For many electronic music producers and synth enthusiasts, getting their hands on an Access Virus synthesizer has been a long-held dream. The Virus series, known for its versatile and powerful sound, has been a staple in professional studios and live setups for over two decades. However, the high price tag of these sought-after instruments has often been a barrier for many aspiring musicians. Since early 2000’s and the first vsts there were always talks and discussions in several audio forums about a virus ti emulation and now it’s finally here.
The Allure of the Access Virus
Since its introduction in 1997, the Access Virus has captivated producers with its unique blend of virtual analog and digital synthesis. The brainchild of Christoph Kemper, the Virus was designed to be a modern, flexible instrument that could cover a wide range of sounds, from warm and lush pads to aggressive, cutting leads.
The Virus quickly gained a reputation for its high-quality effects, powerful modulation options, and intuitive interface. It became a go-to synth for many top producers across various genres, from trance and techno to hip-hop and pop. The Virus sound can be heard on countless hit records and has been a key ingredient in shaping the sound of electronic music over the past two decades.
The Barrier of Cost
Despite the Access Virus’s undeniable appeal, its high price point has often put it out of reach for many musicians. The Virus TI, the most advanced model in the series, could cost upwards of $2,000, making it a significant investment for most home studio owners and aspiring producers.
For years, many have dreamed of owning a Virus synth but have had to settle for more affordable alternatives or software emulations that couldn’t quite capture the magic of the real thing. The idea of a truly accurate Virus emulation seemed like an impossible dream, given the complexity of the synth’s architecture and the unique characteristics of its analog-modeled filters and effects.
The Breakthrough: Emulating the Motorola DSP56300
At the heart of the Access Virus’s sound engine lies the Motorola DSP56300 chip, a powerful digital signal processor that handles the synth’s complex calculations and effects processing. For a long time, this chip was seen as a major obstacle in creating a faithful emulation of the Virus, as its architecture was not well understood by the music software community.
However, in recent years, a dedicated group of developers and reverse-engineering enthusiasts have made significant progress in cracking the secrets of the DSP56300. The team behind the DSP56300 Blog has been working tirelessly to analyze the chip’s inner workings and develop tools for emulating its behavior.
Their efforts have paid off, as they have now succeeded in creating accurate emulations of several classic synths that used the DSP56300, including the Waldorf Q and Microwave, the Clavia Nord Lead, and the Access Virus A, B, and C models.
A Short Story About The Virus Synth History
Christoph Kemper, from Recklinghausen, Germany, became interested in computer programming as a teenager after receiving a Sinclair ZX Spectrum minicomputer. He later studied electrical engineering in Bochum. After playing keyboards in rock bands, Kemper began developing effects and filters based on DSPs in the 1990s. His goal was to build a digital filter that behaved like an analog filter, even with fast modulations – which was uncharted territory at the time. He achieved this thanks to the newly released Motorola 56000 series DSPs. This digital filter became a defining characteristic of the Virus sound.When the Nord Lead was released in 1995, Kemper decided to build his own virtual synthesizer. He partnered with Guido Kirsch, who had founded the company Access, which built SysEx programmers for synthesizers like the Oberheim Matrix 1000 and Waldorf Microwave. However, Kemper and Kirsch later parted ways.
The Virus Takes Off
- The Virus A was introduced at the 1997 Frankfurt Musikmesse and was very well received, especially in the electronic music scene. It was particularly embraced by the trance/hard trance community, as it could easily create the typical bright sounds and had a useful internal effects section. The Virus, which was constantly improved, quickly caught on in other genres as well. Its solid hardware and sound made it a widely used live and studio standard worldwide.To describe the viral effect of the synth, it’s almost easier to list the artists who haven’t used the Virus. Nearly everyone of note has been infected by the synth at some point. The list includes names like Depeche Mode, Dr. Dre, Nine Inch Nails, Faithless, Fatboy Slim, Gary Numan, Massive Attack, Pet Shop Boys, and many more. Even synth legend Klaus Schulze adorned his studio rack with multiple Virus expanders.
Sound Generation
- The Virus’ virtual subtractive synthesis has remained fundamentally the same over the years, with additional oscillator models, improved effects, and more synthesis options added. The 12-voice Virus A has two oscillators per voice that work with classic sawtooth and pulse waveforms (with PWM) and can be seamlessly blended. There are also 63 spectral waveforms available. The oscillators can be synchronized and modulated via ring modulation and FM. A sub-oscillator provides the bass foundation.Onboard are two independent multimode filters with resonance that can act as low-pass, band-pass, high-pass, and notch filters with up to 36 dB/octave slope. This is rounded out by two ADSR envelopes, two LFOs, and an effects section with 22 effect types including a vocoder.
Virus Models
- The first red and black desktop version, the Virus A, used some standard components but was very solidly built and tour-ready. The concept of building a unique instrument rather than cloning a classic synth allowed Kemper to design it uncompromisingly for the stage. Most important parameters are directly accessible to avoid menu diving.The 1999 Virus B was similar to its predecessor but had better converters and more voices.In 2002, the Virus C followed, with further expanded polyphony and more synthesis features. The C series was produced in many model variants (Desktop, Indigo 2, KC, Rack XL). The Virus was also available as a software version for Powercore and TDM.All Virus models have six mono or three stereo audio outputs and two inputs for external audio signals. Four outputs can also be used to pan a sound quadraphonically.
Total Integration
- With the TI (Total Integration) series, Access broke new ground. The synth can now be seamlessly integrated into a DAW and operated as a plug-in via VST, AU or RTAS, with nearly all parameters automatable. Sound settings are saved with the song and timing is sample-accurate. The TI hardware can also be used as an audio and MIDI interface. The TI 2 version (except Snow) works with two optimized DSPs for even more processing power. The current Virus TI OS offers virtual analog, wavetable synthesis, hyper-saw waveforms, grain and formant tables, three LFOs, four envelopes per voice, new filter and saturation effects, new effect types like the Atomizer slicing effect, microtuning, and much more.
The Virus Sound
- The basic Virus sound has remained the same since 1997, even as new oscillator models and better converters were added. The Virus has a broad and relatively warm basic tone for a digital synth. With the sub-oscillator engaged, it has a lot of punch. Using the various saturation levels that simulate filter overdrive, convincing aggressive and bright (trance) sounds are possible – one of the synth’s specialties.The Virus has always been an all-rounder capable of generating a wide range of synth sounds while maintaining its own sometimes slightly grainy and bony sound character. However, it doesn’t really sound analog, which isn’t necessarily a disadvantage. It can do things analog synths can’t, like creating beautiful, unusual digital sounds that also work well in dubstep/grime productions. The high-quality effects (except the mediocre vocoder) that instantly dress the sound are super practical, especially on stage, in addition to the powerful sequencer and programmable arpeggiator.
The OsTIrus Emulator: A Dream Come True
In a stunning development, the DSP56300 team has recently announced the release of the OsTIrus emulator, a software recreation of the Access Virus TI that promises to deliver the same sound and functionality as the original hardware.
According to the team, the OsTIrus emulator is the result of years of painstaking research and development, involving the reverse-engineering of the Virus TI’s firmware and the creation of a virtual DSP56300 chip that can run the synth’s code natively.
The emulator is said to be indistinguishable from the real Virus TI in blind tests, with all the features and quirks of the original hardware faithfully reproduced. This includes the synth’s signature filters, effects, and modulation options, as well as its extensive patch library and intuitive interface.
For Virus enthusiasts, the release of the OsTIrus emulator is a dream come true. It means that anyone with a modern computer can now have access to the full power and flexibility of the Virus TI, without the need for expensive hardware or the limitations of previous software emulations.
The Future of Virus Emulation
The release of the OsTIrus emulator is a major milestone in the world of music software, and it opens up exciting possibilities for the future of virtual analog synthesis. With the DSP56300 chip now fully understood and emulated, it’s likely that we will see more accurate recreations of other classic synths that used this powerful processor.
For Access Music, the company behind the Virus series, the release of the OsTIrus emulator is a bittersweet moment. While it may impact sales of the hardware Virus TI, it also validates the enduring appeal and influence of their flagship synth. In a way, the OsTIrus emulator is a testament to the Virus’s status as a true classic and its place in the pantheon of great synthesizers.
As for the music production community, the availability of a feature-perfect Virus TI emulator is cause for celebration. It democratizes access to one of the most powerful and sought-after synths of the past two decades, and it levels the playing field for producers and musicians who may not have had the means to acquire the hardware version.
It’s an exciting time to be a synth enthusiast, as the barriers between hardware and software continue to blur, and the possibilities for creative sound design expand ever further. With the OsTIrus emulator now a reality, the dream of owning a Virus synth is finally within reach for anyone with a passion for electronic music and the desire to explore new sonic frontiers.
Legal Considerations and Ethical Use
While the release of the OsTIrus emulator is undoubtedly exciting news for Access Virus enthusiasts, it’s important to consider the legal and ethical implications of using such software. The OsTIrus emulator is essentially a recreation of the Virus TI’s proprietary code and intellectual property, and as such, its use is subject to certain restrictions and guidelines.According to the DSP56300 team, the OsTIrus emulator is intended solely for use by individuals who own a legitimate copy of the Access Virus TI hardware synth. The emulator requires a “ROM file” that contains the Virus TI’s factory patches and operating system, which can only be obtained by connecting an authentic Virus TI to a computer and dumping its contents.
Download
You can download the latest OsTIrus Version here Keep in mind that due to legal reasons I can’t and won’t provide a ROM file here on my blog. Search for it yourself and use it at your own risk.