will appreciate the fact that the Virus sends all sound shaping commands immediately in the form of MIDI Controller or Poly Pressure data (and of course accepts all of the corresponding Controller and Sys-Ex messages). This feature lets you dynamically control the Virus and all its functions via computer.

    Although far from complete, the features listed above give you some indication that you now own an exceptionally versatile, high-quality musical instrument that will give you plenty of joy for years to come.
    Images
    Architecture
    Type: Digital
    Synthesis: Additive, Frequency Modulation, Phase Distorion, Subtractive, Wave Table
    Oscillators: 3
    Waveforms: Pink Noise, Pulse, Saw Down, Saw Up, Sine, Square, Sub Oscillator, Super Saw, Triangle, Wave Table, White Noise
    Osc Modulation: After Touch, Envelope, Keyboard, Knob, LFO, Mod Wheel, Oscillator, Pitch Wheel, Glide / Portamento, Sync Hard, Velocity
    Envelopes: 2
    Evelope Paramerters: Delay, Attack, Decay, Sustain, Release, Looping, Time
    Filters: 2
    Types: 6dB Slope, 12dB Slope (2-pole), 18dB Slope, 24dB Slope (4-pole), 36dB Slope , Band Pass, Band Stop, High Pass, Low Pass, Resonance, Serial, Parallel
    Filter Modulation: Envelope, Keyboard, Knob, LFO, Mod Wheel, Pitch Wheel, Portamento, Velocity
    LFO: 3
    LFO Parameters: Noise, Sample & Hold, Saw Up, Saw Down, Sine, Square, Triangle, Clocked, Delay, Freerun, Key Sync, Phase
    LFO Notes::
    68 LFO Waveforms
    Polyphony & Tuning
    Polyphony: 12
    Timbrality: 16
    Tuning: Standard
    Modes: Mono, Polyphonic, Split, Unison
    Patches
    Patches RAM: 256
    Patches ROM: 768
    Multipatches RAM: 128
    Storage: Internal
    Editing: MIDI
    Arpeggiator
    Arpeggiator 16 modes:

    + UP Sustained notes are arpeggiated in an ascending manner.

    + DOWN Sustained notes are arpeggiated in descending manner.

    + UP & DOWN Sustained notes are arpeggiated alternately in an ascending and descending manner.

    + AS PLAYED Sustained notes are arpeggiated in the sequence that they are played. It ispossible to latch the Arpeggiator with the sustain pedal.

    + RANDOM Arpeggiates notes in random sequence.

    + CHORD PLAYS notes as chords rather than arpeggios.
    Effects
    22 simultaneous DSP effects: EQ, Phaser, Chorus, Anlog Boost, Ring Modulator, Distortion, Reverb, Delay, Multi-FX, Vocoder
    Chips and Operating System
    6.6
    Case
    Case: Desktop, Rack
    Rack Size: 19", 4U, Full
    Controls: Buttons, Knobs, Switches
    Display Type: LCD, LED, Backlit
    Display Count H: 16
    Display Count V: 2
    Dimensions (WxDxH): 470(W) x 185(D) x 75(H) mm
    Weight: 2.85 kg
    Connections
    Audio Output Connections: 1/4" Phone Jack, Stereo Main, Stereo 2, Stereo 3, Stereo Headphone
    Audio Output Count: 8
    Inputs: Stereo
    MIDI Ports: IN, OUT, THRU
    DAC Bits: 20
    DAC Frequency Rate: 44.1
    Power: 12V DC
    Production
    Year Released: 1997
    Year Discontinued: 1998
    Used By
    Headhunterz, Angerfist, Paul Oakenfold, TOOL, Covenant, Periphery, Velvet Acid Christ, VNV Nation, Nine Inch Nails, Front Line Assembly,Gary Numan, Thomas Dolby, Depeche Mode, Barenaked Ladies, Celine Dion, Dr. Dre, Linkin Park, No Doubt, Radiohead, Ryan Leslie, Stevie Wonder, Hans Zimmer, Daniel Rosenfeld
    Manuals & Documents

    Product Links
    Company Product Sites:
    [+] www.virus.info
    Reviews
    Pricing
    MSRP List Price: $1,299 - convert
    Retail Street Price: $1,199 - convert
    Used Price: $300 - $700 - convert
    Shopping
    YouTube Videos
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