Every part, even in multi-mode, comes with its own chain of independent effects (including reverb and delay). The massive voice count makes it possible to stack even complex sounds for the first time without breaking a sweat.
As deeper instruments emerge many of us turn towards sound presets instead of building their own patches from scratch. We honour this tendency by giving you one of the largest free sound libraries anywhere, made by professional sound designers. Even better, we make sure that all sounds officially released for the Virus TI are checked and refined by our internal sound design gurus first. This way we can assure that the sounds have a minimal CPU footprint and maximal flexibility with all sorts of controllers pre-assigned for your enjoyment.
Access Virus Sounds
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Steampunx is a breaks oriented demo not holding back on bass and fat lead sounds. All tonal sounds including the FX were made with one Virus TI2. Most of the drum sounds and loops can be found on Sample Magic's Breakbusters library.
I'd have to say that the oscillators are the least convincing weapon in the Virus' armoury, despite the welcome addition of the digital waves. The bass and lead sounds I was able to create seemed to lack a certain warmth and fullness, especially in the lower registers, although the vast majority of polyphonic synth voices, effects and percussive/sequencer patches were achievable with ease.
If they're connected in series, the first filter and saturation stage can produce a rich output which then becomes the sound source to be filtered again by Filter 2. Filter 2 may be linked so that it always operates relative to Filter 1, or it can work independently. The Filter Balance knob fades between the outputs of the two filters, and directly underneath this a button sets whether the (shared) Resonance, Envelope Amount and Key Follow knobs control just one or both of the filters. Envelope polarity may be set independently for each filter. With the number of combinations of filter type and routing on offer, the Virus can sculpt a range of sounds to keep most people happy for years. Quite simply, this is the best digital filter I have yet heard.
User sounds may be stored in two banks of 128 patches with a further two banks of ROM patches to get you started. Example patches for vocoder or external input processing are provided to make those features even easier to get to grips with.
Not only has the polyphony increased, but Access have made available a 1024-patch optional soundset, including six Banks of new ROM patches, occupying Banks C to H. Downloadable from the Access web site, this soundset brings the total available patch count to 256 User, 768 ROM and 128 Multi Patches.
Whilst the synthesis engine of the Virus C is essentially the same as a fully updated B, a number of changes have taken place on the front panel to improve functionality, speed access to certain features, and perhaps to address certain criticisms levelled at the previous models.
In response to popular comment, a number of front-panel hardware additions are now evident. The Effects now have a section of their own (see below), whereas on the A and B models these settings were all hidden within Edit menus accessed via the LCD. Firstly, two knobs to control Type/Mix and Intensity are shared by the distortion, phaser and chorus effects (each effect selectable in sequence via a button) whilst below those, the reverb/delay has controls for Send, Delay/Reverb Time and Feedback/Damping. Both groups of effects have Edit buttons that will take you to more detailed parameter menus.
Also new is a dedicated On/Off button for Oscillator 3. This works in conjunction with the Oscillator Select and Edit buttons to facilitate access to the functions of the third oscillator, although there remains no easy way to 'solo' its output.
There are dual filters with multiple modes from Lowpass, Hipass, Bandpass, Bandreject to more DSP-intensive emulations of analog 1- , 2- and 4-pole modes (the so-called Minimoog emulation). These filters are what really make the synth and impart a definite character to the Virus. Most would agree that the Virus sounds dark and ominous rather than the bright, crisp sounds of the Clavias and Korgs. They whine and screech when you crank up the resonance into the self-oscillating regions as well! Regardless of whether the filter emulations perfectly copy the originals, or any preconceptions regarding what is analog or digital, these filters are a modern classic and can be argued to have already made it onto even more vinyl acreage than the venerable Minimoog. The Virus really IS several genres of dance music; as much a signature sound as the saxophone to modern be-bop. To dismiss it as a dance floor-only synth would be criminal, however.
Rounding the synth is a studio-spec effects section, with delays (including tape delays - clocked and free running with modulation and bandwidth options), a great sounding reverb (which is used in perhaps a little too many of the 4,000 - yes 4,000 - factory presets) and EQ options with Q control. There's a distortion mode which can spit your sound out for breakfast, and phaser/chorus/unison effects for thick washes of sounds. You can play a 4-minute pad that never sounds the same twice on this synth; a great drone machine. Analog EQ emulations were added recently, and subtly tweak your sound in all the good ways.
Access Virus Hyperboreal Soundset is your official number #1 soundset in the studio when we are using Virus in our productions. Luke Terry Hyperboreal contains 122 pristine presets, which sound just amazing! There are no fuzzing around patches, they all have a slot in your track if you want.
Hear the demo below, while you read what Luke says himself:Firstly, let me please thank you for purchasing this soundset. This soundset comprises over 120 sounds from my own personal collection of sounds which I have made and used in my productions over the last 15 years or so.
The sounds are designed to be used in tracks. They are not there to fill spaces in a half finished bank. They are plug and play and you could quite easily make a whole array of tracks with the sounds within this bank.
If you are a trance producer, this is essencial...If you have the knowledge you can make nice sounds for trance in plugins, but just from the synthesis student point of view, the virus sounds library have great classic trance sounds, and you can learn a lot about sound design just *reverse engineering the presets.
Hence, the idea here was to create pure, punchy, bright FM sounds using only the frequency modulation components of the Virus. While some presets were inspired by the Yamaha DX7 era, a Virus always encourages you to break the rules and create sounds beyond the ordinary: raspy FM basses, crystalline keys, tinkling mono leads, animated pads and sharp plucks, some crazy psy frog effects used by psy trance songs. Most of them are spiced up with some irregular yet controlled atonal, aliased and droning nature, or the mix of all these, unique to Virus only.
The Access Virus TI has been one of the most successful synthesizers of the new millennium. Psytrance producers of all levels and styles have been using the Access Virus TI to create their soundscapes, establishing it as one of the most influential psychedelic sound design tools.
The webinar will start with an overview of the software, going through the various features of how this virtual analog synthesizer can be used for multiple palettes of sounds. David will then create some patches from scratch to dive deeper into the functionality of the software.
Synth Attack is a collection designed by Claudio G. "Dladio" Fusillo for Synthcloud. This is a huge collection made with a different, "organic" approach to the Access Virus TI 2.The bank contains classic and experimental leads, complex pads, percussive synths, real instruments emulations and unique drum sounds.
The Virus is responsible for the shaping the sound of Tech-Step Drum & Bass and the darker styles of the genre that emerged in the late 90's, and it only seemed right that we should create a sample pack which harnesses the power of this DnB icon. Whether you produce Drum and Bass, Dubstep, EDM or Techno, the raw intensity of these sounds will literally blow you away.
Painstakingly sampled direct from the classic hardware by a respected Drum n Bass producer, this pack includes dark evolving textures, atmospheric sounds, infectious pads, eerie soundscapes and of course the unadulterated filth that the Virus is famous for.
First of all, Access Virus Editor & Librarian brings users can work with their Access Virus hardware synthesizer by the same way they use their virtual instrument plug-ins. It brings hardware integration to modern DAW (Digital Audio Workstation) environments and works seamlessly with all Access Virus synthesizers. The Access Virus Editor & Librarian will recall your patch settings when you open your project and the data will be sent to your Virus synthesizer automatically once you open your project. Your synthesizer is always synchronized with your session. This Total Recall brings you save time with no more waiting for loading or transferring hardware data. So, it is now much faster to scroll thru sounds and make tweaks within your DAW as well as you can automate parameters with real hardware control names.
The graphical user interface design of Access Virus Editor & Librarian is designed to make everything from sound design to patch editing as smooth as possible. When you move a slider, push a button or twist a knob in your Virus hardware synthesizer, software will respond at appropriate layer or part. As all the edits are stored within the project, so once the project is opened up again, Total Recall will send the data to hardware automatically. Users can use sections locks with Randomizer function to create complex sounds while keeping the best settings untouched. 2ff7e9595c
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