you mean have both filters set to bp mode with parallel filter routing? can you please explain

Set the filters in paraller and set the one with filter stage distortion to BP. The other filter can be anything you like.

During band practice, pull your guitar player over to one side and say to him 'look man....if you turn your shit up again im gonna fuck you up (at this point it would be advantageous to point towards some kind of big Moog Modular)'

But in all seriousness.....guitar players are the bane of most keyboardists lives. I quite often see white sticky liquid get emitted from the strings when they're doing there solo's.

Theres no point trying to rise above them.....just eliminate them

DS :lol:

Khazul:
I tried some of your suggestions out last nite - thanks its definitely got me going in the right direction. The ring mod seems to push the sound out the mix a bit. Didn?t really know what you meant by "wavetable sine with freqmod or phasemod FM" though

Juho:
Im not familiar with filter stage distortion unless you are referring to filter saturation?

sorry for all the questions but i'm still learning how to use the virus, I started with an x-station which, feature wise, is a toy compared to the Ti!!! :twisted:

If looking at the OSC page in VC, set both osc 1 and osc 2 to "Table" mode, and select "Sine" into each. The FM mode bit should then give you options for "FreqMod" and "PhaseMod" (two different variations of FM synthesis), so select either - FreqMod is a good one to start with.

As you crank up the FM amount, it introduces extra harmonics - ie the exact opposite of a normal filter.

If you now detune the second osc with respect to the first, you start to get wierd shit - really strong non-harminc tones creeping in - especially if you detune with semi tones. As you get back to a multiple of 12 semitone, its sounds normal again.

Why a sine wave? In FM synthesis a Sine wave is your basic starting point with no harmonics - because you later add more harmonics. The exact oppositie to subtractive where your start with tones rich in harmonics and filter out the ones you dont want. If you start with something other than a sine wave, then you find that the kind of tones you get out are alot more noisey or harsher.

Anyway because of the additive native of FM (and actually osc-sync as well to some extent) then you can get very cutting and controlled sounds that you can just use the filters to gently and subtly shape while still leaving the raw energy mostly intact. FM is good for more than just bells and DX7 style EPs :)

Put a copy of your synth's output into the side-chain of the guitar's noise-gate. Then route your other synth outputs to the mixer as usual.

Thus, every time you press a key.....

:D

LMAO :lol:

Wonder how long it would take for the guitarist to figure that one out ;)

I still vote for this kind of treatment...
<<<<<<<<< (Just imagin the violinist is the guitarist :))

That's just cruel Timo! :D

... Well, on the bright side, it's better than shooting him. We'd actually be doing him a favour! :D

being both keyboardist and guitarist (though much more keyboardist), I think I should chime in my two cents.

Guitarists tend to be technical, yet insecure and unmusical (you know... its those infinite numbers of Yngwie or Jimi Hendrix clones out there...) Keyboardists tend to be redundant (I saw a metal band with the whole nord lead thing, and well, it was sorta there in the mix I guess, but it didnt add much to the sound... and one top of that the guy was jumping up and down hitting either one note at a time or minor seconds.)

My solution has been to do both parts - IE, write the guitar parts for my other guy. Im also working on getting a good mixed sound between my aggressive virus programming (LOTS OF UNISONS... unison detune makes that thing breath like analog) and my clean effected guitar lines. This way I only have myself to shoot when I realize that my electric guitar can never EVER compete with my TI and KC setup.