Audio synthesis with Access Virus TI

Explore the Virus TI, a versatile 61-key synth with nearly 90-voice polyphony, two multimode filters, three oscillators, and a 32-step modulation matrix for deep sound design in Cubase via USB.

Explore Access Virus TI oscillators: three oscillators with classic, hypersaw, and wavetable modes, plus unison, FM, ring mod, noise, punch, and wave table morphing for rich lead sounds.

Explore low frequency oscillators and their impact on oscillator pitch, filter cutoffs, and panning in the access virus ti, with various wave shapes and routing options.

Explore the Access Virus TI modulation matrix, routing LFOs and envelopes to multiple destinations to sculpt complex sounds with filter, resonance, FM, and wave-table modulation.

Discover the Access Virus TI onboard effects, from two effect pages, and learn to sculpt sounds using distortion, chorus, phaser, filter bank, frequency shifter, delays, and modulation matrix.

Learn to synthesize a police siren using a square-wave oscillator, with or without key tracking, shaping pitch with contour and rise and fall, and filtering to tame 8-10 kHz content.

Create a heavy spaceship engine sound using the Access Virus TI by shaping noise, applying filters and resonance, and adding LFO and FM for movement and a rumbling, cinematic engine.

Explore a computer bleep sequence in audio synthesis with Access Virus TI using a single squared wave oscillator, random modulation, and a hypers filter to remove frequencies below 500 Hz.

Learn to craft wind sounds on the Access Virus TI using noise, color spectrum, and a long filter envelope, with optional random modulation and reverb.

Learn two fast envelope methods to craft bass drum sounds: pitch modulation of the oscillator and filter cutoff with high resonance, using sine and triangle waves, envelopes, and optional distortion.

Develop a hi-hat using noise deck in the Access Virus TI, customizing with brightness, high-pass filter, resonance, saturation, and distortion, while analyzing and sampling sonic results.

Create hi-hat sounds with fm synthesis by modulating a square wave with a sine oscillator. Adjust fm amounts and filter out lower frequencies to produce disharmonious overtones that avoid harmonies.

Explore crafting a snare by shaping a thin body in high frequencies with spectral wave noise, fast envelopes, and dual filters with fm.

Create a simple techno bassline by matching a kick drum with a sawtooth oscillator, shaping with a Lopez filter and envelope, and octave-shifting notes like e3, a, b, e.

Explore advanced bassline synthesis by syncing multiple oscillators, shaping square and triangle waves, controlling phase, adding noise and filters, and crafting offbeat kick patterns for techno-ready monophonic basslines.

Break the bass rules by layering three oscillators: sawtooth, octave down, and a third, mixing with free run, then shaping with a filter envelope and attack, adding delay and reverb.

Create five distinct bass sounds in five minutes on the Access Virus TI, from mono sawtooth with Lopez filter to TB-303 and dubstep textures through oscillator layering and modulation.

Explore how to craft lead sounds that cut through the mix with brightness, definition, and punch across mid to high frequencies for unforgettable tunes.

Create a classic sync lead by pairing two oscillators with one driving the other, modulating pitch with an envelope, and adjusting sustain, slope, semitone variance, band spread, and release.

Create the blade runner lead using two detuned oscillators, a low-pass filter, envelope shaping, and resonance, with lfo drift, velocity modulation, and optional analog effects.

Explore fm lead synthesis using a single oscillator and a modulating oscillator, detuning, ring mod, noise, distortion, and a short reverb for a beefy electric guitar-like sound.

Explore how to craft string sounds and pads using long release, delay, and reverb, with modulation like flanges or phasers to create movement, from classic 80s textures to noise scapes.

Emulate classic 80s strings by layering detuned sawtooth oscillators at different octaves, adding a third oscillator, and sculpting with a Lopez low-pass filter, envelope, and resonance for dynamic attack.

Learn to sculpt a classic square wave sound with two oscillators, tune for movement, and shape attack and release with the amplifier envelope, adding delay or reverb.

Explore how detuned supersaw/hypersaw voices create lush polyphonic textures, using slow attack and release, multiple detuned sawtooth oscillators, feedback, and phased movement.

Explore end song creation through audio synthesis with Access Virus TI. Apply the skills from this course to craft the end song using this synthesizer.

The lecture presents an 11-part arrangement where each part is triggered by a channel, with channel 1 mapped to kick drum, bass, hi-hat, clap, crash, bird sound, and open hats.

Create a bassline with a square wave in sync across octaves, shape it with a low-pass filter and a short decay envelope, and adjust the mode matrix with no effects.

Explore track 03 hihat 1 with a sine wave and frequency modulation, where the filter envelope opens and closes on key press, analog boost, high gain, and reverb, no delay.

Shape a clap with noise, a band-pass filter, resonance and envelope, analog boost, then hear reverb in feedback mode with a small room and gated time, and notice value changes.

Craft a clap-like crash by layering noise with high resonance and envelope release, gate it to quarter notes, and use unipolar modulation to duck patch volume with the bass drum.

Experiment with effects by adding coast, fasal, and delay, both separately and together; hear how the pad sound changes when routing through the mod matrix is off.

Demonstrates the Virus TI square key patch using a wave table with a low-pass filter and resonance, modulated by envelope amount and LFO, plus distortion, a vowel filter, and delay.

Three detuned sawtooth oscillators create a rich lead, with a resonant filter and band stop. It demonstrates modulation via the mod matrix, panorama, mud wheel, distortion, and delay.

Create an open hi-hat using noise fed through a high-pass filter, with no oscillators, no sustain, no special effects, and short decay and release for a simple sound.