The Access Virus TI Snow Synthesizer Module delivers the same sound engine as its big brothers in a compact size.
Access Virus TI Snow
The Access Virus TI Snow Synthesizer Module delivers the same sound engine as its big brothers in a compact size. The intuitive design makes selecting and editing more than 6000 patches from well-known sound designers a breeze. The Virus TI Snow also lets you experience the best of both the hardware and the software worlds by incorporating the award winning Total Integration technology to seamlessly link the Snow with your sequencer. The Snow comes with a fashionable carrying bag for easy transport to your gigs. You get all this at a price unheard of for a synth of this quality – It’s like getting a sports car for the price of a scooter.
Three main oscillators and one sub oscillator per voice. A main oscillator can comprise of various oscillator types including the classic virtual analog oscillators (saw, variable pulse, sine, triangle, 62 spectral waves with several FM modes) and hypersaw (a multi saw-tooth oscillator with up to 9 stacked oscillators, 9 sub oscillators and sync oscillator at the same time). Wavetable oscillators with 100 multi-index wavetables, feature variable resolution and optional pulse-width modulation. Graintable oscillators apply granular synthesis techniques for independent control of pitch and formants to warp a waveform beyond recognition. Formant oscillators sound like running a signal through a massive, modulatable filterband with hundreds of resonant bands being morphed by the wavetable index.
Two fully independent filters (lowpass, highpass, bandpass, bandstop) with an optional saturation module located in between both filter blocks. The saturation module can add one of several distortions and lo-fi effects or an additional low/high-pass filter. Optional self-resonating Moog cascade filter with circuit overloads simulation and 1-4 poles.
Two-dimensional modulation matrix with six slots (1 source and 3 modulation targets each). Every feasible parameter can be modulated in real time. Three LFOs with additional hardwired destinations along with one user-definable slot. Two lightning-fast, multi-stage envelopes (ADSTR) – LFOs can be used as ramp generators as well.
The FX section has independent delay and reverb per patch (even in multi mode), along with multiple distortion/lo-fi algorithms, phaser, chorus/flanger, analog boost, ring modulator, 3-band EQ plus a global vocoder. There is no difference between single and multi modes – patches sound exactly the same.
Each patch contains it’s own arpeggiator pattern featuring 32 programmable steps (length and velocity can be adjusted per step) along with a global control for swing/shuffle timing and one for note lengths. Pretty much every parameter including the pattern itself, the amount of octaves and many more can be controlled using the modulation matrix. In addition, there are 64 preset patterns as a starting point.
2 outputs (at +4dB), backed by 192 Khz/24-bit D/A converters, with optional soft-limiting. Two inputs with 24-bit A/D. MIDI in and out. USB is used for MIDI and audio transmission (adding 3 additional stereo audio outputs) AND WORKS AT 12 Mb/s.
Surround Sound Output
Every part can be panned dynamically between two stereo outputs for quadraphonic effects.
Winter-white finish, white LED display, wood rail beneath the front panel.
6 knobs, 21 buttons, 18 LEDs.
Between 10 to 50 voices, depending on the complexity of the patch.
Multi programs can have fully independent embedded singles, without the links to single banks required by most synths. This provides freedom from breaking other programs.
512 RAM and 512 ROM patches, 64 embedded multi patches, 4 part in multi mode.
Smooth parameter changes
Adaptive control smoothing provides parameter changes with no zippering artifacts. With knob quantize, a clock ratio is selected and parameter changes are updated at specified intervals only. The result is sample-and-hold parameter movements, evocative of step sequencer sounds.
Total Integration is Access’ proprietary technology, which seamlessly links any Virus TI model and a computer to create a unified system consisting of a powerful hardware synth and a virtual instrument plugin, which not only controls the Virus TI but also receives audio from it, in order to allow post-processing right inside your computer. This way you get the best of both worlds: Your Virus TI will calculate all the voices and effects and therefore makes the CPU of your computer available for other tasks. Since it is driven by the Virus Control plugin, the timing (unlike normal MIDI and USB-MIDI timing) will be sample-accurate, and all sound data will be saved within the song or project. Virus Control also offers sophisticated editing capabilities, along with an easy-to-use librarian page to keep track of all your Virus TI patches. The Virus TI’s analogue input and outputs can double as an audio interface, the MIDI sockets can double as a MIDI interface.
Total Integration is certified for the following hosts: Apple Logic 8, Steinberg Cubase 4, Ableton Live 7, Digidesign Pro Tools 7.4, Cakewalk Sonar 7, ImageLine FL Studio 7.
OS4 for the entire Virus TI line of synthesizers brings 6 more distortion flavors to the table, modeled on vintage guitar distortion pedals. Every one of these classic pedals is famous for its distinctive character and has been exploited by some of the greatest guitar heroes of all time. The virtual stomp boxes feature carefully modeled distortion curves and tonal characteristics and include tone controls where appropriate.
Mint Overdrive – The sound of this one just screams tubes – a very special kind of overdrive which results in a wonderful smokey tone. Good for achieving a subtle distortion effect whilst still retaining headroom for dynamics.
Curry Overdrive – A more extreme distortion, like in the original, this does not feature a Tone control.
Saffron Overdrive – The orange one. A very harsh distortion, popular with the grunge movement.
Onion Overdrive – A big distortion effect famous for its fuzzy character.
Pepper Overdrive – A clear, powerful distortion thats perfect for making leads cut right through the mix. Tone control to soften sound with a lowpass filter.
Chili Overdrive – A classic ‘fuzzbox’ overdrive. No tone control, just in-your-face fuzz.
This effect is a simple and effective way to vocalize any sound similar to the way a talk box or vocoder would do.
The new comb filter creates everything from subtle, pitched overtones to extreme time-warped deconstruction of any given patch.
Arpeggiator To Matrix
OS4 for the Virus TI series introduces a powerful new feature that allows you use the arpeggiator pattern to modulate any of the parameters available to the modulation matrix. You can use this to create dynamic, rhythmical patterns within a sound, similar to what you can achieve with a step sequencer.