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Virus A series
Virus A
Virus B series
Virus B
Virus KB
Virus Rack
Virus Indigo
Virus C series
Virus C
Virus Indigo2 Redback
Virus TI / TI2 series
Virus TI Polar
Virus TI Snow
Virus TI 2 Desktop

The Access Virus is a virtual analog synthesizer made by the German company Access Music GmbH.[1] It was first produced in 1997 and has since been upgraded frequently, with the company releasing new models about every two years. Early models include the Virus A, Virus B, and Virus C series, each available in various hardware configurations. In November 2005, the Virus TI series was released, including the 61-key Virus TI Keyboard and the 37-key Virus TI Polar. A small desktop model was released in February 2008 called the Virus TI Snow. A revision of the TI series called TI2 came out in March 2009, featuring faster digital signal processing (DSP) controllers, additional polyphony, more effects in the effect section and a slightly changed design. The Virus series also has come out with two software plugin versions: TDM for Pro Tools and VST for TC Electronic Powercore series. The term Access Virus can be used to refer to any one of these synthesizers. In 2024 Access Music discontinued the TI2.

Technical details

[edit]

The Access Virus employs various synthesis techniques, including subtractive synthesis, phase distortion (PD) synthesis, frequency modulation (FM) synthesis, and starting with the TI series, wavetable synthesis.

All of the Viruses are DSP-powered, virtual analog synthesizers. They have virtual VCOs which can be tuned continuously from a pure sine wave to a square wave (with variable pulse-width modulation), as well as 63 "spectral" waveforms which are entirely synthetic, non-analog style waves. Oscillator waveforms may be modulated in a number of ways: ring modulation (AM), phase distortion (PD), or Frequency Modulation (FM). The Virus has a Matrix Modulation specification. With the TI series, several new oscillator models were added: Hypersaw and wavetable, as well as formant and granular oscillators.

The filter section is programmable, with two independent resonant filters[2] which can be combined and modulated in various ways. The Matrix Modulation specification allows for the creation of complex and detailed sounds. The Virus features a filter saturation stage as well as different types of digital and analog-style distortion.

Series comparisons

[edit]

The Virus has had three major hardware revisions since the original Virus A model as well as having numerous features (both minor and major) added via firmware operating system updates. The Virus engine largely remained the same from the Virus A up until the Virus C. They all utilize a single Motorola DSP chip and the sound is quite distinct between models when not factoring in the additional features provided by each hardware and firmware upgrade. The biggest effect of software optimisation is seen as a third oscillator control in the B-series menus.[3]

The Virus TI utilizes two DSP chips and represented the most significant technical overhaul of the Virus series since its inception.

The Virus TI series allows for a very wide emulation of past and present synthesizers. It is a digital synthesizer but can emulate the characteristic sound and behaviour of analogue synthesizers whilst also retaining some digital features. What separates the Virus's VA module from other analogue modelling synths in its price range is its twin multimode filter design and extensive modulation matrix. As of the Virus B OS4 update, it has three oscillators per voice (+1 sub oscillator per voice) with two filters per voice.

The basic Virus analogue modeled oscillators between the Virus A and TI are identical with the only difference being the number of voices available as well as the additional Hypersaw oscillator and digital wavetable oscillators of the Virus TI. Additionally, the raw Virus oscillators have much less high frequency content than the oscillators found on other subtractive virtual analogues such as the Clavia Nord Lead and Roland JP-8000.

The highly resonant twin multimode filter is also an important aspect of the Virus sound, the features of which have been extended in the Ti range to include grain table, comb and formant filter settings.

Both Virus filters can be connected in series, parallel or set to process two oscillators independently. The routable nature of the filter allows the Virus to emulate an 18 dB/octave 3-pole filter for instance, by routing a 24 dB/octave 4-pole filter in series with a 12 dB/octave 2-pole filter, then turning the filter balance to 3 or 9 o'clock. Connecting a 4-pole filter in series with a 2-pole filter also allows for a 36 dB/octave 6-pole filter configuration, which is unique amongst similarly priced virtual analogues. The interchangeable filters allow for such things as simultaneous high pass and low pass sweeps and filter modulation effects such as automated filter sweeps whilst still leaving a filter free for manual use.

Every parameter on the control surface of the synth and every parameter in every sub menu can be set as a modulation destination. The Virus also has a list of modulation sources, including a random trigger. There are three modulation sources on the Virus A and B, which can be set to control six destinations. The Virus C and TI both allow for six modulation sources controlling a possible 18 modulation destinations. This does not include the three LFOs which can be set to modulate oscillators 1 and 2, pulse width, resonance and cutoff of both filters, stereo pan and any parameter set as a source in the modulation matrix, simultaneously if desired.

It is possible to emulate the unstable tuning of analogue synthesizers by setting a random source to modulate the pitch and detune of one or more oscillators, so that every time a note is played, its tuning will be very subtly different. The modulation matrix also allows for recursive modulation - setting a variable to modulate itself. This plays an important role in altering the behaviour of many of the control variables on the synth. For example, the Virus amplifier attack envelope is linear by default but can be changed via setting the amplifier envelope as a modulation source that modulates itself as its destination.

The Virus also has a complement of DSP effects, including a distortion unit that allows for rectification, analogue modelled and digital distortion, as well as bit-reducing and sample rate-reducing effects. The Virus C and TI also includes a 3-band EQ.

Lastly, the Virus has always been 16 parts multitimbral for multilayered patches and ensemble performances. However, up until the Virus TI, this aspect of the Virus has been severely flawed and is often considered unusable because of the polyphonic limitations of the Virus A, B and C.

The programming methodology for a Virus A is largely the same as that of a Virus TI and so are the bulk of the sounds produced. However, the additional oscillators, higher polyphony, extra filter type, the EQ and revised control surface and sequencer integration of the TI allow for a greater palette of possible sounds over previous revisions. There were hardware alterations made to the TI such as the balanced inputs/outputs, 24 bit/96 kHz output and the new sequencer integrated interface.

The Virus TI Snow was unveiled at the NAMM Show in January 2008. It is a stripped-down version of the TI Desktop and is patch compatible with the rest of the TI line. It is much smaller, sporting a minimalist interface and utilizes a single DSP chip, giving it about half the polyphony and only four parts of multitimbral capability.

Notable users

[edit]

The Access Virus has been used extensively by trance and techno artists, including Headhunterz, Hardwell, Angerfist, Luca Anzilotti a.k.a. John VIRGO Garrett III of Snap!, Paul Oakenfold, DJ Sammy and Sasha.[4] The synthesizer has been utilized in a broad range of genres by artists such as t.A.T.u, The Prodigy, TOOL, Covenant, Periphery, Velvet Acid Christ, VNV Nation, Nine Inch Nails, KMFDM, Front Line Assembly, Owl City, Gary Numan, Thomas Dolby, Myon & Shane 54, fripSide, Depeche Mode, Jean-Michel Jarre, Barenaked Ladies, Celine Dion, Dr. Dre, Linkin Park (Even featured on the music video of their single "New Divide"), No Doubt, Radiohead, Ryan Leslie, Tangerine Dream, Thorsten Quaeschning, Stevie Wonder, Jim Jonsin, Michael Jackson and film composers Hans Zimmer[5] and Klaus Badelt. It has also been used by Minecraft composer Daniel Rosenfeld. Anders Trentemøller mentioned Access Virus as one of two synths he used while creating his first album "The Last Resort".

Notes

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References

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Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Access Virus

View on Grokipedia
from Grokipedia
The Access Virus is a series of virtual analog synthesizers developed and manufactured by the German company Access Music GmbH, first introduced in 1997 as a groundbreaking instrument in electronic music production. Renowned for its rich, aggressive sound palette and hands-on control, the series combines with analog modeling to emulate classic subtractive synthesis while offering modern features like extensive modulation options, multimode filters, and built-in effects. Over the years, it has evolved through multiple models, including the original Virus A, Virus B, Virus C, Virus TI (2005), and Virus TI2 (2009), each iteration increasing polyphony, processing power, and integration capabilities such as USB audio interfacing for direct DAW connectivity. The Virus synthesizers have become a staple in studios worldwide, shaping genres like , , and film scoring through their versatile wavetable oscillators, hypersaw waveforms, and intuitive interface with dedicated knobs for real-time sound sculpting. Models vary from compact desktops like the TI Snow to full keyboards such as the 61-key TI2 Keyboard, all sharing a core engine capable of up to 110 voices of , depending on model and patch complexity, and over 3,000 factory presets. Their significance is underscored by adoption from influential artists including , , and , who have utilized the Virus for its punchy leads, atmospheric pads, and rhythmic sequences in landmark recordings. Despite the discontinuation of production in 2024, the Access Virus remains highly sought after in the second-hand market for its enduring sound quality and reliability, often cited as a benchmark for virtual analog synthesis that influenced subsequent digital instruments. Access Music continues to support the series with software updates, ensuring compatibility with contemporary music production workflows.

History and Development

Origins and Initial Release

Access Music GmbH was founded in 1997 in by electrical engineer Christoph Kemper, who had been developing audio algorithms and digital models since the mid-1990s. Kemper and his team were motivated to enter design amid the late 1990s resurgence of interest in analog-style sounds, aiming to produce a virtual analog instrument that digitally replicated the warmth and character of classic analog while leveraging advancing DSP technology for greater flexibility and . This approach was inspired by early virtual analog successes like the Nord Lead, addressing a growing demand among electronic music producers for affordable, digitally efficient emulations of vintage timbres. The Virus A debuted in late 1997 as a compact desktop module, featuring 12-voice and shipping with operating system version 1.0, which supported updates via SysEx. Priced at around $1,000 USD, it targeted studio producers seeking a versatile without the bulk of a keyboard. Upon release, the Virus A received acclaim for its bold, aggressive analog-emulating tones, particularly its superb multimode filters that excelled in generating resonant, dancefloor-ready arpeggios and pads suited to genres like and . Early reviewers highlighted its punchy, immediate sound as a standout in the virtual analog category, quickly establishing it as a staple for electronic music production.

Evolution and Updates

The Access Virus series saw significant iterative improvements starting in 2000 with the introduction of the Virus B, which doubled the from the original Virus A's 12 voices to 24 voices per patch, introduced a third oscillator per voice for richer timbres, while also expanding the effects section to include phaser capabilities and increasing the number of simultaneous effects. This hardware revision also featured an upgraded display for better patch navigation and larger RAM for user patches, allowing for 256 editable sounds compared to the A's 128. These changes were accompanied by OS 4.0, released in late 2000, which enhanced options with additional shapes and improved the arpeggiator's resolution for more complex patterns. In 2002, the Virus C series replaced the B lineup with a complete hardware redesign, including a new black finish for durability and expanded keybed options in the Indigo 2 variant, which offered a semi-weighted 37-note keyboard for enhanced playability over the B's velocity-sensitive but less refined action. The accompanying OS 5.0 (build 209) introduced 24-voice , expanded the modulation matrix to six sources and nine destinations, enabling more dynamic without requiring major circuit overhauls. Early Virus A and B models were prone to reliability issues, particularly failures due to faulty capacitors that caused intermittent shutdowns or glitching, problems that Access addressed in C-series revisions through improved internal components and better PSU . In 2005, the Virus TI Polar was introduced as a compact 37-key model in the new TI series. Firmware progression continued with OS updates for the TI models, which refined effects processing to include enhanced algorithms and per-part reverb/delay for multi-timbral setups, bridging the gap to deeper DAW integration.

Models and Variants

Original Series (A, B, C)

The original Access Virus series, comprising the A, B, and C models, marked the inception of the synthesizer line with a focus on virtual analog synthesis in compact desktop formats. Released between 1997 and 2002, these iterations progressively enhanced , memory capacity, and elements while maintaining a shared core sound engine based on subtractive synthesis with phase and FM capabilities. Each model introduced hardware refinements, such as improved circuit stability and expanded I/O options, catering to studio producers seeking aggressive, analog-emulating tones. The Virus A, launched in 1997, was exclusively a desktop module without an integrated keyboard, featuring a basic 2x16-character LCD display for navigation. It offered 12-voice and 256 user patches alongside 128 multi setups, emphasizing immediate hands-on control via dedicated knobs for oscillators, filters, and envelopes. Physical dimensions measured approximately 440 x 135 x 37 mm, with a weight of 2.5 kg, making it highly portable for rack or desktop setups. In 2000, the Virus B addressed early stability issues through an updated (PCB) design, doubling to 24 voices in single mode and expanding to 256 RAM patches (two banks of 128) plus additional ROM banks and 128 multi setups. A larger backlit display improved visibility, and the model introduced rackmount compatibility alongside the original desktop form, with an optional 61-key keyboard variant (Virus KB) for performers. Dimensions were 470 x 185 x 75 mm, weighing 2.85 kg net. The Virus C, released in 2002, further elevated capabilities with 32-voice (reduced to 24 voices or fewer depending on mode and oscillator usage, such as in multi-part configurations or operation) and increased storage of 256 user patches, 768 ROM patches, and 128 multi patches. It featured enhanced I/O including digital connectivity and a distinctive zinc-gray with wooden side panels and 69 status LEDs for intuitive editing; the optional 37-key keyboard version, known as the , adopted a blue-accented design. Available in desktop, keyboard, and rack (Virus Rack XL) form factors, it measured 470 x 185 x 75 mm and weighed 2.85 kg.
ModelPolyphonyMemoryForm Factors
Virus A (1997)12 voices256 user patches, 128 multisDesktop only
Virus B (2000)24 voices (single mode)256 RAM patches, ROM banks, 128 multisDesktop, rackmount, keyboard (61-key)
Virus C (2002)32 voices (mode-dependent, reduced in multi or with Osc 3)256 user patches, 768 ROM patches, 128 multisDesktop, keyboard (37-key Indigo), rack

TI Series and Later Models

The Virus TI series, introduced in 2005, marked a significant advancement in the Access Virus lineup by incorporating Total Integration technology, which enabled seamless USB-based audio and connectivity to computers, allowing the synthesizer to function as a interface and controller within workstations. This series offered up to 80 voices of under typical conditions, with support for operating system version 5.0 and later, enhancing modulation options and filter types. Available in four primary models, the TI Desktop provided a compact, rack-mountable unit for studio use; the TI Keyboard featured a 61-note semi-weighted keyboard with pitch and modulation wheels; the TI Polar was a 37-key compact variant designed for portability, blending digital synthesis capabilities with a distinctive aesthetic that included wooden accents for a hybrid feel in form factor; and the TI Snow was an ultra-compact desktop model released in 2008. In 2009, Access released the TI2 as an upgraded iteration, featuring a 25% faster CPU for improved processing efficiency and higher potential (up to 110 voices), alongside enhanced digital-to-analog converters (DACs) that reduced for cleaner output signals, and an display for sharper, more readable parameter feedback. The TI2 lineup expanded on the TI's variants with the TI2 Desktop maintaining the , the TI2 Keyboard retaining the 61-key configuration, the TI2 Polar (37-key), and the TI2 (compact desktop). These improvements allowed for more complex patches without compromising voice allocation, while preserving the core USB integration features. Subsequent variants were limited to special editions, such as the 2013 Whiteout limited edition of the TI2 Desktop and Keyboard, featuring a white finish and produced in runs of 150 units each as collector's items. No entirely new models were developed after the TI2 in 2009, with Access focusing instead on software updates to maintain compatibility and expand sonic possibilities within the existing hardware framework. Production of the TI2 series concluded in late 2023, with official confirmation from designer Christoph Kemper that manufacturing had ceased by early 2024, ending a 15-year run for the flagship line. As of November 2025, only remaining stock from prior production batches is available through retailers, underscoring the series' enduring demand despite discontinuation.

Technical Specifications

Sound Engine and Synthesis

The Access Virus synthesizer employs a virtual analog synthesis architecture designed to emulate classic analog subtractive synthesis while incorporating digital wavetable and advanced modulation capabilities. This engine, powered by a dual DSP system, generates sounds through oscillator mixing, filtering, amplification, and multi-effects processing, enabling a wide range of timbres from gritty leads to lush pads. At the core of each voice are three main oscillators, which can produce sawtooth, square (pulse), and waveforms, supplemented by over 60 wavetable oscillations for and timbral variation. A dedicated sub-oscillator and generator further enrich the signal, with the sub-oscillator typically offering square or options an octave below the fundamental. The Hypersaw mode allows detuning across up to nine parallel oscillators per voice, creating thick, chorused textures without excessive polyphony reduction. The filtering stage features two independent multimode filters supporting low-pass (LP), high-pass (HP), band-pass (), and band-stop (BS) configurations, each with a 24 dB/ slope modeled after analog circuits for smooth and . These filters can be routed in series, parallel, or split modes, allowing oscillator 1 to feed one filter and oscillator 2 the other for or complex tonal shaping. Later models include an additional analog-modeled filter emulating the Moog Minimoog's ladder design, with adjustable slopes from 6 to 24 dB/. Modulation is handled by two ADSR envelopes for amplitude and filter contouring, which respond quickly to produce percussive attacks or evolving sweeps. Three LFOs provide multi-waveform options, including sine, triangle, sawtooth, square, sample-and-hold, and stepped random, with the third LFO supporting multi-stage envelopes for intricate rhythmic modulation. The modulation matrix offers six slots, each assignable to one source (such as envelopes, LFOs, or velocity) and up to three destinations, facilitating dynamic control over parameters like oscillator frequency modulation (FM), amplitude modulation (AM), pulse-width modulation (PWM), and filter cutoff. The primary signal flow routes the mixed oscillator output through the filter section, followed by a dedicated stage and a chain of up to three effects blocks (such as , delay, reverb, chorus, phaser, and EQ) applied per voice. This per-voice processing ensures consistent across polyphony limits that vary by model and patch complexity: 12-24 voices for the Virus A, 24 voices for the Virus B, up to 40 voices for the Virus C, up to 80 voices for the Virus TI series, and up to 110 voices for the TI2 series. Unique to the Virus are wavetable morphing via index modulation for seamless timbre shifts, and flexible FM/AM options between oscillators for metallic or bell-like tones.

Connectivity and Hardware Features

The original Access Virus series (A, B, and C models) featured basic connectivity suited for studio integration of the era, including standard MIDI In, Out, and Thru ports for sequencer control and daisy-chaining, along with three pairs of 1/4-inch unbalanced analog audio outputs for multi-timbral routing. These outputs allowed independent mixing of up to 16 parts in multi-mode, while a stereo analog input pair enabled external through the Virus's effects section. Headphone monitoring was supported via a dedicated 1/4-inch output on the rear panel, though some keyboard variants required rerouting from main outputs for private listening. Notably, the series lacked USB connectivity, relying solely on for digital communication and analog cabling for audio transfer. The Virus TI series introduced significant advancements in connectivity through its "Total Integration" concept, primarily via a USB 2.0 port that functions as a class-compliant audio and interface, enabling direct streaming of up to three audio channels (six total) from the synth to a DAW at sample rates up to 48 kHz, with internal clock at 44.1 kHz or 48 kHz. This USB link supports low-latency and control without additional drivers on , while traditional In/Out/Thru ports and digital I/O (coaxial on most models) provide fallback options for non-computer setups. Analog I/O expanded to six balanced 1/4-inch outputs (+4 dBu) on desktop and keyboard models, with 24-bit/192 kHz D/A converters ensuring studio-grade fidelity, and two 24-bit inputs for effects processing or recording external sources. The TI Snow variant retained a more compact setup with two unbalanced outputs but maintained full USB integration. Keyboard models across the series, including the TI Keyboard and TI2 Keyboard, incorporate velocity-sensitive semi-weighted keys with channel aftertouch for expressive performance, complemented by dedicated pitch and modulation wheels for real-time control. Build quality emphasizes durability, with a robust metal chassis on all variants—evolving to include wooden accents on TI2 Keyboard models for enhanced stability and weighted keybed feel in live settings. Power supply configurations varied: early original series and TI desktop units used external PSUs rated up to 15-30W for portability, while TI2 and keyboard models integrated internal supplies to reduce cable clutter and improve reliability. Early TI models were prone to audible fan noise during intensive operation, an issue addressed in the TI2 through quieter cooling designs. Software integration via the Virus Control VST/AU/RTAS plug-in allows seamless DAW of all parameters, including total recall of patches and multi-timbral setups, bridging hardware and software workflows without compromising audio quality. This enables sample-accurate timing and delay compensation in hosts like Cubase or Logic, making the Virus adaptable for both studio production and live performances where quick setup is essential.

Usage and Legacy

Notable Users

The Access Virus synthesizer has been embraced by numerous influential artists, particularly in electronic and pop genres, for its versatile virtual analog sound design capabilities. In the realm of electronic music, Canadian producer has prominently featured the Virus TI in his live performances and studio work, including contributions to his 2008 album , where it helped shape the progressive elements in tracks like "Brazil (2nd Edit)." Similarly, BT integrated the Virus TI into his productions, such as the ambient electronica textures on This Binary Universe (2006), leveraging its integration with software for complex layering. British DJ and producer Sasha utilized the Virus B for tracks, most notably the iconic lead and modulation sounds in "Xpander" from the 1999 EP of the same name, as demonstrated in production breakdowns by co-producer . In rock and pop, incorporated multiple Virus models into their studio and live setups starting post-1997, with the TI series appearing in their * rig for synthesizing atmospheric pads and leads during performances of songs from albums like (2005). has employed the Virus B in their electronic productions, contributing to glitchy, synthesized soundscapes. Film composer has relied on the Virus TI for scoring, including hybrid orchestral-synth elements in (2010), where its polyphonic capabilities enhanced tension-building sequences like the track "Time." Other notable users include , who integrated early Virus A units into their live rigs for and sets during the late 1990s and 2000s, adding gritty leads to performances of albums like (1997). In hip-hop, and collaborators like LROC have used Virus synthesizers for basslines and effects in mixes. The Virus gained peak popularity among and producers in the 1990s and 2000s for its hypnotic arpeggiators and filter sweeps, before expanding into broader EDM production and film scoring by the 2010s, where its total integration with DAWs supported hybrid workflows.

Cultural Impact and Discontinuation

The Access Virus played a pivotal role in shaping the virtual analog genre during the late and , emerging as one of the most successful and influential hardware instruments in electronic music production. Its innovative use of , combined with digital modeling of analog circuits, set a benchmark for subsequent designs, inspiring features like wavetable emulation in software synthesizers such as Xfer Serum, where Virus-derived wavetables are commonly imported for recreating its characteristic timbres. The instrument's punchy, aggressive sound engine contributed to a shift toward more versatile digital-analog hybrids, influencing both hardware and plugin developers in the pursuit of expressive, evolving waveforms. In genres like and broader electronic music, the became a staple due to its ability to produce gritty, saturated leads and evolving pads that added texture and drive to tracks. Producers praised its "ballsy" tone for cutting through dense mixes in and industrial styles, with features like FM modulation and enabling the creation of dynamic, rhythmic elements essential to these scenes. Its wavetable oscillators and effects processing also supported ambient and experimental applications, making it a go-to for layered soundscapes in electronic compositions. The discontinuation of the Virus TI2 in 2024, after a 27-year production run since the original model's debut in 1997, marked the end of an era for Access Music, with no successor announced as of 2025. Christoph Kemper, the synthesizer's chief designer, confirmed the cessation of production, attributing the decision to a shift in focus toward his Kemper Amps line, leaving the without new hardware iterations. This development raised concerns among users regarding , including parts availability and repairs for aging units prone to DSP chip failures, as well as the obsolescence of features like Total Integration USB audio integration, which has been unsupported since 2019. Despite the production halt, the Virus's legacy endures through its high resale value and ongoing relevance in studios, with TI2 desktop models fetching approximately $1,500–$1,650 USD on secondary markets in 2025, and the compact TI Snow desktop model typically selling in the used market for approximately $562–$859 USD as of early 2026, based on Reverb's price guide and transaction data showing sales from $500 to $925 and clustering around $700–$900 depending on condition. As of 2025, software emulations such as the AudioKit VIRAL Synth T2x, inspired by the Virus TI2, and open-source projects like OsTirus continue to preserve and extend its sound in digital formats. Software emulations, such as the DSP56300-based Virus recreations and plugins approximating its virtual analog engine, allow producers to access similar sounds without hardware, while community-driven projects continue to preserve its patches and wavetables. In interviews, Kemper has emphasized no immediate plans for new hardware synthesizers, underscoring the instrument's status as a completed chapter in his design career.

References

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  10. https://www.namm.org/library/oral-history/christoph-kemper
  11. https://www.soundonsound.com/reviews/access-virus-0
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  51. https://www.kvraudio.com/forum/viewtopic.php?t=559359
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