never mind. I guess you have difficulties with reading. this is not about what a did in previous posts but if you really want to bring this up. please do. Its a bit sad but hey, its a free world.

I think the part that's a stretch is that it's unlikely very many people have both the C and the TI. Most would either stick with a C because they like the EQ characteristics of the converters, or they would get a TI because they want the new waveforms and other features. Then when you narrow it down to the .001% of the Virus owning population that actually has both units, trying to talk one of them into spending their free time on a patch creation exercise like this is futile. It has been well documented there are differences in the way a C and a TI sound, but it's not in the patch parameters. They say with enough EQ tweaking you can make a TI sound indistinguishable from a C, but of course the C does not have all the features or waveforms to reproduce all of the sounds in the TI.

I think where this thread sort of went off the rails is in the fact that you're again asking for someone here to create patches for you. Even if it's a slightly different spin on the last couple of dozen of times you did this, the answer is pretty much the same. These simple hardstyle lead patches you're seeking are a very easy genre of patches to make if you just take a little bit of initiative to practice making sounds and understand what makes them what they are. If the Virus interface isn't intuitive for you, find a plugin that is to learn the basics, then go back to the Virus to apply the knowledge.

I did not knew that.
But you are right. I wont bother you guys again.

Not a question of bothering other people. As you can probably tell, by now, that people won't actually bother doing something for someone that isn't willing - and this is the important part - to do the right thing for himself!

No one holds anything against you and even this harsh words don't mean a thing, have near to no impact on your life. So no harm is taken, right?

The only thing we'd all be happy with, and you should to, is if you were to read MBTC comment and take his advise and get to it.

There's a thing though. Maybe you're focusing to much on getting the exact sound you listen to on some tracks you like. Couple of things: even if you were to have the exact same patch with you, on your Virus or another instrument, chances are it wouldn't sound the same as in those tracks. Because the patch is just the raw material, then you have to process it to make it fit inside a mix along with the other sounds, so forth and so on. So, to cut it short, if you obsess about getting the exact same sound, you're driving yourself into a dead alley. The only clever approach here is to understand the main elements of a sound, and how you can approach sound design in a way that will lead you to a pallete of similar sounds, or at least some starting points you can work with. Because music production - believe it or not - is much more then having genre specific sounds ready to fire up. No matter how good they may sound on their own, you still need to mix them together in context, you still have to arrange the parts and make those elements come together by adding fx, swooshes, so forth and so on. This holds true specially if you're using commercial drum sample packs. They're generaly super fat, and that usually means: that either a kick or a snare, sometimes even a cymbal, will fill the entire frequency spectrum, so as to impress people on a demo, but when you have to make them fit a song, you'll have to shave a lot of frequencies off. Even if you know for sure you're using the kick on your favourite track, may not be the best kick to use with the Bass you have, no? What this means is: even if you had access to the sounds on those very tracks on your examples, all of them, without the processing chain and the mixing apparatus and the arrangement, where do you think that would take you?

I see this all attributed to what even Psychology as well as Sociological professions have deemed, "The Immediacy Generation or Concept"...meaning, there's a growing trend of "wanting results now without having to put any exercise of the [brain/memory muscle] into a given task, THEN having the audacity to even *call it their own*, and it even extends to blatant disregard to ad nausea, in those using sampling without respect and plethora of people whom hear (Deadmous, as just one of many examples) a musician/DJ make certain sounds and *want to sound just like that* without ever the thought of establishing *their own sound*...evolution in the Human Race depends on innovation, not incessant emulation or worse, imitation!!

As I distinctly remembered in not so recent past, had suggested to OP to read an OUTSTANDING manual provided with our synths or available for download, Howard Scarr's "Virus Tutorial-(specific) Programming Analogue Synths". This is an invaluable resource. It's even *Virus Specific*...and considering Mr. Scarr's background, we are so very fortunate to have such a resource that at 129 pages, one could intensely study only *one page a day and make it 3x through that book*....I do and can say I am enlightened even further exercising my 'grey matter' each and every time.

Funny, I always see the three oscillators on both my Virus KB/KC and the only *samples* always see are the "Spectral Waveforms" available as more or less "Alt Waveforms" that can be used AS the *oscillator's waveforms and yes, even LFO's*

You really need to engage the interface of this wonderful hardware synthesizer...a true synth. A great analogy is simple fact that playing an engaging video game with awesome graphics where you are the 'virtual driver' in an all out urban maniacal race, is *nowhere near* the same as being behind an actual high performance car and expecting it to drive *just like the video game* with no effort put into it yourself.

Much like in my military career, those same *made for military* combat war games virtual reality high performance games intended to prepare one for hazardous really scary *real combat* in Iraq, et al, is NOTHING like the real thing, no matter what they say. But most people die so the complaints are literally from dead ears ON deaf ears!!
Meaning; the Virus is not going to program itself, other than a random generator in which you learn absolutely nothing in process UNLESS you take said sound apart, looking at all the pretty LED's that are indicative of those parameters within.
Taking apart presets and doing a type of "autopsy" if you will, is rewarding and can be educational...and then there's that book again from Access for download if you did not get it with your Virus' manuals by Howard Scarr, "Programming Analogue Synths".
I have recommended this book to point having it tattooed in reverse on your forehead as to be reminded each time you look into mirror, would save me from repeatedly giving same advice. :rolleyes: :p