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Access Virus TI Snow Virtual Analog Desktop Synth
All the power of the bigger Viruses but in a compact size.
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Description
Multimedia
From Our Catalog
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.
Oscillators
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.
Filters
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.
Modulation
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.
Effects
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.
Arpeggiator
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.
I/O
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.
Enclosure
Winter-white finish, white LED display, wood rail beneath the front panel.
Hardware Controls
6 knobs, 21 buttons, 18 LEDs.
Polyphony
Between 10 to 50 voices, depending on the complexity of the patch.
Multi Mode
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.
Memory
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
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.
Oscillators
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.
Filters
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.
Modulation
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.
Effects
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.
Arpeggiator
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.
I/O
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.
Enclosure
Winter-white finish, white LED display, wood rail beneath the front panel.
Hardware Controls
6 knobs, 21 buttons, 18 LEDs.
Polyphony
Between 10 to 50 voices, depending on the complexity of the patch.
Multi Mode
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.
Memory
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
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.
Let it Snow! This compact analog synth uses the same sound engine as it's big brothers, yet fits right on your desktop. With a generous selection of analog, MIDI, and USB I/O, it fits nicely into your existing rig. Seamless integration with your favorite software sequencer to get the best of both worlds. The intuitive interface lets you get to over 1,000 sounds in four clicks or less, with easy editing and parameter tweaking. Includes virtual analog, wavetable, and granular oscillators, Mini Moog cascade emulation, and over 6,000 free sound patches.
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Access Virus TI Snow Virtual Analog Desktop Synth Reviews
10 out of 10
"Let is snow let it snow let it snow."
Feature:
Anyone knows a virus if anything has more features then most people need. And many will admit this who own it. The most useful feature of and TI alone is the "total integration" itself, and virus control. That is ultimately a massive feature for a synth like this, and the integration serves excellent for those who are comfortable working with both hardware and software. I do believe you get the best of both worlds with the virus.
Quality:
This is hard to do but you need to understand the logic as of why I give its quality a four. The truth is the virus is quite a gamble with certain programs (I'll say mainly Ableton and FLS here but others as well). Do a lot of people get the TI integration flawlessly? Yes. Do a lot of people have problems with the integration? Yes. Do some people own a virus for 3 years and NEVER gain full use of the integration? Yes. TI integration is far from flawless. Simply look at all the complaints that exist on this. This is why I say DO NOT get too excited when you get your Virus. If it doesn't work, return it asap. But don't find out your product doesnt work then bash Access. TI's are obviously in demand, look how many people own them (compared to other synths), but this causes certain deficits as well. A company forces itself to excell past the competition, but perhaps release some software before its completely bug free. Still I believe the gamble is worth a shot at least.
Value:
The only reason TIs are so expensive is because people demand them. Economics 101. Don't fall into the hype, just know what you are getting into and you'll be fine. Can a Virus be made and sold for half its value? Perhaps? Does Access need to do that? Absolutely not, they'll wind up overproducing a product. Sometimes you pay an extra penny for a sound that becomes "commericalized", whether or not you like that sound, its commercial for a reason, but its hard to say its worth it because of that reason. Think about that. =]
Desirability:
Haha everyone wants a virus. Ok almost everyone. Comeon the snow is sexy as hell. Well not the synth I mean the sound. The virus can def "make your bedrock" like Fred Flinstone. I do think overall the virus is better then the critics would say. The synth is really great. Yeh its not capable of every single sound in the world, but its capable of a lot more then most synths in general, and the virus does it the virus way, which you will come to respect and adore almost like a pet. Your virus also doesn't mind if you pet it and whisper sweet nothings into its analog ins..
Sound:
The virus has been claimed by critics to "do everything and excell at nothing". But sound quality is a subjective feature of any synth, as any artist can favor a certain style of sound and simply not prefer another. The saying "one mans trash is another mans treasure" would be appropriate. I know the virus can reproduce sounds vsts can't. This I know from my own "research". When you submit specific sounds to dozens of artists to reproduce on software alone, and noone can do it, you learn the virus has a capability that is not typical of other software based synths. The virus is raw, it can also be delicate, it can be pristine, it can be lush and fat, it can be thin and abrasive, it can be whatever you make of it, that is ALL you really need to know. It is inspiring, it is motivational, and it is stimulating. It is also its own synth with its own sonic style, if you want phat moog basses, and only moog basses, go with a moog. If you want lush pads and leads, and virus basses, go with a virus, it really isn't difficult. =]
Ease of Use:
Comeon there are other synths that are easier to use (eg. Nord) but if you're buying a synth like this you are going to learn how to use it. Its not rocket science with the virus. Everything is clearly laid out in virus contol, its right in front of your face, how much "intuition" do you really need. =] I believe the virus is easy to use for anyone who has any sort of experience programming synths.
Support:
Lets face it when you have a somewhat buggy product (or track record of integration issues) its hard for support to really do that much for you. A bug can't be fixed on request so if you have one, rather then get mad at support for not fixing it, return your virus. However, for what support CAN DO, they do a very decent job.
Overall:
Not sure if I could afford replacing it so soon, but its also under the warranty for 2 years. I do feel the warranty should be extended for such an expensive product. I got a 5 year warranty alone on these crappy headphones I bought from some other place. We are speaking the virus here, a longer warranty would be appreciated. But overall the virus is a 10 in my mind. That is for what it does. And it really does do a whole heck of a lot.
Anyone knows a virus if anything has more features then most people need. And many will admit this who own it. The most useful feature of and TI alone is the "total integration" itself, and virus control. That is ultimately a massive feature for a synth like this, and the integration serves excellent for those who are comfortable working with both hardware and software. I do believe you get the best of both worlds with the virus.
Quality:
This is hard to do but you need to understand the logic as of why I give its quality a four. The truth is the virus is quite a gamble with certain programs (I'll say mainly Ableton and FLS here but others as well). Do a lot of people get the TI integration flawlessly? Yes. Do a lot of people have problems with the integration? Yes. Do some people own a virus for 3 years and NEVER gain full use of the integration? Yes. TI integration is far from flawless. Simply look at all the complaints that exist on this. This is why I say DO NOT get too excited when you get your Virus. If it doesn't work, return it asap. But don't find out your product doesnt work then bash Access. TI's are obviously in demand, look how many people own them (compared to other synths), but this causes certain deficits as well. A company forces itself to excell past the competition, but perhaps release some software before its completely bug free. Still I believe the gamble is worth a shot at least.
Value:
The only reason TIs are so expensive is because people demand them. Economics 101. Don't fall into the hype, just know what you are getting into and you'll be fine. Can a Virus be made and sold for half its value? Perhaps? Does Access need to do that? Absolutely not, they'll wind up overproducing a product. Sometimes you pay an extra penny for a sound that becomes "commericalized", whether or not you like that sound, its commercial for a reason, but its hard to say its worth it because of that reason. Think about that. =]
Desirability:
Haha everyone wants a virus. Ok almost everyone. Comeon the snow is sexy as hell. Well not the synth I mean the sound. The virus can def "make your bedrock" like Fred Flinstone. I do think overall the virus is better then the critics would say. The synth is really great. Yeh its not capable of every single sound in the world, but its capable of a lot more then most synths in general, and the virus does it the virus way, which you will come to respect and adore almost like a pet. Your virus also doesn't mind if you pet it and whisper sweet nothings into its analog ins..
Sound:
The virus has been claimed by critics to "do everything and excell at nothing". But sound quality is a subjective feature of any synth, as any artist can favor a certain style of sound and simply not prefer another. The saying "one mans trash is another mans treasure" would be appropriate. I know the virus can reproduce sounds vsts can't. This I know from my own "research". When you submit specific sounds to dozens of artists to reproduce on software alone, and noone can do it, you learn the virus has a capability that is not typical of other software based synths. The virus is raw, it can also be delicate, it can be pristine, it can be lush and fat, it can be thin and abrasive, it can be whatever you make of it, that is ALL you really need to know. It is inspiring, it is motivational, and it is stimulating. It is also its own synth with its own sonic style, if you want phat moog basses, and only moog basses, go with a moog. If you want lush pads and leads, and virus basses, go with a virus, it really isn't difficult. =]
Ease of Use:
Comeon there are other synths that are easier to use (eg. Nord) but if you're buying a synth like this you are going to learn how to use it. Its not rocket science with the virus. Everything is clearly laid out in virus contol, its right in front of your face, how much "intuition" do you really need. =] I believe the virus is easy to use for anyone who has any sort of experience programming synths.
Support:
Lets face it when you have a somewhat buggy product (or track record of integration issues) its hard for support to really do that much for you. A bug can't be fixed on request so if you have one, rather then get mad at support for not fixing it, return your virus. However, for what support CAN DO, they do a very decent job.
Overall:
Not sure if I could afford replacing it so soon, but its also under the warranty for 2 years. I do feel the warranty should be extended for such an expensive product. I got a 5 year warranty alone on these crappy headphones I bought from some other place. We are speaking the virus here, a longer warranty would be appreciated. But overall the virus is a 10 in my mind. That is for what it does. And it really does do a whole heck of a lot.
Submitted: 12/22/2009
Style of Music: Trance
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