Polyphony is expanded from 24 to 32 voices! Otherwise, the synth engine is virtually the same as the B series. Three oscillators, one sub osc. The C series offers an expanded mod matrix with 6 source and 9 destination slots, 98 effects, wood side panels, and more!
The operating systems can be easily upgraded via MIDI This item is sold As-Described and cannot be returned unless it arrives in a condition different from how it was described or photographed. Items must be returned in original, as-shipped condition with all original packaging. Your purchases also help protect forests, including trees traditionally used to make instruments. We understand the importance of online privacy and are committed to complying with the EU General Data Protection Regulation.
To reflect our commitment, we updated our terms and conditions. By continuing to use Reverb, you agree to these updates, and to our cookie policy. Learn More. All 16 parts of the Virus are displayed in a column to the left of Virus Control , and here you can load and save individual patches, adjust the volume and pan of a part, and select a part for editing in the main display.
Sequencer mode, which is the mode the TI uses when you're working with Virus Control , is similar to Multi mode, in that you have 16 simultaneous parts, but it actually works like having 16 simultaneous Single modes rather than one Multi mode. In addition to storing patches directly on the Virus, Virus Control can also save patches to your local disk if you run out of space on your Virus, and as on the Virus Powercore plug-in, these are stored as banks of patches in MIDI file format.
Actually, the Browser page of Virus Control is the only aspect that slightly lets the side down. Access chose to display the patch list as if the patches were on an LCD screen a bit like NI's FM7 , and style aside, this just makes it hard to read the patch list. Some better faster search facilities would also have been good, although I hear this is another area Access are working on. While it's true that using audio devices with USB hubs can often be problematic, I decided to ignore this warning initially and see if the Virus TI would still be functional connected in this way.
However, I wasn't being awkward: the Windows computer on which I was installing the Virus TI was in a machine room some feet away from the main workstation where the monitors, keyboards and Virus TI were located.
Since the maximum length for a USB cable to allow for reliable transmission is about So I ignored the initial warning during installation, and at first, all was well. The installer detected that I had connected a TI even though it was via a hub , and the drivers were still installed correctly. At this point I was thinking 'hub, shmub! While this is annoying, it's understandable.
Given the number of incompatibilities that users could encounter using the many possible types of USB hub, it does make a degree of sense for Access to ensure that the TI is used in a way that always gives the best possible results. On the other hand, if you're using a computer with a limited number of USB ports such as an Apple Powerbook , it would be handy if an Expert mode could be added for those users who want to take their chances!
I really love the Virus TI. It's not perfect; there are some issues to be resolved, and features to be implemented. But, for me at least, there's nothing about the TI in its current state that would prevent me from having a good time or making a purchase, despite the fact it's not uncommon to see the odd bug. For example, I noticed that when I was selecting patches from the TI in Sequencer mode, Virus Control didn't always display the correct patch name.
Still, it's reassuring to see Access releasing regular updates on the Internet for users who have already bought the new Virus, continuing their good practice of offering regular updates for previous Virus models.
The Virus has always been a fine-sounding synth, and it's always been fun and intuitive to program. The TI takes this to the next level; the new engine, with its additional DSP resources, is fantastic, and the improvements to both the Virus' hardware user interface and the new software interface, in the form of Virus Control , make the TI a dream to program. The 'total integration' features have been well thought out, and, for the most part, well implemented — everything you could conceivably want to do with a Virus attached to your computer seems to be possible.
The only missing piece is the 'still to come' Remote mode, but I don't think this is a serious omission. I think I'm going to buy a TI Polar because, for me, it's the perfect desktop instrument. I can have it right next to my computer keyboard and mouse, it's the perfect master keyboard for generating MIDI data when an note keyboard isn't required, and, of course, it has the best-sounding Virus synth engine to date. It's not particularly cheap, and the Polar costs the same as the note Keyboard version, but it's such a great instrument that I can't really criticise the price, because you really do get what you pay for.
Access' latest Virus incarnation was worth the wait: users for whom the TI will be 'their Virus' and seasoned Access veterans alike are in for a treat. While it might be obvious, you can't run more than one instance of the Virus plug-in simultaneously, since you only have one Virus engine attached.
Fortunately, this does no harm, and you can simply remove the second plug-in instance and carry on using the first. One potential way around only having one Virus TI and let's not forget the TI is part multitimbral!
Using Freeze in conjunction with the TI could be rather neat; imagine being able to use one instance, freeze it, move onto another instance, freeze that, move back to the first instance and make changes, and so on. So long as all TI instances were 'frozen' before opening or unfreezing another, it could all work rather well. Unfortunately, Freeze-style features aren't compatible with the Virus Control plug-in at present — not even if you're using the Polar!
The release notes promise it for 'a future upgrade'. This didn't stop me trying it nonetheless, but I got very corrupted-sounding audio, almost as if the Virus was trying to play at a faster tempo. This makes sense, because most Freeze functions work by performing what is basically a faster-than-real-time bounce.
Even if Freeze had worked, though, I noticed that the plug-in wasn't always released under Logic Pro ; the Virus TI stayed in Sequencer mode even after the original plug-in instance was frozen. Even if you'll never need to use the Freeze function in your sequencer, the behaviour just described could still affect you, as it applies to all non-real-time, off-line bouncing, not just freezing. This means that if you do a bounce down or export of your finished mix inside your sequencer, you'll need to make sure that the real-time mode is selected for the time being.
Just as I was about to submit this article, Access posted a version 1. According to the company's release notes, v1. The Remote functions and Freeze support are still to be added in a future release, though. The cold realities of having to move house several times in quick succession, plus the difficulties and costs of keeping vintage synths well serviced, have conspired mercilessly to whittle down my studio. Recording and sound design is now a percent computer-based experience for me.
I have no regrets; I like contact with the hardware that's producing the sound I want, but I'm able to run more synths, samplers and effects in software than I've ever owned at one time. And I like a life which isn't drowning in leads and means that I have desk space to spare. But working solely in software presents its own problems.
Thus, the idea behind the latest breed of hardware synth — the type that adds DSP resources to your system rather than demanding more of their host — is one I like. Access's Virus TI is a particularly attractive implementation of this idea. The Virus family has become a classic in a relatively short time, and software implementations have been quite demanding, running on higher-end DSP-based audio systems.
Host-based options would suffer and, being frank, no doubt Access would suffer from piracy. The hardware-plus-software approach provides manufacturers with security, and users with power. I haven't had the TI long, but even in that short time, digging deeper has been rewarding. Everything else — its solidity, weight, layout, and sound — I loved. And then there was Total Integration.
It's rather uncanny being able to tweak and organise a synth of this power from within your favourite audio environment Ableton Live , Steinberg Cubase SX and Cakewalk Sonar for me , just like a normal plug-in, and without maxing out the CPU.
The MIDI interfacing makes up the little piped bits around the edges, and when the control surface software comes on stream, the Virus TI will be covered in hundreds and thousands! Like Mark Wherry in the main part of this review, I found it best to not demand too much of this side of things: audio in and out running simultaneously with busy multi-part synth playback is best avoided. Despite this, the sonics are great.
The Virus TI's modelling gives you access to a wide palette of sound; whether you like your analogue acid-fat or modular-clinical, and want to mix in modern digital textures that jump to the top of the mix or blend wistfully, it's here.
The presets even include drum sounds! In the 'leads' category, A 'Syncer' is classic with a modern edge, and C 'm stock' just sings! Pads also abound, from textured backgrounds to upfront movers.
The outright simulations of instruments are variable, but this was always the way with real analogue or FM. Here, the fake pianos, erzatz contrabasses and so on have the playability and 'feel' of the original without being fully imitative. I am also grateful for all comments and suggestions in the various forums and Facebook groups where the KnobKraft Orm is discussed - thank you all, you know who you are! This is by far not the first attempt at solving the challenge, I only hope it is the last and this time for good with the help of the community.
These are similar projects which I found during my wanderings through the net, some of these still available, some nearly lost in the mist of time. In no particular order:. Christof is a lifelong software developer having worked in various industries, and can't stop his programming hobby anyway.
Skip to content. Star Branches Tags. Could not load branches. Could not load tags. Latest commit. Git stats 1, commits. Failed to load latest commit information. MidiKraft-base 13fc. MidiKraft-database b. MidiKraft-librarian c50d1c0. View code. How does it look? I made a video to show you the software and the most basic functionality, checkout the YouTube channel for more examples and advanced features as well Downloading the software I provide installer builds for Windows and disk images for macOS, they are hosted here in github.
Supported platforms This software is build and run on Windows 10, macOS Building your own adaptation for a synthesizer It is possible to create an adaptation for a new synthesizer that is not yet on the supported device list. Building the software Prerequisites We use CMake 3. SoundDiver I think is the one to rule them all, its legacy is what makes me do this. Jan 1, Packages 0 No packages published.
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