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USER`S MANUAL

1. TY MILIN HAO Linear Fauci spectrum TOF We Modular ZET mae with TAE 1 3 2 Better reproduction of analog wave forms Original analog oscillators used condensers unloading to produce common wave shapes saw tooth triangle square This means that waveforms were slightly curved TAE allows the reproduction of Condenser s Unload ARTURIA MODULAR V USER S MANUAL 12 NS o 5 o Temporal representation of a waveform on a Modular Moog 55 REC i 5 8 8 8 8 B8 a 5 Temporal representation of the waveform of an existing Moog like software synthesizer Tus N M i N Es emporal representation of the Modular V waveform thanks to TAE In addition original analog oscillators were unstable Actually their wave shape was always slightly different from one period to another In addition due to analog hardware sensitivities new period trigger times varied with the temperature and other environmental conditions TAE simulates the instability of oscillators helping to create warmer and fatter sounds 1 3 3 Better reproduction of analog filters TAE allows the emulation of analog designed filters in a much more precise way than any existing digital filter In particular TAE has managed to reproduce the legendary Moog 24dB low pass resonant filter with great respect towards the original ARTURIA MODULAR V
2. The 4 filter types 1 6 2 4 The auxiliary ADSR modulation envelopes They are 6 in total allowing the evolution of the sound in time ARTURIA MODULAR V USER S MANUAL 26 ENVELOPE The auxiliary envelope 1 6 2 5 The dual trigger delay A module with two trigger delays allows the management of the signals used to trigger envelopes and sequencer DUAL TRIGGER The trigger delays 1 6 2 6 The LFOs Two low frequency oscillator modules Low Frequency Oscillator are used to create a cyclic modulation on one or several sound setting The slave oscillators can also be used as LFOs when they are brought to low frequency positions when they are switched in low frequencies low freq This gives a total availability of 11 LFO modules ARTURIA MODULAR V USER S MANUAL 27 frequency a Nx Kn gt i j im M EN Velay Ce ad A PHM manual fade in in ii a y Y v gt t The LFO module 1 6 2 7 The VCAs There are two output amplifiers VCA each with an individual envelope We can imagine placing a VCA on the right and one on the left to create a stereo effect ENVELOPE slope c NE out out ei Sott clip pan 9 UCC ane o An output VCA 1 6 2 8 Mixers and amplifiers 16 independent amplifiers are at your disposal Each has its own volume setting with the rotating level button and amplitude modulation i
3. oat a E CENE Attack mm 4 Decay 4 Release 4 Sustain Slope Level Slope Time C 4 Mod Output Input Trigg is Soft Clip gt lt Panoramic ead o dr Audio Input AM Input Tsh T Gain Output envelope Attack Sets the attack time Decay Sets the decay time Release Sets the release time release Sustain Sets the sustain level Slope Time Sets the intermediate decay time Slope Level Sets the intermediate decay level Input Trigg Input trigger signal connection jack Envelope out Envelope out connection jack Audio Input VCA input connection jack Panoramic Sets the position in stereo space Soft Clip Use of gentle saturation AM Input Audio modulation Input jack There are 2 output amplifiers each possessing its own envelope These amplifiers are internally linked to a panoramic manager which allows through the panoramic knob to position the output in stereo space These amplifiers are the last step in the generation of a sound The associated envelope sculpts the temporal form of the signal at the end of the sequence after the application of all of the other modulations Unlike the modulation envelopes it has an extra period between the attack and decay sequences called slope The time and level can be set for this period and allows the envel
4. dh if you click on one of the Inv buttons on the mixer VCAs this will not change the base tone of the preset but will invert the signal connected to this VCA For example a descending sawtooth signal will become ascending In addition if you apply soft clipping light distortion on one of the VCA the operation will most likely use more CPU load than before The following figure shows the connections for this sound as well as the position of the different knobs ARTURIA MODULAR V USER S MANUAL 100 06o6o6oCoCoCotococot Simple patch 1 gt To begin load the Blank Synth preset in the User Blank You will notice that it has no cable connection and it delivers no sound This is normal it is from this preset that you will program your sounds from scratch gt Choose a sound source on the first oscillator situated in the lower section take the audio output of the saw tooth waveform by clicking on the jack BG This wave form produces the richest noise signal out of the 5 wave forms proposed It will be ideal for creating a brassy sound for example gt Direct the cable to the input of the first filter VC Low Pass Filter by dragging it to the In jack This first cable will come confirming the connection gt Now direct the audio output from this filter Out jack to the jack vca in input of VCA1 output amplifier Make sure that the trigg input
5. ARTURIA MODULAR V USER S MANUAL 131 e Set the audio output port e Choose the audio interface e Choose memory buffer size smaller size will increase the load on the CPU but will reduce latency and reciprocally e Choose sample rate between 44100 Hz and 96000 Hz e Choose one or several active MIDI input port s 1 24 VST 2 VST Virtual Studio Technology is a plug in standard created by Steinberg It allows you to integrate software audio synthesizers and effect plug ins with audio DAWs and host software VST is supported by a large number of audio applications like Cubase Nuendo Wavelab FL Studio Audacity Samplitude Sonar Audition Live etc The VST interface was updated to version 2 in 1999 One of the additions was the ability for plug ins to receive MIDI data This allowed for the introduction of VSTi Virtual Studio Technology Instrument format plug ins 1 25 VST 3 VST3 is a new update of VST audio plugins protocol It was updated in 2008 This has improved performance over previous versions of VST and has many new features as well Cubase 6 and Nuendo 5 are using this new protocol With VST3 on Windows users do not have to choose a folder path to install the plug in The installer will put VST3 files automatically into the appropriate directory on your hard drive 1 26 RTAS RTAS short for Real Time AudioSuite is an audio plug in developed by Digidesign AVID technology for their Pro Tools systems 1 27
6. gt Take the preset Sequences gt Bode Seq in the Factory bank The composition of modules is about the same as the previous example A low pass 24dB filter has been added to filter undesirable high pitched harmonics as output from the Bode Shifter gt The first two sequencer lines modulate two Bode Shifter modulation inputs the first at a value of 0 3247 and the second at 0 4588 The two sequences complement one another setting the amount of shift parameter gt The Bode Shifter possesses a sound close to a Ring Modulator the resulting sound is slightly metallic We can direct the signal to a low pass filter LP filter 24 dB to dampen certain high frequencies P It is also possible to use a waveform that is not as rich in harmonics on the oscillator the triangle for example if we don t want to filter the sound coming from the Bode Shifter ARTURIA MODULAR V USER S MANUAL 124 CIN Ma ato cobes v mon FY rue fii OL S ee EG in The Bode Seq patch We are not obliged to use a sequencer as source of frequency modulation for the Bode Shifter More subtle modifications are also possible with a LFO or a key follow 1 22 2 The Envelope Follower The envelope follower is a module favored by aficionados of modular synthesizers with the goal of modulating the envelope with an external signal A drum line is very appropriate for this type of use The res
7. Forcing button of the desired step or through a signal in the associated input trigger Every time the sequencer comes to a step the corresponding trigger output is activated allowing the start up of certain envelopes It is possible to remain on a particular step by modifying the Hold display In this case we need a certain number of clock impulses from the sequencer or from the trigger input equal to the number indicated to go to the next step The rotating selector indicates the next step It possesses 10 positions the first 8 represent the next steps the ninth is a random selection and the last is the generator stop When this last position is chosen on a step the sequencer clock is stopped the manager is reset on the first step and the outputs set to zero At every change of step a general trigger signal from the sequencer is activated This output will be activated at every clock impulse if the repetition interrupter is active In the same manner there is no activity from this signal if the link interrupter is inactive COLUMBS On Line 1 a Trigger mooth 4 in on m Forcing Trigger Input 1 Smooth1 On Line 2 T Smooth2 Forcing Trigger Input 2 On Line 3 o Smooth3 Forcing Trigger Input 35 gt chain ve 0 E e Smooth4 Mode Output 4 e Sequencer outputs Smooth 1 Sets smooth for output 1 S
8. USER S MANUAL 13 Comparative response filters 1 3 4 Implementation of soft clipping Standard 24 dB digital low Dass resonance filter for a typical software d synthesizer Very selective 24 dB resonance filter of the MiniMoog TAE made Moog Modular M resonance filter First 24 dB resonance filter to be ihat selective spss ERE TEE TERT TELLTETLTERETETLTETE TERT TELLS ETE TERES In analog synthesizers the resonant filter uses a current limiting function preventing the signal from being too loud soft clipping TAE reproduces this current limiting function making the sound more natural It also allows filters to enter self oscillation like original hardware synthesizers do i Current limiting emulatian FTITHETEITETEREETSS S CIT PEE D TREE ED ARTURIA MODULAR V USER S MANUAL 14 Soft clipping transfer function True Analog Emulation ARTURIA MODULAR V USER S MANUAL 2 ACTIVATION amp FIRST START Modular V works on computers equipped with Windows 7 or 8 and Mac OS X 10 7 or later You can use the stand alone version or use Modular V as an Audio Units AAX VST2 or VST3 Nya 0 Audio Units 1 Register amp Activate Once the Modular V has been installed the next step is to register the software in order to obtain the activation code that will enable you to use it The registration process will require you to enter the ser
9. s see how to quickly create an evolving polyphonic sound gt To correctly understand the programming of the Modular V select the Blank synth preset in the User Blank bank It holds no connections and thus produces no sound gt Take the saw output of oscillator2 and connect it to the audio input of filteri low pass 24 dB To do this click on the output jack of the waveform a cable will appear and drag it to the filter1 input in Once the cable has been released in the input jack the connection has been made P V CLOW PASS FILTER 44 frequency Connection between oscillator 1 and filter 1 You can also create a connection by choosing the cable destination with a menu with a right click or shift click on the output jack To delete a cable click on it it will then appear in a clearer color to show that it is selected Press the DEL key on the keyboard to remove the connection gt Now connect the audio output of this filter to the VCA1 voltage controlled amplifier audio input Once the connection has been made you can play the sound on your MIDI keyboard or the virtual keyboard offered by the Modular V ARTURIA MODULAR V USER S MANUAL 21 FILTER 1 V LOW FASS L LOW PA VE LFO ENVELOPE 1 O00 K1 No Connection of the filter audio output to the VCA1 audio input Once you have obtained a basic sound you can add elements to enric
10. VCA1 and VCA2 They are applied in the predefined order The choice between the chorus and the phaser is done through a menu displayed by clicking on the name of the module ARTURIA MODULAR V USER S MANUAL 79 1 14 2 Resonant filter bank FIED FILTER EAHE 350 1000 d i 4 Gain Resonance m k anna e Output gain Connection VCA1 VCA2 m gt 4 Reset Filter bank Gain Sets the band level to positive or negative Resonance Sets the bandwidth Connection VCA1 VCA2 Connection of the filter bank to the VCA1 or VCA2 output Output Gain Sets the output gain Reset Resets the filter bank This module allows the equalization of the signal coming from the 2 output amplifiers in function with the state of the interrupters VCA11 and VCA2 This equalization is done with the help of the resonant filters and has 14 bands Each has a level amplification and alleviation and bandwidth setting excepting the first and last bands which are respectively the low pass and high pass filters The cut off frequencies of these filters are fixed at the following values 80 Hz 125 Hz 175 Hz 250 Hz 350 Hz 500 Hz 700 Hz 1000 Hz 1400 Hz 2000 Hz 2800 Hz 4000 Hz 5600 Hz and 6400 Hz A button allows the resetting of the default values and a rotating button sets the output level after filtering ARTURIA MODULAR V USER S MANUAL 80 1 14 3 Chorus CHORUS Typ
11. cables can sometimes hide access to useful settings on different modules So that you are not bothered by this it can be useful to activate the Move away cables mode In this mode the cables will automatically move when the mouse comes across them leaving a clear path for the modification or visualization of a knob Don t forget to deactivate this mode when you want to select a cable with the mouse to delete it ARTURIA MODULAR V USER S MANUAL 55 1 12 5 Trigger connections The trigger signals transport trigger information to the envelopes of the sequencer etc Connecting the keyboard trigger output to an envelope for example allows the triggering of the envelope signal each time a key is pressed on the keyboard The only trigger connections visible on the screen are trigger inputs The output connectors are not displayed their presence is implicit When we click on a trigger input the following menu appears Dual Trigger 1 Dual Trigger 2 rors Sequencer trigger Not Connected Sequencer step 1 Sequencer step 2 Sequencer step 3 Sequencer step 4 Sequencer step S Sequencer step 6 Sequencer step 7 Sequencer step 8 Remove connections DRIVER Keyboard follow 1 Keyboard follow 2 Keyboard follow 3 Ti rigger type input connection menu This menu tells us to which module a trigger input is connected and allows us to create a new connection or delete an existing one When a trigger input is connected it
12. repeat button and click on the latter to confirm the repetition of the notes Click on the repeat button gt If you wish to add more steps to your sequence 16 for example select LA in the LCD display below the oscillator Driver of the sequencer Now select L12 in the LCD display on the right of the sequencer chain To have 24 steps select L123 COLUMNS Trigger Smooth on To have 24 steps select L123 1 7 2 The effects The second section also has three effects which will allow you to bring more color and space to your sound or sequence These are on the right of the sequencer the chorus can be replaced by a phaser ARTURIA MODULAR V USER S MANUAL 32 FIXED FILTER BANK DUAL DELAY CHORUS nt wes 350 1000 22 SYNC E E E m ur NEC UMS 175 j P delay amount d y k feedback L R Im e eS CROSS feedback Stereo rote Stereo width L j 1 Ne ido id wet dry GAIN wet T We e 9 9 OEC IOS VCA1 VCA2 VCAl YVCAZ VCA1 VCA2 t t f f e t 4 2 The 3 effect modules Resonant filter bank Fixed Filter bank affects equalization to the outgoing signal coming from the 2 output amplifiers in function with the state of the interrupters VCA1 and VCA2 This equalization is done with the help of resonant filters with 12 band pass filters each of the bands has a level positive or negative and bandwidth setting This module a
13. 2 audio outputs of the synthesizer ARTURIA MODULAR V USER S MANUAL 36 To correctly hear the different modulation depths simply increase the value of the amount knob The higher the value the more discordant the sound The amount parameter gt Set the modulation rate by turning the rate knob The faster the speed the quicker the detuning You can also widen the stereo action field by increasing the value of the stereo width knob Stereo rate SEES undth OE The stereo settings i With chorus it is also possible to obtain the stereo sweeping of the sound by decreasing the amount knob and working only on the value of the stereo width depth and stereo rate oscillation speed knobs This will create an auto pan effect The effect will be even more present if you lower the level of the signal without effect Dry leaving only the effect return wet 1 8 the virtual keyboard and its real time controllers A virtual keyboard is used to control the synthesizer notes and add supplementary real time modulation settings It can either be coupled with the sequencer section and the effects or used alone to save space ADSR envelopes cutoff frequency settings pitch bend settings keyboard follow settings of outputs VCA 1 and 2 2D pads for the 3 filter modules master gain and pitch AM A portamento bend and virtual keyboard setting modulation wheels T
14. 7 eA Asmodulanmsymntlesizemewilyi eT 11 ipsmeAubettememUlationgthanksstomVAE O OO I O O OO OOE 11 1 3 1 Aliasing free osclllators oet eset eere EEA AEE AT ANE AEEA 12 1 3 2 Better reproduction of analog wave forms essssssssssseseseme meme 12 1 3 3 Better reproduction of analog filters c cece eee eee e eee eee eee teeta mme 13 1 3 4 Implementation of soft CIIPPING i i ll rr I Hn 14 2S AGTIIVATIONISSEIRSTSSEARTSS S m eee ences easdem iumimesecenee selene 16 jab teer t Nod Ns Md Sin ode canon ddnandnadd A A A E E 16 9XrQuickiStatibsees eee 17 astmSnheidisectionsrofithesModulan Vestes eR 17 3 1 A The synthesis Section i enews ese ea eere toe re d mee cune av et avec ee 17 3 1 2 The other three sectionS ssssersssserrsrrsesssrrernnenserrernnesreresenssnesssessesnnennannan 18 3 1 3 Reduced view of the keyboard and the real time controllers 19 3 22 USIngiipresetss messes Eee emere EIS TED 19 assuModularisynthesizereme see Eee estet ds 21 3 31 FirsSt connectiorniscsi esee e Yee EE erre xv cy Ex e v Oa moy e Ye YR CR Y Vie cR 21 3 3 2 Description of the synthesis section modules eseeeenn nnn 25 atzssnher other sectionss esee eee sate nace mace ERE sein cee meee cme ERE Reese hue 29 3 4 1 The sequencer icc cere ene ex x x CERA T EAA TACTA LE REVENU Xa a ERA 29 3 4252 The effects ii o eddie ierra dens iar re onn ere Debs ePi Terent Tr ba ENERE A
15. ARTURIA S A Other products logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners November 2014 edition ARTURIA MODULAR V USER S MANUAL 2 Introduction to the Modular V manual The first version of the Modular V was commercialized in March 2003 having been announced at the NAMM show of the same year It quickly became popular being the first to offer an emulation of a modular synthesizer The name Moog was obviously a trigger as for many it remains synonymous with the golden age of vintage synthesizers But strong interest from well known musicians such as Isao Tomita Klaus Schultze Geof Downes Stevie Wonder Herbie Hancock and many others helped create a real buzz around the launch of the Modular V At Arturia we have received many messages of congratulations as well as requests for the evolution and modifications for upcoming versions of the synthesizer Version 2 of the Modular V has taken many of these requests into account and brings many unexpected developments Firstly as you will see when you launch the program is a new means of viewing the synthesizer giving an overview of the entire instrument if your computer can support the resolution On screens with lower resolutions by using the scroll command it becomes possible to access all of the modules on the same screen a feature that will delight many musicians We have also broadened the configurat
16. AU AU for Audio Units is a plug in protocol developed by Apple Computer It used by Apple applications such as GarageBand Soundtrack Pro Logic Express Logic Audio Final Cut Pro Mainstage Ardour Ableton Live REAPER and Digital Performer 1 28 64 BIT COMPATIBILITY The Modular V is optimized for both 32 bit and 64 bit modes If you have a 64 bit operating system and a 64 bit digital audio workstation you should use 64 bit version of the plug in for Windows Usually on 32 bit Windows all 32 bit programs are installed in C Program Files However on 64 bit Windows you can find the 64 bit programs in C Program Files and the 32 bit programs in C Program Files x86 ARTURIA MODULAR V USER S MANUAL 132 Mac users don t have to bother with this because the same plug in file contains both the 32 bit and the 64 bit versions and the host automatically chooses the better one 1 29 USE IN CUBASE NUENDO VST 1 29 1 Instrument use in VST mode The opening of the Modular V VST plug in is the same as opening all other VST plug ins Please consult the instruction manual of your host sequencer for more specific information Under Cubase Nuendo create a new Instrument track and choose Modular V in the rack Cubase File Edit Project Audio MIDI Scores Media Transport Devices Window Help 4 EJ MonApr23 10 19 Kevin Q g 2 0 0 Cubase 6 Project Untitled1 b Add Audio Track Add Instru
17. Blanchet Now click on the button above the second LCD screen presenting the word Leads this screen indicates the name of the sub bank currently being used Choose Basses Do the same thing on the 3rd LCD screen and select Bass1 ARTURIA MODULAR V USER S MANUAL 19 Cobles C Engel FILTER 3 C LOW PASS ENVELOFE 2 Factory i JM Blanchet Basses JMB Aswad JM Blanchet2 Effects JMB_Bassl K Shulze Keyboards JMB_Bass2 K Ujiie Leads JMB Big bass M Geiss gt Pads JMB_Birdland M Luso gt Sequences JMB Finaer Bs Select the preset bass1 A The presets located on the Modular V toolbar are classed in banks and sub banks Each bank contains a certain number of sub banks which determine in general a type of sound sub bank basses sub bank sound effects etc Each sub bank contains a certain number of presets The Modular V is supplied with 800 additional factory sound banks which allow you to get acquainted with more sounds and sequences of the synthesizer A bank called User offers a selection of presets allowing you to begin from a base configuration to start the programming of a sound for example the sound 1 oscillator comes with an oscillator pre connected to the first filter a low pass the signal then goes to VCA1 gt Now let s modify this preset To do this we will start with a simple manipulation Modify the cut off frequency of filter1 the firs
18. MANUAL 117 be V C LOW PASS FILTER ud frequency resonance Vade Click several times on the key follow display gt You can also try another type of VCA control PWM oscillator fine tune LFO speed by selecting one of the 4 key follows in one of the modulation inputs ET A ae Connection of the PWM to the key follow input 1 key follow gt Now move to the second screen to set the slope and the notes that will separate the key follow actions For this example choose key follow 1 gt Turn knob k follow slope 1 to determine the slope of this key follow The more you increase the value the more important the slope and the faster the opening of the filter will be performed when the keyboard range is played Setting of the key follow slope ARTURIA MODULAR V USER S MANUAL 118 gt To obtain an inverted slope the higher you go in the scale on your keyboard the faster the filter will close connect the key follow1 output to the filter modulation input and turn the modulation jack ring counter clockwise be V C LOW PASS FILTER frequencu Turn the modulation jack ring counter clockwise gt Each of the key follows also allows the generation of a trigger signal when the selected note is between 2 limits Because of this certain envelopes can be triggered in function of notes or particular sections of the keyboard lou ni C Setting the limits for the key follows 1 21 2 C
19. Now try to use one of the 2D controllers to modulate the cut off frequency to X and the resonance of filter1 to Y gt For this go back to the first screen to assign the 2 parameters to the 2D controller 1 outputs The output connections can be found at the bottom of the synthesizer section 2D pad X Y ARTURIA MODULAR V USER S MANUAL 40 key follow The connection of modulation inputs of filter to the 2D controller gt Return to the second screen and manipulate the 2D controller handle vertically X or horizontally Y to hear the result of the modulation gt modulatia 2 modulatia Using the 2D controller To have access to these 2 modulation inputs on a low pass resonant it is essential to change the filter type the low pass 24dB Moog does not possess a modulation input in the resonance Take the multimode filter and set it to low pass mode if it isn t already the case 1 8 4 3 The filter cutoff frequency controller On the right of the 2D Pads you will find controls for the cutoff of the 3 filters modules These will only be active if the filters are used in the current sound a diode above each knob indicates if it is active In our Stereo pad example the first two filters are used you will notice that the first 2 knobs are active Simply try to change the settings and you will immediately hear the result on your sound ARTURIA MODULAR V USER S MANUAL 41
20. This function is especially useful when we want to use this oscillator group as source of low frequency modulation Furthermore each of the keyboard follows can activate the response of oscillators and filters to portamento and pitch bend 1 13 2 2 Slave oscillator 921B OSCILLATOR frequency Frequency Range Synchronization Audio outputs of the 4 wave forms Synchro input j FM Inputs Wa Oscillator 921B Frequency Sets the frequency of the oscillator By left click setting by semi tone by right click fine setting Range Setting of the oscillator range low 32 16 8 4 2 Synchronization Synchronization interrupter Soft Hard Synchro input Menu to select the synchronization oscillator FM Inputs Frequency modulation input connection jacks Outputs Connection jacks for the four oscillator outputs ARTURIA MODULAR V USER S MANUAL 61 The 921B type slave oscillators possess four outputs that can be used simultaneously sawtooth sinusoid triangle square There is also an output generating a trigger signal synchronous with the square signal and with an identical width which lets us trigger envelopes and sequencer in a cyclic manner This output is visible only visible at trigger input menu level N Sawtooth Square Triangle Sinusoid These oscillators are independently tuned with the frequency knob This but
21. button allows us to set the tuning with amplitude of 1 tone ARTURIA MODULAR V USER S MANUAL 89 6 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all of the forms of sound synthesis subtractive synthesis is still one of the oldest and most frequently used today This method was developed from the 60 s on Moog analog synthesizers and then later on ARP Buchla Oberheim Sequential Circuits Prophet series Yamaha CS series Roland Korg MS and PS series to name but a few This synthesis technique is still used on most of the current digital synthesizers added to sample reading or wave tables which have progressively replaced analog oscillators since the 80 s The modular Moog systems and your Modular V represent the best illustration of the immense possibilities of subtractive synthesis Modular synthesizers use a certain number of base modules placed in sections where the size varies in relation to the importance of the systems These modules once connected allow the creation of a multitude of sounds 1 17 The three main modules 1 17 1 The oscillator or VCO The oscillator Voltage Controlled Oscillator can be considered as the starting module with the noise module that we often class among the oscillators for the creation of a sound on a modular system It is here that the first sound signal is created and we can consider the oscillator like the strings of a violin which when stroked or plucked vibrates to cre
22. cer dure d sutev qian E ear en NONA 73 5 I 10 Sample and hold isi eee coto eie gto degsedessed etr op c vR ERE I R CE Ys UR E ETC DRE LaPd e 74 5 1 11 Envelope follower rrsan ian Aa nemen nennen nenne ananas an nnn nnn 75 5 1 12 Ring modulator ier reden ea Rain Ra ER ARR RR KEA E aaa ER YR BER ERE X Ee ENEN 76 5 1 L3 F rmiant filte ipsi sirno auaa rana Dice ocus cR vastus Lees E DUESUr D ra DO URL ONE 77 5 1 14 Bode Frequency Shifter cccccccccceseeseeeee eee ee nennen nean neas nnn nn 77 O EE 78 Dari DESCIPUON e erai Aie Mngt e ADM TE PLENDA AEEA PLEDE LEERI ENA 78 5 2 2 Resonant filter DANK cccccccccece eee anaiak inei aa iiaiai a snas ase annee n ann 79 5 2 3 Chor s e eL Le e eee dre wees E noe eee Baa 80 5 2 4 PHASE ii cedentes ex eva ex rena ova A EO VITE E AA VA TOY RTT do T TRU DAR SOR SU aE AA 81 5 275 Stereo Delay sec cr Te y eid Ux NR RURNEY XIV RR ORE RRARRFSE ONES EPA eae es 82 5 2 67 SEQUENCE generator arnie e c lev Rete seb eR ere ua ne tarde ta edes uestes eee anne 83 gS pl Mallmelmsyt cld 9 1 serorcodaune aecnesorocdea re cee concn socsarorcodnurcciccae sorsodseroroddorerscecororceasererrevuccre 86 5242 EOUthisectioniee e UR eU EEUU 86 5 4 1 Keyboard follow mManagemMent ccceeeee eect ee eee eee eee eee neta mensem menn 87 5 4 2 General SetLiiQSnieskpe vade oA eoa D pian Ca dT ON EXE AY RN QT KAY A CRAT AA ER UAE ERG ERR RR YR 88 esxleibasicstofesubtractivessvmthesis mE EE 89
23. conne he fer 4 Sequencer step YCA Envelope QA gm EUIS Sequencer step 3 Oscillator A i CT K Sequencer step 5 Trigger Delay Sequencer step 6 External Sequencer gt Sequencer step 7 we Sequencer step 8 Selection of Sequencer trigger gt Now move to the second screen and click on the ON button situated in the Oscillator module The sequencer starts up but you only hear the same pitch for all the steps This is normal OSCILLATOR frequency futu length Start the sequencer gt Set each knob corresponding to the first sequencer line the one to which the sequencer oscillator had been directed You can now hear a melody Set the knobs of the first line of sequence gt Set the impulse width of the square signal of the sequencer oscillator with the Length knob This will vary the length of the notes played ARTURIA MODULAR V USER S MANUAL 112 w OSCILLATOR frequency E MIDI SYNC length 4 L3 Set the Length knob gt To stop the sequencer click on the OFF button OSCILLATOR 2 COLUMNS frequency Trigger Smooth E in on a MIDI SYNC p MN off SEQUENCER i Sequence 1 20 2 Sequence 2 Now let s see how to use the different combinations between knobs by lines or columns to create 8 16 or 24 step sequences This will allow you to quickly have very different sequence lines available which although different wi
24. example the connection of the keyboard to auxiliary envelopes The trigger cables transport trigger information for envelopes or the sequencer for example In the Modular V for ergonomics and graphical readability only part of the connections is displayed on the screen in cable form The other connections are made either by menus or with digital displays on which we can click The different types of connections we can use on the Modular V are as follows Audio connections modulation connections these connections are made with cables that are visible on the screen Trigger connections these connections are only done through menus Synchronization connections these connections are only done through menus Key follow or sequencer connections these connections are available and can be modified through visible digital displays on the filters and drivers modules 1 12 1 Audio and modulation connections The audio connections allow for example the routing of a sound to the VCA mixers or to the inputs of different filters The modulation connections allow for example routing of an LFO output or an envelope generator to an oscillator PWM or VCA modulation input These audio and modulation signals are totally compatible the only difference being that the audio signals are audible if you connect them directly to an output VCA while the modulation signals are generally not audible as the frequency is too low for the human ear Modulation
25. impulse width of the 3 slave oscillators These 3 slave oscillators can be tuned and modulated separately They deliver 4 waveforms that can be simultaneously used DRIVER OSCILLATOR ff OSCILLATOR ff OSCILLATOR frequency An oscillator bank 1 driver and 3 slave oscillators 1 6 2 2 The white and pink noise generator To the oscillators previously described we add a white or pink noise generator It is accessible in the form of 4 outputs This mode also has two 6 dB oct filters a low pass LPF and a high pass HPF With these you can for example change the nature of the noise to make it more or less brilliant ARTURIA MODULAR V USER S MANUAL 25 FILTERS Lpf 0m White and pink noise generator 1 6 2 3 The filters The Modular V possesses 3 filters Each of these filters can be chosen between 4 types Low pass 24 dB octave type 904A High pass 24 dB octave type 904B Band pass and band reject 24 dB octave type 904C Multi modes 12 dB octave low pass high pass band pass band reject bell shelf The type change is done by clicking on the title of the filter type and by selecting the desired filter in the proposed menu be V C LOW PASS FILTER 4 P V C HI PASS FILTER f b FILTER COUPLER 4 B MULTIMODE FILTER 4 bang band Frequency frequency feject _ pas E j 3 d a E A LP sam BE no HF ts BP HS p resonance frequency resonance frequency reSonance
26. invoice shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this Product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this Product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state ARTURIA MODULAR V USER S MANUAL 140
27. made by turning the ring of the connected jack this ring will transform virtually into a knob gt You can repeat these operations with filter2 you can use the audio outputs as many times as you like one of the miracles of computers gt To obtain a different modulation to the one applied on filteri all while remaining synchronous turn the jack ring of filter2 in the opposite direction of what you had previously done with filter1 gt Set the attack of the output VCA envelopes to 10 o clock so that the sound will arrive progressively when you press keys on your MIDI keyboard AttackTime Vca2 7 m 33 58 ms ENVELOPE frequency The Attack A settings for the output VCS envelopes gt To finish turn the panoramic knobs on the 2 output VCAs the first to the left and the second to the right You will obtain a very natural stereo without the use of external effects gt Don t forget to save your preset in a bank to your name and a sub bank with the name Pads Then enter the preset name Stereo Pad ARTURIA MODULAR V USER S MANUAL 24 FILTERS lpt mE ee ee ee ee Xo e el eu el o tel eueleeleuei eoe OLOO 00O 00O OCO The final patch 1 6 2 Description of the synthesis section modules 1 6 2 1 The oscillators They are 9 in total regrouped in threes like the original Moog 1 Driver oscillator allow the management of the frequency and
28. mouse vertically without going around it The linear mode can sometimes be simpler to use than the rotation mode It can at the same time be less precise the precision is limited by the number of vertical pixels contained in the screen on which the mouse movements are being evaluated The linear mode can be accessed in the sequencer options In Cubase for example the choice can be accessed through the Edit Preferences menu and can be found in the General tab in the dialog window ARTURIA MODULAR V USER S MANUAL 47 1 11 1 2 Mouse control higher linear precision The Modular V allows access to a higher level of precision when adjusting the knobs with the mouse with the use of the right click or Shift click In this mode the precision of movement is multiplied by 4 in relation to the normal linear mode This mode can be accessed no matter which mode has been chosen on the sequencer circular or linear 1 11 1 3 Mouse control circular Click on the knob and turn in a circle around it to change the value of the controller The rotation mode gives a higher level of precision in the manipulation of controls the farther the mouse goes from the knob the higher the precision of the setting 1 11 2 Joysticks The usage page of the Modular V offers two 2 dimensional control joysticks The outputs can be used as a source of modulation for all of the synthesizer s modules The utility of these joysticks is that they simul
29. now freely choose a preset by clicking on its name C Engel Factory JM Blanchet z B D AWA JM Blanchet2 JMB_AccoustKick K Shulze JMB Elec Kick K Ujiie Keyboards JMB Hard Kick Cy M Geiss Leads JMB HiHats M Lupo Pads JMB Snare Matsutake Sequences JMB Toms N Ubukata S Solida LAL Dd h Choice of a preset in another main bank Once a preset has been changed modification of a controller or connection an asterisk appears next to its name in the tool bar 1 9 2 Creation of a bank sub bank preset To create a new bank of sounds click on the button on the left of the current bank In the drop down menu select New bank to create a new bank of sounds You can then change the name of this bank by clicking on its name in the toolbar and typing the new name To create a new sub bank again just click on the button on the left of the current sub bank and select New sub bank You can also change the name of the new sub bank Finally to create a new preset click on the button on the left of the name of the current preset and select New preset The new preset is created using the current Modular V settings controllers and connections You can then work on the settings of the sound and save it by clicking on the save button see the next paragraph You can also change the new preset name by clicking on its name ARTURIA MODULAR V USER S MANUAL 44 1 9 3 Saving a user preset To sa
30. of the first amplifier which will have the signal corresponding to the sum of all of the amplifiers of the group the others retaining their independence Thanks to this method with 16 amplifiers to begin with it is possible to create a large range of mixing while keeping a few amplifiers available for modulation We can for example form a group of the first six amplifiers to mix the first six oscillators then a group with the next 3 to mix the 3 last oscillators and finally a group with the next 2 to mix the outputs of 2 filters which will respectively treat the output of the first amplifier and the output of the seventh There are 5 remaining amplifiers for modulation or other mixes Each amplifier possesses a current limiting function allowing a soft clipping This function is activated with the clip button The inv button lets you invert the signal as input to the corresponding amplifier The four right VCA are modulated with a linear function on the contrary the other are modulated with a exponential function 1 13 8 Trigger delay DUAL TRIGGER Trigg 1 Input Trigg2 Input Trigger delay Time 1 Sets the time for the first delay Trigg 1 Input Choice of trigger input for the first delay Mode Choice of mode independent parallel series Time 2 Sets the time for the second delay Trigg 2 Input Choice of trigger input for the second delay A trigger dela
31. on this jack and lightly turn it towards the right to 2 o clock for example This will dose the modulation input to the cut off Finally lower the cut off frequency to hear the oscillation of the sound PV CLOW PASS FILTER lt PV CLOW PASS FILTER lt mV C LOU PASS FILTER 4 frequency frequency frequency eo resonance feSonance PHIM manual f t in E E e mod in mod in ri e e d e Qoo 200 000 7 mea K1 nol Il pear Koff no Connection of LFO to filter P Turn the resonance button to the right to create a supplementary brilliance that is very electronic in your sound By increasing the oscillation speed of LFO1 frequency button you will thus obtain a typical 70 s wah wah effect 1 19 3 Complex patch Z1 Let s continue with a more complex sound using 3 oscillators the mixer 2 low pass filters 2 VCA 2 envelopes 1 on each filter ARTURIA MODULAR V USER S MANUAL 104 2LFO This sound will be polyphonic and constitute a good example of accompaniments with subtle stereo evolutions ENVELOPE 2 FILTERS lof Aure DRIVER On leu On eu em eu e Lem eu leu i ED EO le le e EO E le ie E E oo6 ocoooCoCotC The complete patch For the conception of this sound you can complete the previous patch gt Start by clicking on the link button between the second an
32. signals are thus generally used to program slow variations on certain synthesis parameters like the cut off frequency of a filter for example The audio output and input connectors and the modulation output connectors are identical in the graphical interface ARTURIA MODULAR V USER S MANUAL 52 Audio input or output connectors or modulation output connectors The modulation input connectors are graphically distinguished from the other connectors as they include an extra function a modulation level setting described later in this paragraph mod in 0 0 0 Modulation input connectors To connect a modules output to the input of another module click on the output and drag it to the target input while holding down the mouse button When you are above the input the connector lights up In this case you just need to release the mouse button to link a cable between the selected output and input ENVELOPE A mta rin manual NENNEN a Creating a new cable and finding an appropriate input by click and drag Another means is to right click or Shift click for Mac on the input or output of a module In this case a menu appears with a list of possible connection points for this output input It can happen that the input output is already connected to certain modules and in this case the already selected connection points appear in the menu Simply select one of the connection points in the Connect to men
33. them at your convenience 1 13 2 Oscillators The oscillators nine in total are regrouped in threes Each group has a 921A type controller and three 921B type slave oscillators Controller S 1 Oscillators ARTURIA MODULAR V USER S MANUAL 59 The controller is for the management of the impulse frequency and width of the 3 slave oscillators It can be used either statically with the knobs or thanks to the modulation inputs which can be connected to the output of any module envelope oscillator modulation dial The slave oscillators can equally be tuned and modulated separately with a knob and a range selector These oscillators provide four waveforms that can be used simultaneously This method of organizing the oscillators typical of Modular synthesizers helps to rapidly obtain a very rich tone The tree oscillators tuned separately and waveforms mixed give very dense tones This tone can then easily be modulated with the controller Adding a vibrato effect on this sonority is immediate using a modulation input of the controller This would not be the case if each of the modulation inputs of the slave oscillators had to be set 1 13 2 1 Controller 921A DRIVER frequ 4 4 Frequency a State Impulse width FM Inputs 4 4 PWM Inputs Keyboard follow ve Sequencer choice Oscill
34. wave forms of LFO1 to one of their modulation inputs gt Next set the 2 modulation levels and the LFO speed to your liking ARTURIA MODULAR V USER S MANUAL 110 gt Finally set the 2 output VCA envelopes as you wish while trying to keep the same values on the 2 envelopes P If you apply several modulations provoked by the different LFOs and on different destinations filter Cutoff FM PWM etc try to vary the different levels of modulation in order to create as many different variations in the evolution of the final sound This is one of the strongest points of modular synthesizer 1 20 The sequencer 1 20 1 Sequence 1 Now let s take a more detailed look at the use of the sequencer We ll start by creating a simple sequence of notes with an oscillator Take for example patch 1 from this chapter as the starting point gt At the bottom of the first Driver oscillator click once on the sequence display situated next to the one for the key follows the display indicates S1 This activates the connection towards the first line of sequence on the sequencer frequencu ER Connection of the driver oscillator to the first sequence line gt Select the Seq Trig output by clicking on the Trig input of VCAL ARTURIA MODULAR V USER S MANUAL 111 Keyboard Sequencer trigger Sequencer b Sequencer step 1 LFO 1 b Connectedto Sequencer step 2 LFO 2 Li b d r Remove
35. 15 vxomBonusfeat tesM eee eed e 116 7 3 1 Creative use of key fOllOWS ccccccecceee ee eee eee eee eee eee ee eee meneame nennen nnn 116 7 3 2 Creative use of triggers and trigger AelayS cececeee eee eee eee eee eee teat eee teat eens 118 7 3 3 Stereo without the EfFECES ieee cece nennen E nnne nnn nn 120 Aw usingithemewsModulanVe22 Onmodules eee 121 7 4 1 The Bode Frequency SHifter cccccccce eter emen menm nnn nnn 121 7 4 2 The Envelope Follower eeeeeseeeeen nmm hne nnns 124 7 43 The sample and hold ioi toi etate eden chri deca ee Y LER X eta ze a 127 SxeModesiof amp operationss eem 130 SsteStandalonezseeec Mee Eee 130 81 1 Launch the application inoia ed e SR ea ania ame EN Ram de am UE 130 8 1 2 Configuration of the instrument sssssssssssssssssssseeeme s eee enses 130 ARTURIA MODULAR V USER S MANUAL 5 GRZARVSITS2S eere P wp Petr E N E IE 131 GTOEEVSITES Niere eec eee duse E A E TEE T UE HET 131 S AURRTASS recreo dd aGeeccencenca veh steve coke tere eese seem sce sceG esas cute eam esi E ret 131 BrO ad NIU eS PEE REI E ERI ETE DOT REESE 131 8 65 64 biticompatibilityasessesse scares te eee E EE UESTRE EUST O nar 131 SvEgRUsetimnisubase Nuiemndox V Sil a ERR 132 8 7 1 Instrument use in VST MOE ccc EEE EE nnn nnn nnn nnn nn 132 8 7 2 Rescan the plug in directory in Cubase sesseseen nmm 133 8 7 3 Saving oft Presets ei eea inan sk ge tear Ri i a ER eR Rag R
36. ADSR i LFO ro LFO AA E VCF VCA d gt Sortie audio R A A A A VCF VCA _ gt Sortie audio i L ES A A Synthesizer scheme ARTURIA MODULAR V USER S MANUAL 7 A FEW ELEMENTS OF SOUND DESIGN Here is a series of examples designed to guide you through the creation of a sound and a sequence They are classed in order of complexity beginning with the easiest and are organized into 4 parts The first part will teach you the basics of modular sound synthesis For this you will go from the most basic patch Make a VCO oscillator ring in an output VCA amp to programming a richer sound several VCO sources VCF filters VCA envelopes The second will help you to use all of the different aspects of the sequencer The third will show you tips on the creative use of the key follows triggers and the creation of a stereophonic sound without using extra chorus and delay effects The fourth and last part will guide you through the use of three of the new modules in the Modular V 2 0 the Bode Shifter the envelope follower and the Formant Filter 1 19 Modular sound synthesis 1 19 1 Simple patch 1 To begin we will learn how to program an elementary monophonic sound It will be composed of 4 modules an oscillator a low pass filter an output VCA the envelope corresponding to the output VCA You will thus obtain the base patch of subtractive synthesis
37. Bass in the Factory bank For this very simple preset we will use an oscillator where the sawtooth signal will be directed straight to the Bode Frequency Shifter audio in gt The A and B outputs on the Bode Frequency Shifter are directed towards the inputs for VCA1 and 2 The panoramic knobs are turned to the left for VCA1 and to the right for VCA2 to obtain a stereo sound gt The main tuning frequency on the Bode Shifter is placed at 0 000 Hz amount of shift knob centered The Scale setting is placed to position 5 the variations in height are very weak Also leave the Mixture setting at the center it won t be used in this example Aslow modulation is applied to the Bode Shifter frequency thanks to the sine signal of a LFO The modulation phase being inverted on outputs A and B you obtain a very natural dephasing between the left and right signals This effect could be compared to a short reverberation effect if the modulation rate is weak or chorus if we increase the modulation rate ARTURIA MODULAR V USER S MANUAL 123 FILTER 2 pon M oscLLATOR ETC w w e e e T oG 016 016 016 016 016 oG o The Bode Bass patch 1 22 1 2 Electronic percussion sequence gt For this example we will use the sequencer to create a simple melody with the Bode Shifter Sequence lines 1 and 2 will modulate the height of the Bode frequency Frequency shifter modulation
38. DI keyboard or the virtual keyboard Connections for modulation and velocity outputs on the frequency modulation of filters 1 and 2 gt Now do the same thing connecting the velocity output vel to the filter2 cut off frequency modulation input To test velocity settings use your MIDI keyboard the virtual keyboard naturally is not sensitive to velocity ARTURIA MODULAR V USER S MANUAL 38 4 independent key follows apply a continuous change of a modulation parameter in relation to the scale of the keyboard tune the oscillators for example The pitch bend and modulation dials add a modulation to the parameter s connected to its source The portamento Glide adds a frequency smoothing portamento between 2 notes The velocity adds a modulation to the parameters which are affected by the force with which the key is played on the MIDI keyboard Aftertouch adds a modulation to the parameters connected to its source by a variation in the force used on the keys of the MIDI keyboard You can continue the experience with one of the four key follow outputs There are two means of connecting a key follow modulation The simplest and fastest is the automatic connection through the LCD displays situated on the drivers oscillators and on the 3 filters This method produces a perfect pitch for all the scale of the keyboard A cable connection gives you the possibility to have finer but more complex settings
39. FR Products are exempt from update upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the ARTURIA MODULAR V USER S MANUAL 138 Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusive right to use the Product in perpetuity The Product shall only be used by students or those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owne
40. Jan Hammer was also one of the first users of Moog systems Big groups like Tangerine Dream the Beatles or the Rolling Stones would also become modular Moog owners The 3C modular system 1969 Courtesy of Roger Luther MoogArchives com ARTURIA MODULAR V USER S MANUAL In 1969 70 the company which now has around forty employees was building up to three modulars per week and the order book was always full The modular had 5 years of high sales and sold around 200 models in the United States yaeeee ee sy VELULEEE sree eee ee ARARAA AI ROO Ae ARE etette ef a ee ee ag OASE EEY LI Construction and testing of a modular Moog Courtesy of Roger Luther MoogArchives com In 1969 Bob Moog received demands for a more compact instrument that could be transported more easily directed more to stage than studio With the help of an engineer from Berkley Jim Scott and the advice from numerous musicians he was about to create another mythic synth the Minimoog System 55 the last version of the Modular 1974 Courtesy of Roger Luther MoogArchives com ARTURIA MODULAR V USER S MANUAL 10 1 2 A modular synthesizer why Why create a modular synthesizer that is to say comprised of independent modules that we must connect ourselves sometimes with difficulty before obtaining a sound The answer as you can imagine is very simple the modularity brings immense possibilities for
41. NE EN ANE 32 3 5 the virtual keyboard and its real time controllers eeeeeeeenn nnn 37 3 51 The keyboard s i nec rto exe loe teen id et cere vor EORR TA eda a ened 37 3 5 2 The keyboard controllers eei oerte te RR i aa e RE RAP aA 38 3 9 3 ThE play MOOS eres oso eee eer i Rd Ren aie RAE p rar Roa d nanii 39 3 5 4 The sound design controllers cem der eh hr per eur terreri wet d ostia 40 a xmheuntentace s e seternum EUREN 43 Al Se singithetpresetszsseseseseeeeuee UE EUER EISE 43 4 1 1 Choice of bank sub bank PreS t cece cect ee nennen nnne 43 4 1 2 Creation of a bank sub bank PreS t cccce cece eee ee ee eee nnn 44 4 1 3 SAVING a USER DFeSet ioi deri wer rr Re RI RR RR nies deleains TIRE dine rr Ri E X ERN FA RE S 45 4 1 4 Import Export of a preset bank ssssssssssesseeeeene nemen menm 45 412 Workipages teer UEUM IDE AEE E pU UE UM UMEN 46 4 2 1 The complete VEW aeia een ia EAE A E A AE AEEA sua ssa ana nna nn 46 4 2 2 Ihe reduced usage page wines ene sco EA ces clea AAAA ea i ea cv tera Ee AURKA Len Ra Ba 47 423 Using controllers t eR ER UEM UU UE IUE Tee RIORUM 47 4 3 1 IKMODS 2 o eee eere rhe RR ERI RERERRUERUEERE RN ERN EEE sh Ree E DERRTE 47 mc MENO dod 48 4323 Selectors fevered DEEP 48 AIA Keyboard iir RI E perve ke rtr nr ate er v tenes e eaa rrr REA 49 4 325 MIDI COhDtrol fierce ees esee Ree hme revu ieee deua doen Va dv deere td rx Rr cae Ua gece Va DERE 49 a4xAsU
42. OPE p N my lt Attack A 4 Decay D Input Trigg c Envelope Attack Sets the attack time Attack Decay Sets the decay time Release Sets the release time Sustain Sets the sustain level Input Trigg Trigger signal input connection Output Envelope output signal Six in total the modulation envelopes make the sonority evolve in function with time An envelope possesses four sequentially following temporal periods attack decay sustain and release When the input trigger goes from an inactive to an active state the envelope launches its sequences attack followed by decay and remains in the sustain state as long as the input trigger remains active When it goes to an inactive state the envelope begins the release sequence If the input trigger becomes inactive before the first 2 sequences have finished the envelope goes directly to the release phase The input trigger can be connected to the output trigger coming from the keyboard the trigger delay module the oscillators trigger output or from the sequencer The time of the different periods are controlled by the Attack Decay and Release knobs The Sustain knob is to set the level of the envelope output during the sustain period Trigg 1 i 1 On t Representation of the envelope ARTURIA MODULAR V USER S MANUAL 68 1 13 5 Output amplifiers VCA EHVELUOPE
43. R iatan 133 8 82 SUSINGTINEPROMMOOISZURMAS eee ERE 133 8 8 1 Opening of the plugzim i iie eot toin aaa ne teen arae erp ua Da AADA RE R Rd LI rrr DEAS 133 8 8 2 Saving the presets incedere ha dre ali rag Ri IR esaPA E RR a REA EP RYE dies 134 8 8 3 Automation under Pro TOOIS cccccccce cece eee ene nennen nennen nnns 134 8s USING EOJ MacOSX AUN eene E EAE AE EEUU EEUSEE 135 gdo VSN fim ADe tom Line AW VS sespansonanodnasooneansdoscosane 136 o MODUEFARAVEENDIUSERSEIGENSEFAGREEMENheeeeeeereeeeceeee etree ere eere ee eee ee eee ee eee er eee rr eerree 137 ARTURIA MODULAR V USER S MANUAL 6 1 INTRODUCTION 1 1 The birth of modular moog systems Robert A Moog was born in May 1934 in New York A passionate for music he took piano lessons for 12 years he was introduced to electronics by his father an engineer in this domain During his adolescence he discovered the Thereminvox plan invented during the 30 s by a Russian engineer Leon Theremin or more exactly Lev Sergeivitch Termen Seduced by this instrument with its never before heard sounds he began to produce his own models and founded his own company in 1954 Frequenting musical professionals and in particular electronic and concrete music R Moog realized that there was a real demand for electronic instruments of a higher quality One of the first clients to come to Robert Moog the professor of music Herbert A Deutsch asks him to listen to a song he ha
44. Sequencer 2D pads A and B External in Synth out velocity out modulation out 1 2 3 4 out 1 2 3 4 modulationin X Y inputs A440 Left right Left right Y AUD cm Internal connections 1 16 Fourth section The fourth section contains a virtual keyboard control for the 4 key follows 2 modulation surfaces and a few shortcuts to the most frequently used settings Envelope for the 2 output VCA and cut off frequency settings for the 3 filters You will also find general settings like choice of Monophonic polyphonic the retrigg mode or legato It is also in this mode that we find the volume control and general tuning ARTURIA MODULAR V USER S MANUAL 87 1 16 1 Keyboard follow management Slope Threshold Me Pivot Low High Bend Portamento Keyboard follow Slope Sets the slope of the keyboard follow Pivot Selects the pivot note of the keyboard follow Threshold Selects the threshold note of the keyboard follow Low High Selects the low high note of the generator for the trigger of the keyboard follow High Selects the high note of the generator for the trigger of the keyboard follow which can also be inverted Bend Portamento Request for affectation of a pitch bend portamento or glissando to the keyboard follow There are four independent keyboard follows Each possessing a slope setting with the Slope knob a pivot note chosen in the pivot display an
45. Signal Input Input jack for signal to be treated Signal output Output jack for treated signal The ring modulator multiplies two signals to create non harmonics frequency It is then easy to produce metallic sounds When Mul Signal Input is not connected the input signal is multiplied by an internally generated sinusoid signal for which the frequency can be set with the Frequency button The modulation amplitude and subsequently the effect amplitude obtained can be set with the Depth button Once connected Mul Signal Input becomes the source of the multiplicative signal The depth and the frequency of the internal sinusoid can be modulated with the corresponding modulation inputs The HiQ interrupter at the cost of an increase in calculation load increases the quality of the sound ARTURIA MODULAR V USER S MANUAL 77 1 13 13 Formant filter FORMANT FILTER freq moa l moa 2 FM Input E Frequency LH ELE N Resonance RM Input O i NES GL j Ts Med Gain freq moda ETE Gain Mod Input 09 0 8 O e E Input LEN 0 6 ee Vowel Output mod in out oe le Vowel Mod _ gt Input Formant filter Frequency Resonance Gain FM Input RM Input GM Input Vowel VM Input Sets the frequency Sets the resonance Sets the gain Frequency modulation connection jack Resonance modulation connection jack Gain modulation
46. USER S MANUAL modular V Arturia Programming Robert Bocquier Nicolas Bronnec Pierre Jean Camilieri Thomas Diligent Sylvain Gubian Xavier Oudin Gilles Pommereuil Cedric Rossi Graphics Yannick Bonnefoy Thomas amp Wolfgang Merkle Bitplant Manual Antoine Back V5 6 Silv re Letellier V2 6 Tomoya Fukuchi Tom Healy Sadahiro Nakano Xavier Oudin Cedric Rossi Takashi Uesugi Yuji Sano Sound Designers Wally Badarou Jean Michel Blanchet Celmar Engel Michel Geiss Christoff Harbonier Mateo Lupo Hideki Matsutake Scot Solida Katsunori Ujiie Very special thanks to Robert A Moog and Isao Tomita Thanks to Michael Adams Bruno Begani Ned Bouhalassa Geoff Downes Clay Duncan Pavle Kovacevic Roger Luther Sadahiro Nakano Fabrice Paumier Ben Turl Peter Willems and the numerous beta testers ARTURIA SA 1999 2014 All rights reserved 30 Chemin du Vieux Ch ne 38240 Meylan FRANCE http www arturia com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia The software described in this manual is provided under the terms of a license agreement or non disclosure agreement The software license agreement specifies the terms and conditions for its lawful use No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser s personal use without the express written permission of
47. V USER S MANUAL 115 E OSCILLATOR frequency LC MIDI SYNC furru length Sequence 2 complete 1 20 3 Sequence 3 COLUMNS Trigger Smooth 1 in on If i WE Ag SEQUENCER Reuse again the melodic sequence 1 and complete it by adding another type of modulation For example make a variation on the opening frequency of filteri frequency which will be managed by the second line of knobs Then the third line on a second VCO and finally the fourth on the opening frequency of filter2 gt Connect the square of the fourth oscillator in order to create a second melodic sequence different from the first to the audio input of filter2 and choose the Low Pass Filter type for this filter gt Place filter 1 on the S2 output of the sequencer click several times in the small display at the bottom of the module to show its characters We V C LOU PASS FILTER d j i frequency resonance Filterl on the S2 sequencer output gt Place the second driver on the S3 sequencer output ARTURIA MODULAR V USER S MANUAL 116 gt Now connect the L4 sequencer output at the bottom of the section to the first modulation input of filter2 You can also try a positive or negative value gt Select the Seq Trig output by clicking on the Trig input of VCA2 and separate the knobs of the 2 VCA in order to create an evolving stereo sequence gt Move to the
48. We recommend this type of modulation for non tuned parameters like an impulse width modulation PWM on the driver oscillators or simply the volume of a VCA k follow yi Slope P k Shift threshold 1 8 3 The play modes The play modes provide a choice between the different manners of playing the MIDI keyboard These different settings are situated underneath the pitch bend settings KEYBOARD C bend ran pitch bend filter bend i tm D legato detune retrig dE le The play mode parameters gt The mono unison poly switch lets you choose a monophonic playing mode a single note played at a time chords cannot be produced in this mode This mode corresponds to the mode used in the original Modular a polyphonic mode several notes can be played at the same time to form a chord The maximum number of voices is displayed in the corresponding window The unison mode is identical to the monophonic but there are as many voices played at the same time as the polyphonic voices gt The legato button active when the synthesizer is in monophonic mode allows the activation of the portamento or glide in English freely on all of the notes when it is active If you wish to only use portamento on notes that are linked deactivate the legato mode ARTURIA MODULAR V USER S MANUAL 39 The retrig button also active when the synthesizer is in monophonic mode allows the systematic re trig
49. ank click on the button on the left of the current preset a drop down menu appears with a list of presets from the same sub bank You can choose another preset in the menu by selecting the corresponding line Once the preset has been chosen you can play the new sound from your MIDI keyboard or sequencer TOME UE EE MITT RR HORN1 FILTER 2 bud frequency RR IMPERIAL N n 7 New preset t go eta Delete preset RR HORNI Choice of preset in the same sub bank To choose a preset in the same main bank but in a different sub bank click on the button on the left of the current sub bank a drop down menu will appear with the list of sub banks contained in the same main bank Each sub bank in the menu allows you to open a sub menu containing its presets A click on a preset lets you directly choose a preset in the new sub bank ARTURIA MODULAR V USER S MANUAL 43 mai Basses Brasses EFX bs Leads RRPHASERRES Pads RR PMW Percussions RR POLAREZ2 RR POLARREZ RR PROTOKON Delete sub bank Brasses RR REPEATER New sub bank RR REPEATER2 RR REPEATER3 Choice reset in Pm sub bank To choose a preset in another main bank click on the button on the left of the name of the current bank A drop down menu appears with the choice of the main banks that are available and the sub lists corresponding to the sub banks defined in each main bank and the presets contained in each sub bank You can
50. ate a sound The main oscillator settings are the pitch and the waveform The pitch is determined by the oscillation frequency The oscillator frequency setting is done with two controllers firstly the Range selector which mainly determines the fundamental frequency often expressed in feet 32 16 8 4 2 the highest number 32 gives the deepest tone and on the other hand 2 gives the highest tone Secondly the frequency setting which will tune the oscillator more precisely The waveform determines the harmonic richness of the audio signal 4 waveforms are available on the Modular V sawtooth square PW triangle and sinus e The sawtooth is the richest audio signal of the 4 available waveforms it contains all of the harmonics at decreasing volume levels in high frequencies Its brassy sound is ideal for brass sounds striking bass sounds or rich accompaniments Purgiraria FA Ampttuce j The Wan aunt Puc ES i Sawtooth waveform e The square possesses a more hollow sound than the sawtooth it only contains impair harmonics but nevertheless its sonic richness notably in the low frequencies could be used for sub basses emphasized in the mix the square oscillator should be ARTURIA MODULAR V USER S MANUAL 90 thus set an octave below the that of the saw tooth wooden sounds clarinet if the square signal is a little filtered etc The PWM Pulse Width Modulati
51. ation of LFO1 Turn the jack ring to dose the modulation The evolution of the 2 filters will be less linear gt An accompaniment sound has a fairly slow attack set the 2 VCA envelopes so that the sound appears more slowly when you press the keys of your keyboard Turn the 2 attack buttons Attack A to the right set them to 2 seconds for example gt Hone the setting of these envelopes by prolonging the decay of the sound turn the 2 release buttons Release R lightly increasing them to 500 millisecond for example ARTURIA MODULAR V USER S MANUAL 107 EHV ELOPE The setting of the VCA envelopes 1 19 4 Complex patch 2 This fourth example will let you go a little further in the approach of different types of modulations It contains 4 oscillators the second being in synchro mode with the third 1 white noise 3 filters 1 LP 1 HP amp 1 BP 2 VCA in stereo 3 auxiliary envelopes 3 LFO the 2 principal LFO 1 low frequency This sound is stereo and uses delay and chorus effects It can be as easily used in monophonic and polyphonic mode to create a very expressive ambient sound The complete patch ARTURIA MODULAR V USER S MANUAL 108 For this example we recommend that you start over with the patch 2 base gt Successively connect the outputs of the waveforms of oscillators 3 and 4 to the VCA inputs 3 and 4 of the mixer gt Se
52. ator 921A Frequency General tuning of the 3 slave oscillators State General tuning mode choice by 1 2 tone by octave Impulse width Signal impulse width Sawtooth Square Triangle FM Inputs Frequency modulation input connection jacks WPM Inputs Pulse width modulation connection jacks Keyboard follow Keyboard follows choice tuning the master oscillator off no follow 1 2 3 or 4 Sequencer Choice Choice of the sequencer output tuning the master oscillator no sequencer sequencer 1 2 3 or 4 The general tuning of the 3 slave oscillators is done with the Frequency knob Depending on the position of the State interrupter the range of the knob is an octave by semitone or six octaves par fifth and quarter The impulse width affected to the sawtooth triangle and square signals of the 3 slave oscillators is modified with the Width knob Three frequency modulation inputs and 2 impulse width modulation inputs allow the control of these parameters thanks to the outputs of the other modules When one of these inputs is connected a click on the Jack will modify the amplitude of the modulation The Jack knob functions like a rotating dial where the position for inactivity no modulation is at the center The modulation can thus be positive button turned to the right or negative button turned to the left ARTURIA MODULAR V USER S MANUAL 60 A The first two frequency mo
53. connection jack setting of o pre selected vowel Connection jack for the modulation of the vowel pre selections This module regroups four bell filters connected in a series Each filter can be set and modulated independently of the others in frequency gain and resonance or bandwidth It is possible to preset these four filters to reproduce the formation of a particular vowel with the vowe selection window This preselection can also be modulated with the associated modulation input The preselection is done before the filter settings It is thus possible during a modulation to make the vowel evolve and to gently change the settings 1 13 14 Bode Frequency Shifter i EODE FREQUENCY SHIFTER lt fi P Scale Scole rr Amount of Shift een Mixed out Negative output Audio Input LO FM Inputs Positive output m Bode frequency shifter ARTURIA MODULAR V USER S MANUAL 78 Scale Sets the scale frequency Amount of Shift Sets the frequency transition Mix Mix between the positive and negative translations Mixed output Mix of negative and positive translations output connection jack Positive output Positive translation output jack Negative output Negative translation output jack FM Input Frequency modulation connection jack Audio Input Input signal connection jack This module is used for a
54. d a threshold note chosen with the threshold display begin from which the slope is null Follow A Keyboard follow management Each of the keyboard follows can generate a trigger signal Two displays allow the choice of a low and high note When the keyboard detects a note between the 2 limits the trigger signal is active as long as the note remains active When the note is outside of the limits the trigger signal remains inactive If the notes selected for the upper and lower limits are such that the lower note is higher than the upper then the note detected by the keyboard must be outside of the limits to activate the trigger signal The Portamento and PitchBend buttons of each of the keyboard follows allows the affectation of a portamento or pitch bend The pitch bend can be inverted the modulation is negative when the command is positive which allows us for example to lower the filter cut off frequency insofar as the tuning of the oscillators is raised It is also possible to replace the portamento continuous glide of the frequency with a glissando frequency glide by semi tone ARTURIA MODULAR V USER S MANUAL 88 1 16 2 General settings ng pitch bend filter bend Course Bend tune Ha ido Course Bend filter j doen q manes poly 1 lt M Poly Mono z legato paren retrig Legato QU Ae Re Trigger General settings Course B
55. d at AES and kept Moog busy for several months In 1965 after the success at the show Moog decided to release the 900 series for commercial sale RAM MOOG COMPANY The R A Moog Company at Trumansburg NY Courtesy of Roger Luther MoogArchives com The first client to buy the full Moog system was choreographer Alwin Nikolais Also among the first users were composers Eric Siday and Chris Swansen The first commercial uses of the Moog synthesizers were done in advertising They were also used for jingles and in recording studios In 1967 Bob decided to release different machines each with a certain number of modules This marked the birth of modular systems I II and III This same year Paul Beaver for the first time used a modular Moog system on a record The modular system III 1967 Courtesy of Roger Luther MoogArchives com ARTURIA MODULAR V USER S MANUAL 8 In 1968 worldwide recognition came with the success of Switched On Bach by W Carlos This album where classical music is played on a Moog sold over one million copies as it was bought both by classical music fans it was in the American Classical charts for 94 weeks and fans of pop It won three Grammy awards A little later Keith Emerson keyboard player for the groups Nice and ELP Emerson Lake and Palmer was he himself to become an ambassador for Moog synths He was one of the first to play a Modular on stage during a tour A 3C system
56. d composed Moog is immediately convinced and they decide to associate their work Their co operation produced the first VCO In 1964 the first prototype of a Moog synthesizer was produced It was a modular system with a voltage controlled filter VCF an envelope generator a white noise generator a trigger and two keyboards each with a generator module sawtooth triangle and impulsion as well as a voltage controlled amplifier module VCA The first modular Moog system 1964 Courtesy of Roger gt Luther MoogArchives com Then other musicians helped Robert Moog in creating different modules Walter Carlos who later became Wendy helped for elaboration of a sequencer He also pushed Bob Moog to lend his name to his machines Vladimir Ussachevsky who was one of the professors of de W Carlos specified the 4 parts of the envelope generator ADSR allowing the accomplishment of the VCA and gave him the idea for the envelope follower Gustave Ciamaga helped with the creation of the first tension controlled low pass filter ARTURIA MODULAR V USER S MANUAL 7 A second prototype regrouping the all of the new modules was built during the summer of 1964 and was presented during the AES show Audio Engineering Society where Moog worked from an unused stand This new product generated a huge amount of interest but Moog did not yet realize the commercial punch of his machines Two or three orders were obtaine
57. d third mixer VCA to create the link between these 3 VCA gt Then on this third slice connect the audio output of the square waveform of the third oscillator Notice that filter1 is still connected to the audio output of the first slice of the mixer As a result it now receives the signals coming from the 3 oscillators gt Again drag a cable from this same slice towards filter2 This of course was not possible on the original synthesizer but here we can have several connections from the same output ARTURIA MODULAR V USER S MANUAL 105 oWw OMS Connection towards the second filter gt Change the second filter type for example select the 12 dB multi mode filter by clicking on the button on the top left of the module gt Choose the low pass mode Its filtering characteristics allow us to obtain a different color from the other filter a 24 dB band pass This will be very useful for the creation of interesting stereo effects for your accompaniment sound gt Connect the audio output of this filter to the input of the second output VCA and turn the pan buttons of VCA1 to 9 o clock and those of VCA2 to 3 o clock to widen the stereo field The connections to the two VCA gt You make your sound fuller lightly detune the frequencies of the 3 oscillators by turning their respective Fine Tune buttons by clicking with the right mouse button to create a chorus effect gt Connect the envelopel output
58. de the cables will automatically flee the mouse pointer To avoid this deactivate this option before trying to select a cable see 1 4 4 3 1 12 3 Modulation level setting As explained above the modulation input connectors have an interesting feature they allow the setting of a modulation level from 100 to 100 directly at connector level and so without passing by a VCA which is normally needed to set the amplitude of the modulation signal When the modulation input connector is connected click on one of the edges of the nut and drag the mouse up or down to change the quantity of modulation PASS FILTER lt 4 quency Tha A Lt LFO 1 frequency 2 erm ma 53 0 96 Setting the modulation quantity By using a right click or Shift click instead of the left click you will obtain a higher precision ARTURIA MODULAR V USER S MANUAL 54 A If you click on the center of a connector you will select the cable end to change the connection To access the modulation setting make sure you click on the connector device the nut In the same manner if you right click or Shift click on the center of the connector you will open the connection menu instead of accessing the modulation quantity setting 1 12 4 Cable display options 1 12 4 1 Cable display filter The Modular V displays the cables in several colors depending on their type The cable type is determined in relation to the input to which i
59. dio out of the first VCA going from the left gt Turn the Time Follower knob below the Threshold knob to modify the amplitude 1 22 3 The sample and hold The Modular sample and hold module was only introduced on the last modular systems 1974 It is widely used for the creation of random modulations the famous sounds from R2D2 in Star Wars were created in this manner It can also be used for more rhythmic cyclic modulations ARTURIA MODULAR V USER S MANUAL 128 SAMPLEHOLDT clack rate The sample and hold module Here we will look at creating a random modulation gt Use the Pads Slow SH preset from the Factory bank for this example It is made up of 3 oscillators a low pass filter LP Filter 24dB a noise module and a Sample and Hold Factory ENV delay Satt clip pan 9 6 veut The Slow SH Pad i preset ARTURIA MODULAR V USER S MANUAL 129 The pink noise output is filtered by a low pass filter 6 dB oct and directed to the sample amp hold audio in The audio out of the latter is connected to one of the 3 cut off frequency modulation inputs of the low pass filter gt The result is random changes to the filter cut off frequency gt Now set the modulation rate by turning the Clock rate knob on the Sample and Hold module o By setting the filter cut off frequency on the Noise module the high pitched fr
60. dulation inputs work in an exponential mode while the third Lin works in a linear mode Connected directly to a generator envelope oscillator sequencer the maximum amplitude of the modulation is of 4 octaves When it is necessary to have a stronger modulation an amplifier module must amplify the signal of the generator A certain number of internal connections simplify the use of the keyboard follow sequencer portamento and pitch bend To avoid having to manage the tuning of the keyboard follow with the amplitude of the modulation input with a visualizer we can choose which keyboard follow from 1 to 4 is to be used This keyboard follow is directly configured to tune the oscillator in function to the note played The functioning is the same for the sequencer outputs 1 to 4 controlling the tuning of this group of oscillators In the no follow position the oscillator is set to the note C3 irrespective of the keyboard notes In the same manner when set to the no sequencer position this group of oscillators is disconnected from the sequencer output A keyboard follow can of course be connected to modulation input In that way the pitch of each notes can be adjust very fine We can then simulate the non linearity of analog keyboard The LFO position of the display indicates that the oscillator group is no longer dependant of the keyboard That is to say it permanently functions on a monophonic voice
61. e current setting as a user preset 1 9 4 Import Export of a preset bank It is possible to import new preset banks created for the Modular V To import a new bank of presets click on the preset bank import button in the toolbar ARTURIA MODULAR V USER S MANUAL 45 Preset bank import button on the toolbar When you click on this button a dialog appears allowing the choice of Modular V preset bank files amb Choose the file that you want to import and click on Open The new preset bank will automatically appear in the available banks The Modular V also offers the option to export your own sound banks to save them use them on another machine or share them with other users It is possible to export a preset a sub bank or a complete bank To export a bank sub bank or current preset click on the export preset bank button on the toolbar Current preset bank export button in the toolbar Select the type of export that you wish to perform bank sub bank or preset from the list and a window will appear prompting you to choose a destination folder and a name for the file you are about to export 1 10 Work pages The Modular V offers 2 work pages The first contains the 4 Modular V sections and the second holds the keyboard and shortcuts to the main controls 1 10 1 The complete view Complete view ARTURIA MODULAR V USER S MANUAL 46 The complete view contains all of the Modular V sect
62. e impulse width PWM Input Input connection for the impulse width modulation FM Input Frequency modulation input connection Outputs Connection jacks for the different outputs The use of a low frequency generator as a modulation source is typical It allows the gentle evolution of the tone of a sound or to simulate vibrato and tremolo Even though the oscillators can be used at very low frequencies there are 2 modules specifically for this purpose which allow the oscillators to be kept for use in the audible domain These oscillators possess five outputs that can be used simultaneously sawtooth sinusoid triangle square random The oscillation frequency can be statically set with the rotating frequency button dynamically with the associated modulation input The impulse width can also be statically set with the width button and by its modulation input The mode interrupter synchronizes the oscillation frequency with the tempo of the host sequencer In this mode the rotating button chooses a frequency depending on the application s tempo multiple or sub multiple Two other buttons are affecting a delay and a fade in at the output of this generator Initialized on a keyboard trigger the generator output will only begin to oscillate when the internal counter reaches a time value set with the delay knob This oscillation wills gently increase following the time constant set with the rotating fade in The
63. e starting and stopping can be done dynamically with the associated trigger inputs The length knob sets the trigger signal width coming from the sequencer The backward interrupter allows a round trip progression instead of a progression indicated by the next step indicators e Level Output1 Level Output2 Level Output3 4 Link Hold oy 4 Repetition Next Step Forcing trigger input lt lt On Sequencer column Level Output1 Sets the level of modulation or tuning for output1 Level Output2 Sets the level of modulation or tuning for output2 Level Output3 Sets the level of modulation or tuning for output3 Link Link to the previous step no trigger Hold Number of clock beats of hold on this step Repetition Request for output trigger for each held clock beat Next Step Selects the next step On Forcing step Forcing trigger input Forcing input or not The sequencer has 8 steps Each step defines 3 output levels with the help of 3 rotating buttons The manager moves from one step to another at each impulse of the sequencer clock or upon the reception of a signal on the trigger input next trigger The led above each of the steps lights up when active ARTURIA MODULAR V USER S MANUAL 85 It is possible to force the sequencer to initialize itself on a particular step either by clicking on the
64. elect one configuration A configuration is loaded by clicking the corresponding entry in bottom part of Learn menu Create a new configuration A new configuration can be created by clicking on the Learn menu New Config entry This will open a popup enter the name you want to call your configuration and click on the SAVE button A new entry for your configuration now exists in the list of available configurations You may now fill in this initially empty configuration by performing the assignment operations described in the previous section Copy a configuration It is possible to copy a configuration by loading it and then clicking on Save Config As A popup opens enter the name of your configuration A new entry for your configuration now exists in the list of available configurations Remove a configuration It is possible to remove a configuration by first loading it and then clicking on Delete Current Config 1 11 5 4 Minimum and maximum ranges For each assignment a minimum range value and a maximum range value can be set This allows you to limit how much the controller will affect the parameter on Modular V The assigned parameter will have the configured minimum value when the controller will be at its lowest position The assigned parameter will only reach the configured maximum value when the controller will be at its highest position You can invert Negative Slope the Min and Max so that parameter will ha
65. end filter Filter coarse for the pitch bend wheel Course Bend accord Oscillator tuning coarse for the pitch bend wheel by semitone from 0 to 4 octaves MonoPoly Selects synthesizer mode Monophonic Unison or polyphonic Legato Selects legato mode the portamento is active when the notes are detached Re Trigger Selects the re trigger mode the keyboard generates a trigger when the notes are linked Nbr Release Select the number of release notes Poly Gives the number of polyphonic tracks 16 32 64 The Modular V responds to the pitch bend depending on the position of the tune selector This selector sets the amplitude of this response to four octaves per semi tone The knob close at hand noted filter allows the setting of the excursion of the response to the tuning wheel for the filter cut off frequency The MonoPoly interrupter takes the synthesizer from monophonic to polyphonic mode The Unison position allows us to play the indicated number of voices in parallel while the playing mode remains monophonic In the monophonic mode 2 interrupters allow the control of the triggering of the envelopes The first re trigger allows the reactivation of the trigger signal in the case where the notes are linked The second legato allows the affectation of frequency smoothing portamento whether the notes are linked or not The rotating Volume button sets the general volume of the Modular V while the rotating tune
66. entary modules 1 18 1 The keyboard If we hold down a key at this stage the sound you will get from the speaker will be uniform without life and without end In fact the oscillator delivers a continuous signal the audio output of a wave form of a fixed pitch In the scheme above the only means of stopping this sound that quickly becomes unsupportable is by lowering the filter cut off frequency so that it becomes more and more thick until it disappears or more simply to lower the volume of the amplifier To trigger and stop this sound and this at the tone that we want we use a keyboard which will be connected to the oscillator This will play as soon as a key is pressed and will mute it as soon as released Of course this connection is made through MIDI it replaces the gate type connection of analog synthesizers which triggers the sound when the key is pressed and stops when released In the second case so that the sound is correctly tuned with the keyboard notes we need to apply a key follow modulation replacing the 1Volt octave control present on most analog synthesizers P To play the Modular V with a MIDI keyboard click on the trigg in plug of the output VCA and select the keyboard trigger function For more detail see chapter 5 paragraph 1 1 5 Output Amplifiers VCA Next select one of the 4 key follow settings in the display S1 4 0ff on each Driver oscillator If you don t have a k
67. eo space gt For a right to left movement you can also modulate the output VCA with an auxiliary envelope once connected set the modulation level to a positive value for one and negative for the other ARTURIA MODULAR V USER S MANUAL 121 ENVELOPE 2 TRIGG DELAYS ENVELOPE 3 ENVELOPE 4 ENVELOPE 5 ENVELOPE 6 FILTERS Lpf OSCILLATOR ENVELOPE ENVELOPE frequency m Connection of an auxiliary envelope for the output VCA These patches you will have noticed have very different levels of difficulty We hope that they will have allowed you to see some of the possibilities that the Modular V has to offer But don t hesitate in testing the programming yourself this is how we learn and progress and develop more originality 1 22 using the new Modular V 2 0 modules 1 22 1 The Bode Frequency Shifter The Bode Frequency Shifter was certainly one of the most coveted modules while at the same time one of the least known in the Moog galaxy There were around 10 sold across the world ARTURIA MODULAR V USER S MANUAL 122 B EODE FREQUENCY SHIFTER 4 5 x t Scale ext Pel N gmount y a at Shift The bode Shifter module It allows the creation of a huge number of unique sounds which we will see in the two following examples 1 22 1 1 More stereo width Obtain more stereo width by slightly dephasing the pitch of the sound Take as an example the preset Bode_
68. equencies will be filtered The variations in modulation will be softened in this manner gt By using the Glide knob on the Sample and Hold module these modulation If you want to soften these variations there are two solutions o variations will be smoother The new modules included with the Modular V 2 0 will add a large number of editing possibilities They were difficult to create impossible in some cases before Don t hesitate to experiment in new editing methods ARTURIA MODULAR V USER S MANUAL 130 8 MODES OF OPERATION 1 23 STANDALONE The Modular V can be used as an instrument independently from a sequencer software Standalone mode This allows you launch the application as a single instrument and to play it using an external MIDI keyboard 1 23 1 Launch the application To launch the Modular V application e on Windows go to the menu Start gt Programs gt Arturia gt Modular V and choose Modular V e on Macintosh open the finder gt Applications gt Arturia and double click on the Modular V application icon 1 23 2 Configuration of the instrument Click on the Settings button on the Modular V toolbar It will show the following Audio MIDI Settings dialog box e i Audio Settings 1 Test output Built in Output 4b input Built in Microphone Show advanced settings active midi inputs The Laboratory In this option menu you can
69. es tupe 49M 3 4 Rate delay amount Time fe ee Sterca rate Stereo width Stereo Rate N a do 1 _ Stereo Width X 3 Depth dry gai wet Dry gt KTA Uf M Wet VCA1 VCA2 Chorus Types Sets the 3 chorus Types Rate Sets the chorus rate Depth Sets the depth of the chorus action Time Sets the delay applied to the input signal Stereo Rate Sets the speed of the stereophonic evolution Stereo Width Sets the width of the stereophonic space Dry Sets the gain applied to the input signal Wet Sets the gain applied to the treated signal VCA1 VCA2 Connection of the chorus to the output of VCA1 or VCA2 A Chorus module allows the treatment of the signal coming from the 2 output amplifiers eventually treated by the equalizer in function with the state of the interrupters VCA1 and VCA2 The chorus module allows a frequential blurring where the speed is set by the speed knob the amplitude by the depth and the width with the Delay This frequency blurring is different for the left and right tracks This allows us to get a stereophonic signal from a monophonic signal The difference between the 2 tracks can be set with the stereo width and the speed of the left right rotation with the stereo rate knob A selector presents the choice of chorus type simple medium complex The input signal level and
70. eturn to the initial order of the sequence 2 3 4 5 6 7 8 1 and set the eighth Next selector to 3 This time the sequence limits will be moved three steps forward all while producing the same number of steps Try playing on 12 and then 18 steps choosing the L1 2 and L1 2 3 functions or by column C1 2 3 etc or randomly with the AI position The sequence playing will always be ternary all while creating multiple variations on the melody gt Now try to force the trigger of a step by clicking on the ON button underneath The sequence will interrupt its course and continue from this one This is interesting for creating other types of sequences ARTURIA MODULAR V USER S MANUAL 114 Cm c NI om Force the triggering of a step You can also trigger one of these steps using a MIDI keyboard by selecting Keyboard Trigger on the Trigg output above the ON button The sequence will be triggered when you press one of the notes In the same manner you can switch lines or columns by selecting the same function on the Trigg Chain output Connect ard trigger On Keyboard trigger Off Ls Keyboard Follow 1 Keyboard Follow 2 Keyboard follow 3 Bl EX OI EX DE Sequencer Remove connections LFO 1 Not Connected LFO 2 Oscillator YCA Envelope Trigger Delay External Sequencer s ov v v o yo ha ui Select Keyboard trigger on the Trigg output ARTURIA MODULAR
71. eyboard you can play on the Modular V virtual keyboard 1 18 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the form of a sound during a cycle which begins when we press a note on the keyboard and ends when we release The most current envelope modules use 4 settings that we can vary The Attack is the time that the sound will take to reach its maximum volume once the key has been pressed on the keyboard The Decay is the time that the sound will take to decline after the key is played The Sustain is the maximum eve of volume that the sound will reach when a key is pressed The Release is the decline time after the key has been released ARTURIA MODULAR V USER S MANUAL 97 Level Sustain level Time o o ra o gt ee Attack Decay Rekase time tims time jen LII e Key Down Key Up The ADSR envelope On the two VCA of the Modular V the envelopes include 2 supplementary settings The Slope Time is the time of intermediary decline situated after the decay once a key is pressed The Slope Level is the eve of intermediary decline situated after the decay once a key is pressed The envelope generator can also be used to modulate other settings like the cut off frequency of a filter or an oscillator for example 1 18 3 The low frequency oscillator The LFO Low Frequency Oscillator posses
72. f the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right to use this copy of the Matrix 12 V hereinafter the Product All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Product and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was originally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants t
73. ferently to create other types of scales scale of quarter tones tones etc The key follows can be edited in the keyboard page of the synthesizer At the level of each driver module and each filter a digital display allows the selection of one of the four available key follows by a simple click as well as one of the 4 sequencer follows ELSE Key follow digital display on a driver module or filter module The sequencer follow allows the easy creation of melodies with the sequencer staying in the tempered intervals semi tones which is more practical than using a sequencer output as a continuous oscillator pitch modulation often difficult to tune The following table explains the signification of the different values displayed Key follow No X No key follow LFO No key follow or trigger from the keyboard the oscillator works permanently on a polyphonic track Sequencer follow Driver Oscillator S1 Follow of line 1 of the sequencer S1 Follow of line 1 of the sequencer S2 Follow of line 2 of the sequencer S2 Follow of line 2 of the sequencer Follow of line 3 of the sequencer S3 Follow of line 3 of the sequencer ARTURIA MODULAR V USER S MANUAL 57 S4 Follow of line 4 of the sequencer S4 Follow of line 4 of the sequencer No No sequencer follow No No sequencer follow ARTURIA MODULAR V USER S MANUAL 58 5 THE MODULES The Modular V can be broken down into 4 parts from top to bottom a section con
74. filter does not possess resonance The cut off frequency can be set with the rotating frequency dial or by the 3 modulation inputs which function in the same manner as the inputs of the low pass The following image represents the spectrum of a high pass filter with a cut off frequency of 500 Hz Hz 20 00 40 00 80 00 160 0 3200 640 0 1280 2560 5120 10240 High pass 24 dB octave filter 1 13 3 3 Band pass 24 dB octave filter 904C b FILTER COUPLER band band reject NIE e Type resnnance frequency Frequency Resonance p Audio Output Te FM UE Audio Input m gt Mod Width input Lt Kofi no Band pass filter Frequency Sets the filter cut off frequency Resonance Sets the bandwidth of the filter Type Choice of filter type band reject or band pass Audio Output Filter output connection jack Audio Input Filter input connection jack FM Inputs Frequency modulation input jacks Mod Width input Bandwidth modulation input connection jack Keyboard follow Keyboard follows choice tuning the filter no follow follow 1 2 3 or 4 Sequencer Choice Choice of the sequencer output tuning the filter no sequencer sequencer 1 2 3 or 4 The 24dB band pass filter resembles the Moog 904C filter but the difference from it is that while the Moog 904C is a pairing of the 2 associated low pass and high pass filters thi
75. filters cutoff COCOS CO 1 The three filter cutoff frequency controllers This chapter has given you a look at some of the many aspects of the Modular V Now try to go a little deeper using the rest of the documentation You will find all of the details concerning the modules the sequencer and the many different modes of use of the Modular V ARTURIA MODULAR V USER S MANUAL 42 4 THE INTERFACE 1 9 Using the presets The presets memorize the Modular V sounds A preset contains all of the inter module connections and the different controller information necessary for the recreation of an identical sound In the Modular V presets are classed in banks and sub banks Each bank contains a certain number of sub banks which determine a type of sound sub bank basses sub bank sound effects etc Each sub bank contains a certain number of presets The Modular V comes with several factory sound banks It is possible to create new user sound banks each containing an unfixed number of sub banks and presets For security the factory settings are not directly modifiable It is however possible to modify a sound on the base of a factory preset and to record it to a user bank 1 9 1 Choice of bank sub bank preset The banks sub banks and presets being currently used are always displayed in the synthesizer toolbar Display of bank sub bank and preset being used To choose a preset in the current sub b
76. g out to the VCA1 which is set without effect and an arpeggio sound played by the sequencer which will be directed to the VCA2 where the effects will be activated gt On the delay set the time between repetitions time buttons for each side of the stereo L left and R Right If you wish to get a stereo echo apply a different setting for the repetition of the left and right So that the delay is synchronous activate the Sync switch at the top of the module DUAL DELAY SYNC a time ek wa Set the time between repetitions gt To control the repetitions reinsertion intensity increase or decrease the value on the 2 feedbacks Do the same thing for the crossed repetitions one on the left and one on the right Cross feedback buttons ARTURIA MODULAR V USER S MANUAL 35 DUAL DELAY SYNC time The feedback settings Now set the balance between the sound without effect dry knob and the delay return wet knob The dry and wet settings 1 7 2 3 The chorus Chorus is used to create a doubling effect on a sound this will give it more width and thickness If you accentuate the effect intensity you will obtain a very discordant sound CHORUS s deloy amount e Stereo rote Stereo width ary GAIN wet The chorus effect gt Like the other effects activate the VCA1 and VCA2 switches to commute the action of the effect to the
77. ger When the Mode Output 4 selector is placed on the L123 position the fourth output will automatically cross outputs 1 2 and 3 each time the current step arrives on the eighth step In this manner it is possible to have a 24 step sequence Placed at the L321 position the lines will be done in the inverse order In the same manner on the L12 L13 or L23 positions the fourth output will cover lines 1 and 2 or 1 and 3 or finally 2 and 3 thus obtaining 16 step sequences When the Mode Output 4 selector is placed on the C123 position the fourth output covers lines 123 but the change takes place at every sequencer clock impulse We just need to wait for 3 impulses at every step to alternatively have lines 1 2 and 3 of each of the steps The functioning is the same on positions C321 C12 C13 and C23 On the Rand position the choice of fourth output is random 1 15 Third Section A small section has been added bellow the connection section It regroups all of the external input outputs on the sequencer and the key follow outputs You will also find an interrupter which activates A440 The output jacks External audio are used to treat the external signals and use the Modular V as an effect The Out jacks correspond to the two left and right output jacks on the Modular V It is thus possible to loop it to itself and obtain special effects after touch key follower Seauencer
78. gered by a particular note the sequencer can appear only after an introduction for example ARTURIA MODULAR V USER S MANUAL 120 fe Keyboard b Sequencer gt eyboard trigger Off LFO 1 gt Keyboard Follow 1 LFO 2 gt Keyboard follow 2 b b b b Remove connections Connected to Keyboard trigger On Oscillator Keyboard Follow 3 YCA Envelope Trigger Delay External Sequencer Sequencer startup through a MIDI keyboard 1 21 3 Stereo without the effects Obtaining a stereo sound comes down to treating 2 independent channels Each of the output VCA is positioned in stereo space using the pan knob gt Set the VCA1 pan to the left and the VCA2 to the right to create 2 independent channels needed for convincing stereo Panoramique Vca1 i j Sottclip pan O e w t A y h V n 7 i Setting the output VCA panoramic Connecting a different oscillator to each of the VCA allows you to obtain a very wide space To make it evolve apply a light detuning to one of the oscillators using a LFO or an envelope The sound will seem like it s turning in space or in the second case passing from one point to another gt To keep the stereo space very wide it is essential to keep the 2 channels independent Il It is thus necessary to use a filter for each of them These filters can then be modulated in an identical manner or differently without interfering with the ster
79. gering of the envelopes even if you link the notes in your playing sequence If on the other hand you don t wish to re trigger the envelopes when 2 notes are linked leave the button raised gt When the synthesizer is in polyphonic mode 1 LCD display on the right of the switch allows the setting of the maximum number of notes that can be played simultaneously C poly screen This setting can limit the CPU load provoked by each simultaneous note played on your MIDI keyboard or sequencer gt To activate the portamento mode click on the ON button under the portamento intensity knob glide situated next to the 2 dials on the right of the virtual keyboard 3 o a bend L E PU The portamento settings 1 8 4 The sound design controllers Three control surfaces allow the modulation of the sound parameters in a fast and intuitive manner Eight sliders that allow control of the envelopes of the output VCA 1 and 2 Two 2D controllers that can be assigned to the parameters of your choice Three knobs for the setting of cut off frequency off the 3 filters 1 8 4 1 The envelope control sliders The two envelopes are directly linked to those of the VCAs if you modify one of the parameters Attack Decay Sustain or Release the 2 slope parameters are not represented here for simplicity the modification will automatically and identically be taken to the synthesizer The opposite is also true 1 8 4 2 The 2D Pads
80. h the sound Take the saw output of oscillator2 and connect it to the audio input of filter2 be v CLOU PASS Perce d be v CLOU PARS FETEI X frequaecy e I Connection between oscillator 2 and filter 2 gt Next connect the audio output of this filter to the VCA2 audio input ARTURIA MODULAR V USER S MANUAL 22 ENVELOPE Connection of the VCA2 audio input gt Slightly detune the pitch of the second oscillator by turning the frequency button You will obtain a sound that is more alive and thick DRIVER OSCILLATOR fJ OSCILLATOR Detune the pitch of the second oscillator gt Continue to complete the sound with modifications acting on the 2 filters For this connect the sin output of LFO1 placed next to the 3 filter modules to one of the modulation inputs of filter1 gt Turn the jack ring transformed to a knob after the cable connection to change the level of modulation If you turn to the right the modulation will be positive and if you turn to the left negative ARTURIA MODULAR V USER S MANUAL 23 Turn the jack ring Adon the original Modular it was not possible to directly set the value of the modulation input signal To do this we needed to go through controllable VCAs or dampening modules of which there were not very many On the virtual synthesizer it is possible to control the input modulation level once the connections have been
81. he first and second VCA This will allow you to mix these 2 sources before directing them towards the audio input of filter1 u OOOO Click on the link button to create a link between the 2 VCA To connect the audio output coming from the 2 mixed VCA to the filter1 input drag a cable from the first VCA out to the filter1 in resonance Je Link towards filter I gt As was the case with the previous patch direct the filter output towards the audio input of the output VCA 1 gt Now increase the volume of these 2 VCA volume knobs so as to hear the sound coming from the 2 oscillators out Oo Setting of the volume of the 2 mixer VCA ARTURIA MODULAR V USER S MANUAL 103 gt To give more life to your sound click on the frequency knob on the first oscillator with the right click of the mouse Fine tune position then lightly turn towards the right to increase the height of its tone or the left to decrease it You will thus progressively hear a beating resulting from the light difference in tuning of the 2 oscillators This beat will create a chorus effect which will give more life and warmth OSCILLATOR ff OSCILLATOR Detuning of oscillator 1 gt Hone this sound by applying light cyclic variations on the filter cut off frequency Choose for example the Sin output of LFO1 and direct it to the first modulation input Mod In of filter1 Click again
82. he Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed N
83. he keyboard and its controllers 1 8 1 The keyboard The virtual keyboard situated on the bottom of the second screen allows the quick testing of the sounds of the presets or the sound that you are editing and this without the need for an external MIDI keyboard ARTURIA MODULAR V USER S MANUAL 37 The pitch bend and modulation dials are also available for height affected to the oscillator or filters and modulation settings affected to any of the synthesizers modulation sources The connections are made by cables on the first screen 1 8 2 The keyboard controllers The different settings concerning the real time controllers affected to the keyboard can be found on the left above the virtual keyboard Here you will find all of the settings applied to the 4 key followers the pitch bend and modulation wheels as well as velocity and aftertouch gt Before using them go back to the module section to define the parameters which will be modulated by these controllers The connection jacks are found underneath the modular synthesizer section The controller connection jacks gt For this example let s take the stereo pad sound created earlier Connect the output of the modulation dial mod at the bottom of this section to the filter1 cut off frequency modulation input Set the amount parameter of this modulation to your liking so that it can be taken into account by the wheel Now test by turning the dial on your MI
84. he right channel are in phase When it is set to 0 5 the sound seems to rotate and when it is set to 1 the sound seem to go from one side to another There are two types of phaser one has 6 levels the other has 12 set with the type selector A 6 stage phaser has 3 notches and a 12 stage has 6 The rotating dry and wet buttons are respectively used to set the amplitude of the original signal and the treated signal ARTURIA MODULAR V USER S MANUAL 82 1 14 5 Stereo Delay DUAL DELAY MICI STHE a MIDI sync Time left Time right L feedback Feedback left H tga 1 T I 4 Feedback right eedback Feedback to right Feedback to left Bey p Rc Wet VCA1 amp VCA2 Ty Stereo Delay module MIDI sync Synchronizes delay with the tempo of the host application Time left Sets the time of the right track Time right Sets the time of the left track Feedback left Sets the feedback gain for the right track Feedback right Sets the feedback gain for the left track Feedback to left Sets the feedback gain of the right track towards the left track Feedback to right Sets the feedback gain of the left track towards the right track Dry Sets the gain applied to the input signal Wet Sets the gain applied to the treated signal VCA1 VCA2 Connectio
85. hell filter A second setting completes the cut off frequency the resonance You will also find it under the terms emphasis or Q as a filtering quality factor The resonance amplifies the frequencies close to the cut off frequency the other remaining frequencies are unchanged before the cut off frequency or diminished after the cut off frequency You can increase the rate of resonance by simply turning the resonance knob When you increase the resonance the filter becomes more selective the cut off frequency is amplified and the sound begins to whistle With a high level of resonance the filter will begin to oscillate on its own producing a sound close to a sinusoidal waveform At this stage the use of a key follow is very important as you can create a melody by tuning the filter cut off frequency with the frequency of the oscillators Amplitude 4 Frequency Q resonance Filter resonance noted as Q 1 17 3 The amplifier or VCA The amplifier Voltage Controlled Amplifier is charged with receiving the audio signal coming from the filter or directly the one from the oscillator if it is not filtered to adjust its volume with a knob before the signal is directed to the speakers In conclusion here is a scheme that may help you to understand the composition of a basic sound ARTURIA MODULAR V USER S MANUAL 96 HLTHR gt LOLU SPEAKERS gt nad signa 1 18 Complim
86. his reason the noise module is used to create different noises like the imitation of wind or a breath or even special effects White noise is the richest of noises Pink noise is also commonly present on synthesizers It is not as rich in high frequencies as white noise having received a low pass filtering Also note that the audio output of the noise can be used as a modulation signal specially when it is heavily filtered to create random cyclic variations On pre cabled synthesizers the noise module is either integrated into the oscillator its audio output being placed as a complement on top of the wave form outputs or the mixer directing the signals to the filter On the other hand on modular synthesizers it is an independent module 1 17 2 The filter or VCF The audio signal generated by an oscillator the wave form is generally directed towards a filter module Voltage Controlled Filter It is this module that allows the modeling of the sound by filtering by subtraction explaining the name of this type of synthesis the harmonics situated around a cut off frequency It can be considered like a sophisticated equalizer which reduces depending on the case the low or high frequencies of a sound The removal of unwanted frequencies from a cut off frequency is not sudden but is done progressively depending on the filter slope This filter slope is expressed in dB octave The filters used in classic analog synthesizers have slope
87. hted to indicate that the learn mode is ON Click on a controller of the GUI to open the MIDI assignment popup Plug in parameter name MIDI Control Setu Assigned or P not B UNE MS Use NRPN ay EGUENCER Control number Control 73 CLEAR ENVELOPE PA wto X JAn frequencu m louto a MIDI assignation popup Learn assignment The fastest and easiest way to assign a control is to move the fader knob or button for it to be recognized by Modular V Manual assignment It is also possible to change the assigned MIDI control number by clicking on Control xx and select another value Support for NRPN In addition to MIDI Control Change messages NRPNs are supported either send NRPN MIDI control messages to Modular V or check NRPN then select LSB and MSB numbers MIDI Control Setup Learning AttackTime Env1 Min Max Assigned O Use NRPN MSB 0 LSB 0 z CLEAR MIDI assignation popup NRPN activated Remove assignment Assignments can be removed by clicking the Clear button The message Unassigned will then be displayed Continue selecting the parameters you want to map to create a complete configuration ARTURIA MODULAR V USER S MANUAL 50 1 11 5 3 Manage configurations New in Modular V 2 6 the possibility to maintain multiple configurations Default configuration By default Modular V loads the configuration for Arturia Analog Experience keyboards S
88. ial number and the unlock code you received with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have an Arturia account yet you will need to create one The process is quick but it does require that you can access your e mail address during the registration process Once you have acquired an Arturia account you will be able to register the product ARTURIA MODULAR V USER S MANUAL 16 3 QUICK START This section of the manual will allow you to learn the general principles of how the Modular V works This will be a presentation of the different views available the modules and signals used while using the program for the first time You will find a detailed and precise description of all of the modules and controllers visible on the screen in the following chapters The Sound Design chapter located in the second half of this manual is also recommended for users who have never used a modular system before and who wish to learn the fundamentals of this domain 1 4 The 4 sections of the Modular V The Modular V is made up of four distinct sections The first at the top holds a sequencer and a certain number of effects The second underneath is for working on the sound synthesis with the different inter connectable modules The third is an extension allowing us to regroup the different external input outputs and some interna
89. ignal with fast variation The calculation power required is thus heavier than the second position where the output signal will have slow variation This module also allows you to generate a trigger signal The triggering is calculated in relation to a certain threshold set with the Threshold dial and the signal connected to the Comparator in If no signal is connected to this input an internal connection will link the follow output to the comparator This module generates two types of trigger a positive trigger and a negative When the comparator input signal exceeds the threshold the positive trigger is activated while the negative trigger is cancelled When the input signal goes below the threshold the opposite happens A lighting indicator allows the observation of the positive trigger signal ARTURIA MODULAR V USER S MANUAL 76 1 13 12 Ring modulator RING MODUL frequency Frequency ga Depth SS p Freq Mod Input q P Ne Depth Mod input Mul Signal Input Mrd HiQ Selection e 6 n s Signal In aEe Signal Out Ring modulator Frequency Sets the frequency of the multiplicative sinusoid Depth Sets the amplitude for the multiplication of signals HiQ Selection High quality selection Freq Mod Input Frequency modulation connection jack Depth Mod Input Depth modulation connection jack Mul Signal Input Multiplicative signal connection jack
90. ion possibilities for the synthesizer Some modules can now be interchanged which brings the Modular V closer to the original instruments that could be configured by Moog Music upon order Improvements have also been made to the audio making use of the evolution of our TAE technology which has seen improvements during the year We have answered a frequent request in relation to Audio in so that you can now use the Modular V filters or sequencer on an external source Of course we have also developed new modules six to be precise The 928 Sample and Hold and 912 Envelope Follower were popular demands and can be found in this new build Also added are very rare modules such as the 1630 Bode Frequency Shifter around a dozen models produced or completely new modules such as the Formants Filter Last but not least is the addition of 200 new presets to this version They make use of the new options offered by the Modular V and will be a great starting point for those who wish to discover this new version Go to the last part of Chapter 7 if you wish to jump into using the new modules offered Hoping that you enjoy this evolution we wish you the greatest pleasure in your use of the Modular V The Arturia team ARTURIA MODULAR V USER S MANUAL 3 TABLE OF CONTENTS DRE IDtrodUctionse eoe seeaeeoos ar ceocasaecaredaeeneuocer ne ceecducd E de UENTS 7 lal TNS bindin fim odulanimoodESVSteIm sse EE CERES
91. ions The full interface being too big to be displayed on a single screen a scroll function allows you to move to the desired section Simply click on the background of the synthesizer and drag the mouse up and down to move it Work page selection buttons The and buttons in the toolbar let you make the plug in window bigger or smaller so as to adapt to your screen and resolution The size will automatically be saved as a plug in preference and will be reused upon next launch 1 10 2 The reduced usage page The last shortcut button on the toolbar will take you to the reduced view The reduced usage page contains the keyboard and the main controls In this mode the Modular V is ready for immediate use of the presets of recorded sounds with quick access to all of the major real time controllers The Modular V window is smaller but the sequencer and effects cannot be directly accessed Tensi Mi TER Cables we we A mer Iim A CAL B m ima une y e r 1 2 3 E 4 p UTR Reduced usage page of the Modular V 1 11 Using controllers 1 11 1 Knobs The knobs are the most numerous controllers of your Modular V They can be controlled in different manners which are explained in detail underneath 1 11 1 1 Mouse control linear Certain sequencers allow the knob mode of functioning to be changed with the mouse by moving to linear mode In linear mode the knob can be set only by moving the
92. is will make the sound more pinched Hz 20 00 40 00 80 00 160 0 3200 640 0 1280 2560 5120 10240 Band pass filter ARTURIA MODULAR V USER S MANUAL 94 The band reject filter notch eliminates the frequencies inside a band of frequencies This filter is above all else interesting when we want to vary this band of frequencies with the frequency on the Modular V filters or the modulation of an LFO on this same parameter You will thus obtain a sound close to a phasing effect Y YN f i n P He 20 00 40 00 80 00 1600 3200 640 0 1280 2560 5120 10240 Band reject filter These 4 types of filtering are more often used on analog synthesizers The Modular V offers 3 other types of filters unheard of on synthesizers but very much used on high quality mixing consoles or professional equalization modules The bell filter amplifies or dampens a frequency band in function with the gain knob n Br ri He 20 00 40 00 380 00 1600 3200 640 0 1280 2560 5120 10240 Bell filter The low shell filter amplifies or dampens the frequencies under the cut off frequency with the action of the gain knob Ar ROD 4200 sodi d ci Epo wod dien zt62 gim ria Low shell filter ARTURIA MODULAR V USER S MANUAL co C1 The high shell filter increases or decreases the frequencies above the cut off frequency with the action of the gain knob He 20 00 40 00 0 00 1600 3200 6400 1280 2560 5120 10240 High s
93. ise generator a sequencer and two control pads Connections in a modular synthesizer can sometimes seem difficult but the often unexpected results are always a source of great musical inspiration Either way don t worry the presets created by experienced musicians will allow you if necessary a gentle introduction to the art of sound creation This new version presents new modules and a notable improvement to the sound quality and synthesis possibilities As was the case with the previous versions it remains faithful to the original Modulars and offers the possibility to organize the arrangement of certain modules Ergonomically this version remains very close to the previous so as not to loose time learning the different functions again 1 3 A better emulation thanks to TAE TAE standing for True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits When implemented in software code TAE s algorithms guaranty the respect of hardware specifications This is why your Modular V offers an unparalleled quality of sound ARTURIA MODULAR V USER S MANUAL 11 In detail TAE means 1 3 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM and at no extra CPU cost Aliasing
94. l which can be moved with the mouse 1 11 5 MIDI control Most of the knobs sliders and switches on the Modular V can be manipulated with external MIDI controllers Before anything else make sure that the MIDI device that you wish to use is correctly connected to the computer and that the sequencer or the Modular V application is correctly configured to receive MIDI events coming from the device 1 11 5 1 Learn menu A new button and menu have been introduced in Modular V 2 6 1 The button and menu provides access to MIDI assign functionalities The left part of the button activates the MIDI learn mode while the right part small down arrow opens the control management menu New Config Save Config As MIOL SYNC Delete Current Config Empty Imported old style MIDI template test xxx Learn Menu Learn Mode Button The Learn Menu is composed of 2 sections First section provides e New Config creates a new control set ARTURIA MODULAR V USER S MANUAL 49 e Save Config As saves current configuration to a new one e Delete Current Config removes current configuration from list The second section contains the list of existing configurations e The checked one is the currently selected MIDI map e Click on a configuration to load it 1 11 5 2 Assigning MIDI controls In order to start assigning MIDI controls click the Midi Learn button left part The button remains highlig
95. l cables The fourth holds the virtual keyboard as well as a section dedicated to the key follows and essential controllers It is possible to keep only the fourth section on the screen by clicking on the Keyb icon on the toolbar When the whole synthesizer is displayed we can move it vertically by using the icons that represent the different views or by clicking and dragging the background EIFE 1 4 1 The synthesis section Visible as soon as the synthesizer is opened it is made up of two parts cabinets It integrates the 33 modules necessary for the creation of sounds The modules in the upper part can be exchanged via the menu that appears when their name has been clicked It is thus possible to replace an envelope with a ring modulator a filter with a frequency translator ARTURIA MODULAR V USER S MANUAL 17 m VC Low pass rutera frequency Ev OW PASS FILTER 44 frequency ss FILTER ENVELOPE frequency ENV delay Ne PHM manual fade in in ECC E LIT oe The first section composed of 2 cabinets 1 4 2 The other three sections ENVELOPE The first situated at the top of the synthesizer contains the step sequencer and 4 effects the right hand effect can be either a chorus or phaser The two others are found under the synthesis section One is a small extension containing the internal cables while the other holds the vir
96. lar V However it is highly advised to use the Modular V internal menu the presets saved in this way are usable in any other mode standalone or with other sequencers they can be exported and exchanged more easily and they will remain compatible with the Modular V future versions 1 30 USING IN PRO TOOLS RTAS 1 30 1 Opening of the plug in Access to the Modular V plug in is like all other plug ins in Pro Tools via a new Instrument Track creation ProTools File Edit View ee Clip Event AudioSuite Options Setup Window _ Marketp fal Edit fwfewfew ptx_ Write MIDI Real Time Properties Input Only Monitoring Scroll to Track Clear All Clip Indicators Create Click Track GROUPS ARTURIA MODULAR V USER S MANUAL 134 indow Marketplace Help Bars Beats Min Secs Timecode 00 00 00 0 00 00 30 0 Samples Tempo Mator Markers 4 d A Y INSTRUMENT INSERTS A E e Delay Modulation Harmonic Dither Sound Field instrument Ableton Live stereo Other Analog Laboratory stereo ARP2600 V2 stereo Avid Marketplace Boom stereo Brass 2 stereo CS BOV2 stereo CS 80V2 10 voices stereo DB 33 stereo Jupiter 8V2 stereo Maschine stereo Mini Grand stereo minimoog V stereo Moog Modular V 2 stereo Oberheim SEM V stereo Pianoteq stereo The Modular V must be loaded on an instrument stereo track We can now make the Modular V sound by playing with the mouse on the
97. le on the synchronizing oscillator In the high position the synchronization is said to be soft and in this case the synchronized oscillator will only restart its cycle if it is coming to the end of the cycle when the synchronizing oscillator begins its cycle ARTURIA MODULAR V USER S U z gt zZ gt Z O N A A connected oscillator is active and consumes calculation power It is therefore necessary to verify that the connected oscillators are in use Similarly a group of oscillators disconnected from the keyboard by the keyb interrupter is permanently active 1 13 3 Filters The Modular V possesses 3 filter modules It is possible to choose one of four types of filter for each of the modules a low pass 24 dB octave type 904A a high pass 24dB octave type 904B a band cut and band pass 24 dB octave type 904C and finally a multi mode 12 dB octave filter Clicking on the name of the module and selecting the filter from the menu proposed does the type change All of these filters possess internal connections to simplify the use of keyboard follows portamento pitch bend and sequencer To avoid having to manage the tuning of the keyboard follow with the amplitude of the modulation input with a display we can choose if a keyboard follow is to be used and which one This keyboard follow is done to get a correct pitch from the keyboard Depending on the configuration of the chosen keyboard follow the portame
98. linear translation of the frequencies contained in the input signal Because of this linearity the initial harmonic relations are totally modified It is easy with this module to produce metallic sounds There are three available outputs two for each of the translations possible negative and positive the other for a mix of the two the mix is set with the Mix button The translation rate which is to say the difference in frequencies is set with the frequency button Following the selected scale scale selector the button will give a different gap The scale also influences the amplitude and type of modulation In the exponential position the translation goes from 2 Hz to 1024 Hz the modulation being exponential In the other positions 5 50 500 5k the translation will be of a maximum of 5 Hz 50 Hz 500 Hz or 5000 Hz in positive or negative 1 14 Second section 1 14 1 Description The second section of the Modular V regroups all of the effect modules and the sequencer The outputs and inputs of this page needing connections with the modules of the first section are moved to the latter in a small extension This section contains a module for equalization through a bank of resonant filters a chorus module a phaser a stereo delay module and a type 960 sequencer The 3 effect modules filter bank chorus and stereo delay are applied to the signal of the output amplifiers in function with the interrupters
99. ll harmonize perfectly together We will also look at the possibilities for the creation of ternary sequences for example 6 12 or 18 steps To begin reuse the previous sequence gt Click 4 times on the sequence display at the bottom of the first Driver oscillator the display indicates S4 This will connect the latter to the fourth sequence output This will allow us to create knob line or column combinations gt Select the L1 2 function on the line selector on the right of the sequencer Once you have created a melody on the second line you will alternately hear the melodies played by these two lines ARTURIA MODULAR V USER S MANUAL 113 COLUMNS Trigger Smooth NES E ds A 2 Select the function L1 2 gt Do the same thing for the third line To hear it select L1 2 3 and try the other selections and the columns 3 knobs per column by activating C1 2 3 With the AI position the playing will be done randomly between each line and column gt Now let s look at the creation of ternary sequences For this choose step 1 on the Next step selector of the seventh line This will force the sequence to reset at the sixth column You will thus have a 6 times sequence which can be synchronized with the MIDI tempo of the host sequencer VST for example Choose step 1 on the seventh line gt We can now go much further by moving the sixth time towards the eighth column For this r
100. lope follower audio in This indicates that the audio signal will guide the envelope ARTURIA MODULAR V USER S MANUAL 126 External In BR W mai All cabis w Teron rue In MQ Me o E G ENV The Ext_In preset gt This module will be used to modulate the low pass filter frequency LP Filter 24 dB After opening the modulation rate the filter cut off frequency will be modified by the dynamic evolutions of the audio signal when the Modular is played through MIDI You can modify the curve of the envelope with the Time Follower setting situated under the Threshold knob 1 22 2 2 Create your LFO form Here we will see how you can create your own complex LFO waveform gt Use the preset Pads Env Follow in the Factory bank It has two oscillators as sound source a low pass filter LP Filter 24dB an envelope follower and 3 oscillators two sine and one sawtooth which are used as a base for creating a complex wave form that will modulate the filter cut off frequency ARTURIA MODULAR V USER S MANUAL 127 Env_Folower QR W wa A cables w or FY rue da MQ E ee ES threshold J ha The preset Pads Env Follow gt To modify this wave form we will connect the result of the mixing of the 3 oscillators as source of modulation to the input of the envelope follower Click on the au
101. lso possesses a low pass filter 80 Hz and a fixed high pass 12 kHz Chorus the chorus module allows a frequency modulation where the rapidity can be set with the rotating rate button the amplitude with the rotating amount button and the width by the rotating delay button Stereo delay Dual Delay allows the repetition of the incoming signal independently for the left and right which explains the presence of 2 control columns one for each side 1 7 2 1 The fixed filter bank FIXED FILTER EANK 350 1000 e 1400 e c ite e VCAT VCA2 d The fixed filter bank ARTURIA MODULAR V USER S MANUAL 33 To add a complex filtering with the fixed filter bank start by activating the 2 switches VCA1 and VCA2 This will connect the effect to the two VCA outputs gt Modify the filter frequency bands by turning the gain knobs This will increase to the right or reduce to the left the gain corresponding to these frequencies 5n Woo yon Increase the gain of the chosen frequency gt You can refine the equalization with the bandwidth knob corresponding to the frequency you have chosen If you turn the knob underneath the frequency gain setting to the right you will reduce the bandwidth around the central frequency to make the equalization setting increasingly precise On the other hand by turning it to the left you will increase the bandwidth making the equali
102. ment Track we Add MIDI Track sjo E El Add Track Using Track Preset m a 43 Add Arranger Track 4 Add FX Channel Track Add Folder Track 1P Add Group Channel Track xz Add Marker Track 7 Add Ruler Track Add Signature Track KK Add Tempo Track JL Add Transpose Track II Add Video Track Show All Used Automation Hide All Automation Cubase 6 Project Untitled1 Add Instrument Track Y No VST Instrument canet M Add Track Drum Groove Agent ONE Synth b Analog Laboratory ARP2600 V2 CS 80V2 CS 80V2 10 voices HALionOne Jupiter 8V2 Maschine minimoog V Moog Modular V 2 Pianoteg 4 VST Pianoteq VST Prophet V2 Spark ARTURIA MODULAR V USER S MANUAL 133 1 29 2 Rescan the plug in directory in Cubase If the Modular V does not appear in the list of VST plug ins you can perform a rescan of the plug in directory 1 29 3 Saving of presets When the session project is saved the Modular V is saved in its last mode of operation with all modifications intact For instance if you were working on a P1 preset in which you had modified parameters without saving them as a separate preset within the plug in itself the next time you open the project the Modular V will load the P1 preset plus the modifications you made previously The drop down menu in which the VST sequencer allows you to save a new preset is of course usable with the Modu
103. mooth 2 Sets smooth for output 2 Smooth 3 Sets smooth for output 3 Smooth 4 Sets smooth for output 4 On Line1 Forcing of the selection from output 4 to output 1 Forcing Trigger Input 1 Forcing trigger input of the selection from output 4 to output 1 On Line2 Forcing of the selection from output 4 to output 2 Forcing Trigger Input2 Forcing trigger input of the selection from output 4 to output 2 On Line3 Forcing of the selection from output 4 to output 3 Forcing Trigger Input3 Forcing trigger input of the selection from output 4 to output 3 Mode Output4 Choice of progression mode of output 4 The control section of the sequencer outputs allows the management of four outputs in function with the current step The first outputs take their values from the values specified by the rotating buttons of the current step eventually with a smooth that can be set with the smooth ARTURIA MODULAR V USER S MANUAL 86 The fourth output for which the smooth can also be set with a smooth knob is managed in the following manner It takes the value of one of the 3 outputs in function with the current step and the type of progression specified by the Mode output 4 selector When placed in the none position the fourth output takes the output value selected by the Forcing Line button and its corresponding trigger input It is therefore possible to have 3 different sequences activated either manually by a click or dynamically by a trig
104. n FM can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator On the Modular V if you turn the modulation rate ring you will obtain a sound richer in harmonics If you introduce a square or sawtooth signal the result can be quickly distorted but interesting for inharmonic sonorities like bell sounds or special effects for example Amplitude FM Amplitude Tim Harmonic number 1 2 3 4 5 6 7 8 Frequency Frequency Modulation The synchronization of an oscillator on another brings about complex waveforms If for example you synchronize oscillator2 on oscillator1 oscillator2 will restart another period each time the first oscillator accomplishes a complete period even if oscillator2 has not completed a full period which signifies that it is not tuned to the same tonality The higher you tune oscillator2 the more you will obtain composite waveforms 4 One Period The complete cycle of a wave form sawtooth one period ARTURIA MODULAR V USER S MANUAL 92 Oscillator 1 Oscillator 2 synchronized Oscillator synchronization the second is synchronized on the first one In the image above oscillator2 is synchronized with the first and then tuned to a frequency with double the tonality The noise module the noise signal spectrum possesses all frequencies at the same volume For t
105. n of the delay to the output of VCA1 or VCA2 A stereo delay module treats the signal coming from the 2 output amplifiers eventually treated by the equalizer and chorus in function with the state of the interrupters VCA1 and VCA2 This module allows the repetition of the input signal independently on the left and right tracks which explains the presence of 2 columns of controls The repetition speed can be set with the time knob while the level of the repetitions and eventually the number of audible repetitions is set with the feedback knob The third knob sends a part of the treated signal to the other track The repetition speed can be synchronized with the tempo of the host application and in this case the time knob selects the multiples and sub multiples of this tempo The levels of the input and treated signals can be respectively set with the rotating gain direct and gain effect buttons ARTURIA MODULAR V USER S MANUAL 83 1 14 6 Sequence generator OSCILLATOR frequency Repeat furry 1 kE COLUMNS Trigger Smooth 1 ie in on e M SEQUENCER Sequencer Also called sequencer this module is similar to the original Moog 960 sequencer while simplifying the programming with internal connections This module has 3 parts low frequency oscillator the 8 step sequence manager and the output controller OSCILLATOR frequency Frequency _MIDI Synchr
106. ncer will work on its own when you start it E Keyboard Sequencer trigger Sequencer IUCR EES Sequencer step 1 LFO 1 b b b Connectedto Sequencer step 2 LFO 2 gt b Sequencer step 4 YCA Envelope b b B Sequencer step 3 Oscillator Sequencer step 5 Trigger Delay Sequencer step 6 External Sequencer gt Sequencer step 7 Sequencer step 8 gt Now go to the second screen and click on the On button situated in the Oscillator of the sequencer This will play the sequence in a loop ARTURIA MODULAR V USER S MANUAL 30 OSCILLATOR frequency length NS ur E Click on on to start the sequencer gt Set the pitch of each note in turning the knobs of the sequence row applied to the Driver oscillator Setting of the values corresponding to the pitch of the oscillators gt Also set the length of the notes with the length knob OSCILLATOR frequency i HIEI GSYH f i off Set the length of each note You can add a little portamento by turning the smooth knob on the right of the line corresponding to your sequence ARTURIA MODULAR V USER S MANUAL 31 COLUMNS Trigger Smooth i 1 in on Turning the smooth knob gt It is also very easy to rhythmically enrich the sequence by linking link button or repeating certain notes select the number of repetitions by clicking several times in the LCD display beside the
107. nd 5 to direct them towards the first and second filters ARTURIA MODULAR V USER S MANUAL 109 fade in frequency frequency frequency i ZI y DRIVER I OSCILLA OSCILLA Ga M S rt ng Ji 73 Qi OSCILLATOR OSCILLATOR cy equ Ll He S 25 F LA 5 HAN yl k D esl ulse width Mani E E E pulse width S t0 affi affo lt 2 CS KENN RES f 3 n d 3 0 own o Mo oA The mixing gt On the fourth oscillator set the synchro mode to ON and to Hard type Then turn the frequency button to find the color and height of the sound that you like This will also be modulated by a third LFO for this take the Sin output of oscillator 7 and set it to Low mode so that it acts as a LFO To save on CPU load also click on the Key F for Key Follow button to deactivate the keyboard connection mode The frequency will thus be fixed Modify the waveform width for and on the first 3 oscillators by connecting the triangle output of LFO2 to the impulse modulation input PWM of the first driver oscillator This will add new harmonic colors typical of analog synthesizers Set the Pulse Width knob value towards the middle so that the sound does not disappear when the pulse width is at 10 equivalent to the closed position of this knob DRIVER Manual pulse width setting gt Set the resonance button of the first 2 filters to 9 o clock and connect the Sin
108. nnection jack Keyboard follow Keyboard follow choice tuning the filter no follow follow 1 2 3 or 4 Sequencer Choice Choice of the sequencer output tuning the filter no sequencer sequencer 1 2 3 or 4 ARTURIA MODULAR V USER S MANUAL 66 The multi mode 12 dB octave filter has different types of filtering that the original Modular synthesizers could not offer The selector holds six types if filtering low pass band pass notch high pass low shelf high shelf bell The 3 knobs Frequency Resonance and Gain respectively set the cut off frequency the resonance and the gain used only for the shelf and bell Three modulation inputs allow the dynamic modification of the cut off frequency The following images represent the different spectrum of the different filters the cut off frequency is constant at 500 Hz AU qe Hz 20 00 40 00 90 00 160 0 3200 640 0 1280 2560 5120 10240 Hz 20 00 40 00 90 00 160 0 3200 640 0 1280 2560 5120 10240 Low pass 12 dB octave High pass 12 dB octave ee Hz 20 00 40 00 0 00 1600 3200 640 0 1280 2560 5120 10240 He 20 00 40 00 0 00 160 0 3200 640 0 1280 2560 5120 10240 Notch 12 dB octave Bell 12 dB octave Hz 20 00 40 00 90 00 160 0 3200 640 0 1280 2560 5120 10240 He 20 00 40 00 30 00 160 0 3200 6400 1280 2560 5120 10240 Low shelf 12 dB octave High shelf 12 dB octave ARTURIA MODULAR V USER S MANUAL 67 1 13 4 Modulation envelopes EHW EL
109. noise generator allows the simultaneous management of a white and pink noise It also possesses a low pass and a high pass of the first order 6 dB octave in which the cut off White Noise Pink Noise Noise generator Sets the low pass filter cut off frequency Low Pass filter input connection jack Low Pass filter output connection jack Sets the Low Pass filter cut off frequency High pass filter output connection jack High pass filter input connection jack White noise output connection jack Pink noise output connection jack frequency can be statically set with the frequency knobs ARTURIA MODULAR V USER S MANUAL rita Hz 20 00 40 00 90 00 160 0 3200 640 0 1280 2580 5120 10240 He 20 00 40 00 90 00 1600 3200 6400 1280 2560 5120 10240 White noise spectrum Pink noise spectrum Whether it is for white or pink noise the two output jacks correspond to two independent noise generators 1 13 10 Sample and hold SAMPLE HOLD clock rate Trigg input Input Sample and hold Clock Rate Sets the internal clock frequency Trigg Input Menu selecting the choice of external input used to trigger the sampling Trigg Selection Choice source of external trigger for sampling Glide Sets output glide Output Output connection jack Input Input connection jack This module lets you sample the signal connected as input The values are taken for every trigger
110. nput These amplifiers can be regrouped to create mixers To regroup two amplifiers simply click on the link button that separates them When two amplifiers are regrouped the output signal of the first corresponds to the sum of the output signals of the two amplifiers while the second remains as it was before the regrouping ARTURIA MODULAR V USER S MANUAL 28 ol uk ss The mixer VCAs 1 7 The other sections 1 7 1 The sequencer This module conforms to the original Moog while simplifying the programming with internal connections It is with this module that you can create melodic sequences or sequences applied to a parameter a sequence line applied to the opening of the frequency can for example be very efficient A The sequencer has 3 sections Low frequency oscillator controls the timing of passage from one sequence to another Its speed can be set statically with the frequency button and dynamically with the modulation input on the first page Two buttons on and off respectively start and stop this generator Eight step sequence manager Each step defines 3 levels of output modulations using 3 knobs The manager moves from one step to another on each pulse from the low frequency generator The 3 rows of sequence can also be chained to create a longer sequence up to 24 steps The output controller allows the management of the 4 modulation outputs for the current step The first 3 outpu
111. nto and the pitch bend will be applied or not to this filter The functioning is the same for the sequencer outputs 1 to 4 controlling the tuning of the cut off frequency of this filter In the no follow position the filter is independent of the notes played on the keyboard In the same manner set to the no sequencer position the filter is disconnected from the sequencer output It is still possible to connect a keyboard follow or a sequencer output to a modulation input obtaining a tuning as fine as necessary 1 13 3 1 Low pass 24 dB octave filter 904A B VOC LOW PASS FILTER frequency m Frequency E m Resonance 4 Audio Output Audio Input Modulation inputs Keyboard follow Sequencer choice Low pass filter Frequency Sets the filter cut off frequency Resonance Sets the filter resonance Audio Output Filter output connection jack Audio Input Filter input connection jack Modulation inputs Frequency modulation input connection jacks Keyboard follow Keyboard follow choice tuning the filter no follow follow 1 2 3 or 4 Sequencer choice Choice of the sequencer output tuning the filter no sequencer sequencer 1 2 3 or 4 ARTURIA MODULAR V USER S MANUAL 63 The low pass 24 dB octave filter is typical of Moog synthesizers It has a setting for the cut off frequency and a setting for the resonance Only connecting the output
112. of any module to one of the 3 modulation inputs can dynamically modulate the cut off frequency Like all of the modulation inputs once connected turning the dial of the jack with a right click sets its amplitude Receiving a modulation directly from the output of a generator envelope oscillator and sequencer the maximum modulation amplitude is of 9 octaves When it is necessary to have a stronger modulation an amplifier module must amplify the signal of the generator The following image represents the spectrum of a low pass resonant filter with a cut off resonance of 500 Hz Hz 20 00 40 00 380 00 1600 3200 6400 1280 2560 5120 10240 Low pass 24 dB octave filter 1 13 3 2 High pass 24 dB octave filter 904B be v C HE PASS FILTER d frequency e 4 Frequency in Audio Input ay Audio Output mad iri rj r5 Modulation inputs High pass filter Frequency Sets the filter cut off frequency Audio Output Filter output connection jack Audio Input Filter input connection jack Modulation inputs Frequency modulation input connection jacks Keyboard Follow Keyboard follow choice tuning the filter no follow follow 1 2 3 or 4 Sequencer Choice Choice of the sequencer output tuning the filter no sequencer sequencer 1 2 3 or 4 ARTURIA MODULAR V USER S MANUAL 64 Unlike the low pass 904A filter the high pass 904B
113. of the output amplifier VCA1 selects keyboard trigger gt Now play on your MIDI keyboard and you will hear the sound from your first patch We recommend that you save it as it is as it will come in useful for programming basic bass or lead sounds See the saving a sound chapter Turn the filter cut off frequency button progressively to the left to change the brilliance of the sound It will become increasingly soft 1 19 2 Simple patch 2 The sound of your first patch may seem a little empty Here is how to make the sound more interesting and fatter This patch will use 2 oscillators 1 low pass filter 1 output VCA ARTURIA MODULAR V USER S MANUAL 101 1 envelope 1 LFO It will more or less constitute the classic composition of a basic synthesizer You will be able to regularly reuse this patch don t erase it ENVELOPE T 3 o Y FILTERS ipf DRIVER o of 0 NC LFO iN ENVELOPE Patch 2 complete gt For more clarity reuse the Blank preset As previously connect the saw output of oscillator1 to the first mixer VCA input Next connect the oscillator2 saw waveform to the second VCA DRIVER OSCILLATOR OSCILLATOR frequency frequency A Z 2 Connection of oscillators to mixer ARTURIA MODULAR V USER S MANUAL 102 gt Create a link between these 2 VCA by clicking on the link button situated between t
114. on is a setting which allows the modification of the square ware form cycle or wave width This can be done manually with the PW knob or through modulation using an envelope or a LFO This variation of impulse width is translated by a spectrum modification not unlike a waveform change Unlike classic analog synthesizers the Modular V allows you to change the impulse width through not only the square waveform but also the sawtooth and triangle This offers a large number of sonorities on top of the base signals Aurelitude Harmonic number Frequency Amplitude Hamertc number 10 20 3i 40 Fraquency Square waveform The triangle could be considered like a much filtered square signal thus very soft It is very poor in harmonics impair equally and will be very useful for creating sub basses flute sounds etc Ampliude Amplitude Hamnoric number Frequency Triangle waveform ARTURIA MODULAR V USER S MANUAL 91 e The sinusoid is the purest waveform of them all It is composed of a single fundamental harmonic and produces a very damper sound the tonality of a telephone is sinusoid It will be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that do not exist in the original waveforms sine amplitude amplinule 2729 time Sinusoid waveform frequency A frequency modulatio
115. on available on www arturia com 5 In case a sound library is part of the purchased Product the following shall apply in addition to the EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a sound library or as a sound library for any kind of synthesizer virtual instrument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects ARTURIA MODULAR V USER S MANUAL 139 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s
116. onization On On Off Input Triggers ae Frequency On Off On Input Trigger Off Input Trigger Length MIDI Synchronization Next Trigger Fw Fw Bw mM Off Fw Rw length Length Next Trigger 4 Sequencer clock Sets the sequencer clock speed Starts the sequencer Stops the sequencer Connection of a trigger signal to start the sequencer Connection of a trigger signal to stop the sequencer Length of the trigger signal generated by the sequencer Synchronization of delay with host application tempo Connection of a trigger signal for the passage to the next step Select the sequencer mode forward or forward backward ARTURIA MODULAR V USER S MANUAL 84 The low frequency oscillator gives rhythm to the passage from one sequence to another The speed can be statically set with the frequency knob and dynamically with the modulation input situated on the first section The synchronization interrupter synchronizes this generator on the tempo of the host application In this case the frequency knob selects multiples and sub multiples of this tempo The passage from one step to the next can also be done by the means of a trigger signal from the keyboard for example connected to the next trigger input The two On and Off button start and stop this generator When it starts it resets the sequence manager on the first step Th
117. ope to move from the high point after attack to slope before moving to the decay ARTURIA MODULAR V USER S MANUAL 69 Representation of the output VCA envelope The output amplifier internally connected to this envelope has volume gain and amplitude input modulation settings The input trigger can be connected to the output trigger coming from the keyboard the trigger delay module the oscillators or LFO trigger output or from the sequencer Each of the two amplifiers possesses a trigger output which is activated when the signal level is cancelled This output can be very useful for stopping the sequencer for example A jack allows the connection of the output of the associated envelope to other modulation inputs A button applies the simulation of the current regulation present in the original Moog amplifiers soft clipping A Soft saturation is heavy on CPU calculation 1 13 6 Low frequency oscillators LFO Mode xin r va Y FM Input id s l FH manual fade in Width ine a A Fadein PWM Input _ Outputs Low frequency oscillator ARTURIA MODULAR V USER S MANUAL 70 Frequency Sets the oscillation frequency Delay Delay time setting after a keyboard trigger Mode Choice of frequency setting low mid synchronized on the MIDI tempo Fade in Sets the time constant for the increase of modulation Width Sets th
118. ostrhesthreeimainmmodulessd eet eLEE 89 6 L 1 The oscillator or VCQ ii icio toe nente rn tr eredi a esee or notos Dres ceuot opui esa Det Ai 89 6 1 2 Thefilter or MV Ride uie e A PAIRE Ri a Y RE E XR ERE RACER E E UTER RIEN SRI eU ERE 92 6 1 3 The amplifier or VCA issus exe cese erisir eeu naa ca we veda decd a ended eis Gi eae e E xxm nna 96 6 24 2ComplimentaryvamoduleSerncsasesstecanconte cose eee ES ES SUUS 96 60 2 1 THe Keyboard d eene vince ele d Sarde Ss VEN e Rex E Rr DIRAS ER Er OEA 96 6 2 2 Tlie envelope genetatoE i oe e E eux vette xo vex kx ee T dene ae RE RINT UE alia ciate 97 6 2 3 The low frequency oscillator ssesssrreeserrrerresrerrrrrresrerrrrnrnnnnnnerrrrrrrrrerrrrrerrere 97 ZEAcfewxelementscofssoundsdesigmesseeem EEUU 99 zteModularsoundisynthesis sseesseeeeeee EE MERE ETE 99 7d Simple Patch 3E Tore e exec E em exer ee RE coe es eee s a e s tus ace 99 7 1 2 Simple patch 352 oven ei EINTE ee dae e ENEN mes E cede wea Ra ae d 100 7 1 3 Complex patch 1 5 eser eov ex YE DIEU XR XY EE Rer Y ores ee Re Ra 103 7 41 42 Complex Pate iF 2 ote i tese riim i e ie me e d c nh coh t ten e 107 Vise 1M alec e1e LS nee rascenomancetrcne ceases an ocincreeceancsan E AR 110 7 2 L Sequence O 2 DIRAIS exere hs Exe RR 110 7 2 2 Sequence 3 2 ease wed dune veh De cae eed aie dva der eR ER d pnr MU eee os EU VR D Y Ere 112 7 2 3 Sequerice 3X3 civi V REI RARE NA TERR eed yeahs sav eeas CR Y ki YRRCERR e erixRae V FEE X 1
119. r of an educational Product you are not entitled to any vouchers that ship with the standard version of the Product 2 5 Any Products labelled or otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or crossgrade offers and cannot be exchanged for vouchers or coupons 3 No Unbundling Bundles product bundles are an association of software and hardware or software only products can only be resold transferred as a whole The individual components of a bundle must not be resold transferred separately 4 Resell 4 1 Renting or lending the licensed Software to a third party is expressly forbidden Apart from that and if not provided otherwise within this EULA 4 2 Except if otherwise stated within this EULA Licensee may resell the software to a third party or transfer the software permanently free of charge provided the third party agrees in writing with this EULA and Licensee ceases all use of the software completely removes all installed copies of the software from his computers and if the software was not purchased via download deletes or transfers the original media delivered with the software to the third party In addition Licensee is required to de register the purchased software with Arturia more informati
120. re is also an output generating a trigger signal synchronous with the square signal and with an identical width which lets us trigger envelopes and sequencer in a cyclic manner This output is visible only visible at trigger input menu level 1 13 7 Controlled amplifiers Mixers Audio input Link UE am mM Soft Clip clip a Jy ha Inverse volume Volume AM Input L gt p wD i Audio Output Controlled amplifier VCA Audio Input Amplifier input connection jack Audio Output Amplifier output connection jack AM Input Amplitude modulation input connection jack Volume Input gain setting Soft Clip Use of soft clipping Inverse Request inversion of the input signal Link Next amplifier mixing There are 16 independent amplifiers Each has its own volume setting with the rotating level button and its amplitude modulation input ARTURIA MODULAR V USER S MANUAL 71 These amplifiers can be regrouped to form mixers To group 2 amplifiers just click on the Link button separating them When 2 amplifiers form a group the output signal of the first corresponds to the sum of their collective outputs whereas the output of the second remains identical to the signal before grouping To restore their independence just click on the Link button It is possible to add as many amplifiers as necessary In this case it is still the output
121. reative use of triggers and trigger delays All of the Modular V envelopes are triggered by specific signals These signals can be generated by the keyboard note On note Off by each of the 4 key follows by the sequencer or by the trigger delay module gt Simply click on the trigg in plug on the envelope to choose a trigger mode ARTURIA MODULAR V USER S MANUAL 119 Connect k oard trigger On d Teel Keyboard trigger Off lt Keyboard follow 1 LFO 1 gt Connecte Keyboard follow 2 LFO 2 a Keyboard follow 3 Oscillator L2 YCA Envelope b Trigger Delay External Sequencer gt rel ae Click on the trigg in plug on the envelope Generally the envelope is triggered by the keyboard The use of a trigger delay allows you to make the modulation appear after a determined time as long as the note is still active You will obtain a different sound depending on the length of the note ENVELOPE 4 fTRIGG DELAYS ENVELOPE 5 ENVELOPE 6 FILTERS Lpf A w ep NT Connect Keyboard Sequencer ee IRE Not Connected LFO2 Oscillator YCA Envelope Trigger Remove connections External Sequencer Choose the dual trigger option on the envelope gt The starting and stopping of the sequencer can also be done using a trigger signal Triggered by the keyboard the sequencer is initialized on every On note You will obtain trigger synchronization by playing the MIDI keyboard Trig
122. s graphical aspect changes and this tells us if a module is connected without checking the menu Trigger input disconnected Trigger input connected 1 12 6 Synchronization connections Synchronization connections are used to activate the synchronization of one of the nine oscillators available to another oscillator Synchronization input The same as for the trigger connectors here only the input connectors are visible the existence of outputs is implicit and the connections can only be made through the menus ARTURIA MODULAR V USER S MANUAL 56 fi y y s Remove connections EZEN Osc 3 sync Not Connected Osc 4 sync 7 Osc 5 sync Osc 6 sync Osc 7 sync Osc 8 sync Osc 9 sync Synchronization input connection 1 12 7 Key follow or sequencer connections The Modular V oscillators generate periodic signals in which the frequency varies in function with the note played on the keyboard It is this difference in frequency which allows us to recognize two different notes To determine the ideal frequency related to a note played on the keyboard the oscillator refers to a key follow The function of the key follow is to convert a key on the keyboard to a Hertz frequency value that can be used by the oscillator The Modular V has four different key follows The default setting for each key follow is that of the Western tempered scale of twelve equal semi tones It is possible to set the key follows dif
123. s of 24 dB octave or 12 dB octave The 24 dB octave offers a more efficient filtering than the 12 dB octave amplitude amplitude GF amplitude frequency frequency frequency rough signal low pass filter filtred signal CF Cutoff Frequency On the Modular V you have access to 7 different types of filtering Let s have a look at their respective properties ARTURIA MODULAR V USER S MANUAL 93 The low pass filter LPF deletes the high frequencies from a frequency limit the famous cut off frequency and only allows mow frequencies to pass Depending on the setting we will hear the sound becoming more or less brilliant or more or less thick This is the type of filtering that you will commonly find on synthesizers using subtractive synthesis It is equally present on analog synthesizers as well as the most recent digital models ASAT aai VAL Y yes ad He 20 00 40 00 80 00 1600 3200 640 0 1280 2560 5120 10240 Low pass filter The high pass filter HPF as opposed to the low pass eliminates low frequencies and only allows high frequencies past The sound will thus become finer It is very useful for removing redundant low frequencies JA E Hz 20 00 40 00 80 00 1600 320 0 640 0 1280 2560 5120 10240 High pass filter The band pass filter BPF eliminates the frequencies situated on either side of the cut off frequency Use it to make a certain band of frequencies that you wish to emphasize appear Th
124. s one is independent of the 2 other filters The central frequency can be set with the rotating Frequency button the bandwidth of 1 3 octave to 3 octaves with the Resonance knob The ARTURIA MODULAR V USER S MANUAL 65 first modulation input allows the dynamic modification of the bandwidth the 2 others the central frequency A type selector provides a choice of filtering band pass or band reject The following images represent the spectrum of the band pass and band reject filters where the central frequency is 500 Hz gt i ir L Nin Hz 20 00 40 00 90 00 160 0 3200 640 0 1280 2560 5120 10240 Hz 20 00 40 00 30 00 1600 3200 640 0 1280 2560 5120 10240 Band pass 24 dB octave filter Band reject 24 dB octave filter 1 13 3 4 Multi mode 12 dB octave filter MULTIMODE FILTER Ho HP Lg pp v He s un BE TEN Type f ezanance frequency Cc WM Frequency Resonance gt E e a e 4 Gain 4 Audio Input Audio Output ModRes Input L 7 ages Inpu UD Inputs Multimode 12 dB octave filter Type Choice of filter type Frequency Sets the filter cut off frequency Resonance Sets the resonance of the filter Gain Sets the gain for bell shelf High and Low Audio Output Filter output connection jack Audio Input Filter input connection jack FM Inputs Frequency modulation input jacks ModRes Input Resonance modulation input co
125. second section click on the sequencer on button and set the 2 knobs lines corresponding to filter1 and VCO4 Finally choose the type of sequence chaining with the fourth column gt If you wish to add a little portamento to a melodic line turn the Smooth knob corresponding to your sequence line COLUMNS Trigger Smooth A he D in Turn the Smooth knob gt to complete the evolution of the sound in stereo you can apply modulations to the cut off frequencies of the 2 filters using a LFO To make this effect more apparent turn the level of the modulation input of filter1 to the left negative value and of filter2 to the right positive value By applying a slow rotation speed to the LFO you will get the linking of the 2 sequences in stereo space brought about by the opening of the 2 cut off frequencies 1 21 Bonus features 1 21 1 Creative use of key follows The Modular V provides you with settings for 4 independent key follows These key follows are mainly used to tune the oscillators in relation to the keyboard range but can also be used for different applications gt Try on a filter1 cut off frequency opening click several times on the key follow display situated at the bottom of the filter to select the K2 key follow It will become increasingly brilliant when the height is increased of the follow slope is positive and the contrary if it is negative ARTURIA MODULAR V USER S
126. ses among other things the same characteristics as classic oscillator but does produce frequencies inferior to 20 Hz In other terms you won t hear the sound if you connect the audio output of an LFO in an amplifier Not being used to produce a sound it can be used to create a cyclic modulation on the parameter on which it is connected For example if you connect an LFO to the modulation input of an amplifier the sound volume will increase and disappear in an alternate manner depending on the speed the frequency of this LFO This will create a tremolo effect To produce a vibrato effect simply connect the sinusoid output of an LFO to the modulation input of an oscillator The frequency of this oscillator will thus be modulated up and then down Finally try to connect an LFO output to the modulation input of a lightly resonant low pass filter and you will obtain a wah wah effect ARTURIA MODULAR V USER S MANUAL 98 amplitude time sound signal amplitude time modulator signal LFO amplitude time modulated signal VCA modulated by a LFO Now to finish the scheme of a full synthesizer containing 3 oscillators VCO 1 noise module 1 mixer mixing the 3 VCO and the noise module towards 2 filters 2 filters VCF 2 amplifiers VCA can be placed in stereo with the pan knobs 3envelopes ADSR 3 LFO 1 keyboard Mixeur vco LM EI a A vco PLA t a A AAA E Clavier AW ADSR T
127. singicablesss eese eme UI UNIES TTIUS SS 52 4 4 1 Audio and modulation CONNECTIONS ccccc ccc cece ee eee enne 52 4 4 2 Modifying a CONNECCION cece eee eee eee eee mene enne hee ense rennen eene 54 4 4 3 Modulation level setting 2 ciiicecsi seti eirinn esensdcdeadna cearaueateds steer Nra Eia ataa 54 4 4 4 Cable display Options cccccc eee nnnm nennen nnn nn 54 4 4 5 TMG Ger Connections cete ue xeesie de cebtte re obrero E la PARE eR ERI ERR RARE XE Peed rir 55 4 4 6 Synchronization CONNECCIONS cece enne nnne nnn nnne nnne nnn nnn nnn 56 4 4 7 Key follow or Sequencer connections sessseseenenen nmn nnn nnn 56 bwrnhesmodulessce e O e e D ERR 58 5SmSProgranmimipngisectionseeee REEL 58 sve EE DESCrIPUON et KETTE 58 5 1 2 Osclllators oe ote dede ete donc ded eda dete dde da ede te edd Nl tive ERES 58 ARTURIA MODULAR V USER S MANUAL 4 5ul3 gt diii RUE 62 5 1 4 Modulation envelopes ocior times eva ete vi eter ete Ibo XE ee citer ends IA DA Pe E a RES 67 5 1 5 Output amplifiers VCA e a nennen nnne nenne messe snas 68 5 1 6 Low frequency oscillators LFO esses meme nnn 69 5 1 7 Controlled amplifiers Mixers ssssssessseesseese ene eme hme menn nena nnn n 70 5 1 8 Trigger delay ees eene kh Eae IR BRA Re RnRPA X NEN NEE EENE EET EAE ERAT 71 5 1 9 Noise Generator cael ated dened eek ud decere tenu dedequsu x
128. t Sectii Y MIDI Thru I On the channel of the mixer corresponding to the selected track click on the button I O to list the available plug ins then select AU Instruments gt Arturia gt Modular V gt Stereo Sands Jupiter 8V2 No Plug in EFMI FM Synth EVD6 Electric Clav EVOC 20 PS Vocoder Synth EVPBB Electric Piano Klopfgeist Sculpture Modeling Synth Test Oscillator Ultrabeat Drum Synth GarageBand Instruments ee Apple gt _ Oberheim SEM V P n AU Generators Prophet V2 ELIT T Spark I 00 00 1 1 120000 44 Ne AU MIDI controlled Effects b Native Instruments b Spark Vintage Drum Machines qnd 1 NG 1 32 USING IN ABLETON LIVE AU AND VST From the plug ins tab simply double click on the Modular V VST or AU icon or drag and drop the plug in into a MIDI track HBAS oi A fAudo Bo B mo o m Bo jo Im Bo Bo DN m mo Bo mo Bo mo Bo m 5 C OS OF i E If necessary you can perform a rescan of the plug in directory in the Preferences File Folder tab press the Scan button or press Scan while holding the Alt key for a full rescan ARTURIA MODULAR V USER S MANUAL 137 9 MODULAR V END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion o
129. t is connected Here is the list or colors and the corresponding cable type e Red cable audio cable coming from an oscillator e Yellow cable audio cable coming from a filter e Green cable modulation cable coming from an LFO or auxiliary envelope e Blue cable cable coming from a VCA Mixer e White cable other cables The cable display filter allows the display of a section of existing cables in a given patch depending on their type The cable display filter is controlled by the buttons on the Modular V toolbar Show all cables Show red cables VCO related Show yellow cables VCF related 9 Show green cables Envelope related Show blue cables VCA related Show white cables Other The cable display filter menu When a button is selected pressed the cables of the corresponding color are displayed If the ALL option is selected all of the cables are visible despite the state of the color filters 1 12 4 2 Cable tension It is possible to set the Modular V cable tension by using the knob in the toolbar of the synthesizer Modifying the cable tension can help you to discover a region on the synthesizer that had previously been hidden by cables without using the cable display filter Tension e Setting cable tension 1 12 4 3 Spreading the cables Visualizing the different cables existing between modules is very useful for the creation of a patch on the Modular V At the same time
130. t module on the top left of the synthesizer a low pass resonant filter Turn the frequency button in the direction of the hands of a watch The sound becomes increasingly brilliant Set this knob as it pleases you The setting of filter1 cut off frequency By performing this first setting you have already modified the preset Bassi We will now save the sound that you have created gt To save this newly created sound among the user presets click on the Save icon in the toolbar the sound setting being used will be saved in the currently selected preset If the current preset is a factory preset the factory preset will not be replaced the save icon will not be available To choose another destination for this sound click on the Save as icon and choose the location Select for example new in the choice of banks bank 2 new bank and sub bank Sub bank locations and a new preset are created the names defaultO defaultO and defaultO will appear in their respective displays if other default names exist then the number is incremented Click on each one to modify the name of the 3 ARTURIA MODULAR V USER S MANUAL 20 Saving a preset 1 6 Modular synthesizer The modular synthesizer cabinet contains 28 modules which will help you to create an infinite variety of sounds These 28 modules can be broken down into different categories and will be connected by cables 1 6 1 First connections Let
131. t the Range of oscillator 3 to 16 It will play 1 octave upper than the 3 others gt Connect the white noise output to the third filter and choose the third type of filter on this the Filter Coupler It will be very useful in creating a resonance particular to white noise For this set it to Band Pass mode gt Connect the audio output of this filter to the audio input of the fifth mixer VCA Connect envelopel to one of the filter3 modulation inputs and set the modulation level to your liking gt Increase the attack time of the envelope to 2 o clock in order to make the sound progressively appear in the global sound gt Now let s make another modulation appear given by the of LFO2 which will be provoked by the aftertouch For this connect the Tri output of this LFO to the sixth audio input of the mixer gt Connect the Aftertouch output to the Mod input of this same slice and direct its output to the second Mod input of filters1 amp 2 without forgetting to increase the 2 modulation levels b FILTER COUPLER 4 0 ENVELOPE ENVELOPE ENVELOPE ENVELOPE DUAL TRIGGER ENVELOPE ENVELOPE FILTERS pf A wily band band frequency al feject pass s 9 RS N ee 2t A w e P low misi ld ma j E reSonance frequency X D M E ENM EEES The white noise module connected to the band pass filter gt Set the third filter output towards the fifth slice of the mixer and link slices 3 4 a
132. taining sequencer and effects a section dedicated to the sound programming a small extension where the external cables are regrouped velocity after touch external signals and finally a section containing the keyboard and different play settings 1 13 Programming section 1 13 1 Description The programming section gathers all of the modules which need to be connected by cables It is on this screen that the different connections Patch needed for the programming of the sound will be made It is sometimes necessary to connect a module in the programming section to a module in the sequencer section To simplify connections between the 2 screens the inputs and outputs of the sequencer section are grouped on a small extension under the sound programming section The sound programming section contains Nine oscillators grouped in threes which can also be used as modulation source Two low frequency oscillators dedicated to modulations Three filters Six envelopes dedicated to modulations Two envelopes dedicated to output amplifiers A dual trigger delay A noise generator and the associated filters 1 ring modulator 4 envelope followers 2 sample and holds 1 frequency translators 1 formant filter A set of amplifiers which can be grouped to form mixers The number of spaces at the upper part of the section being inferior to the number of modules the choice is made through a menu It is thus possible to organize
133. taneously give control of two parameters to the mouse with great ease The 2 joystick outputs are visible in the conception page The control joystick outputs are available in the conception page When the joysticks are connected the names of the concerned modulation inputs appear in the digital displays above the joysticks 2 Filter3 modulation 4 YLFO 2 pulse width The names of the connected modulation inputs appear above the joysticks 1 11 3 Selectors The Modular V presents selectors of several types e The switch type selectors simply click on these selectors to change their state SOFT DIST T SYNC Sem Oct m I C em mono E mid legato Switch type selectors e Rotating selectors used like knobs by click and drag with the mouse ARTURIA MODULAR V USER S MANUAL 48 Rotating selectors e The digital displays They are notably used in the sequencer We can manipulate by click and drag like the knobs or by a simple click a left click increments the value while a right click Shift click for Mac decrements the value k Shift z Repeat threshold 2 CIL low hi Digital displays 1 11 4 Keyboard The keyboard lets us listen to the synthesizer sounds without having to use an external master MIDI keyboard and without programming a melody in the sequencer Simply click on a key to hear the corresponding sound The keyboard also has a modulation wheel and a pitch bend whee
134. the creation of sound To convince you let s look at some basic concepts Sound synthesis is essentially based on the use of generators and filters From these components the sound designer must create sounds that can be used by musicians To succeed the different parameters that we have access to height of note filter cut off frequency output volume wave form must evolve in time And for this we must link different modules between each other Let s take an example an oscillator which has inputs to modulate each of its parameters Let s connect the output of an envelope generator to the oscillator frequency modulation input and there we get a signal depending on the use of a keyboard Now we ll connect a low frequency generator to the impulse width modulation input and here we have the waveform which will evolve in time But why not have internal cables fixed from the start Here again another example will help Let s take an envelope and two oscillators The latter possess three modulation inputs a frequency modulation an impulse width modulation and a volume modulation Effecting every combination with fixed connections would oblige us to have six independent buttons for the modulation of the parameters If we now take 9 oscillators 6 envelopes a modulation wheel and a velocity setting we would need 216 setting buttons What can we therefore say for the Modular V which on top of this has three filters a no
135. to the first modulation input of filter1 Click again on the jack and turn it lightly to 2 o clock for example towards the right This will dose the ARTURIA MODULAR V USER S MANUAL 106 modulation input directed towards the cut off Do the same thing on filter2 using envelope2 If you do not hear the sound make sure with a right click on the trigg inputs of these 2 envelopes that keyboard trigger has been selected Apply light cyclic variations on the filteri cut off frequency Choose the Sin output of LFO1 and direct it to the first modulation input of filter1 Lightly turn the jack to the right to 2 o clock for example this will dose the modulation input directed towards the cut off Lower the cut off frequency to clearly hear the oscillation of the sound gt Do the same thing with filter2 by choosing the triangular waveform of LFO1 To create subtle evolutions of stereo sound turn the modulation jack ring in the opposite direction of filter1 e v Lou PASS FILTER 4 pe MULTIMODE FILTER 4 We v C Lol PASS FILTER 4j frequency NO uF is frequency 3 EP n Hs sA frequency JAFN A LP BE i resonance frequenc resonance 3 PHM manual gt If you wish to change the LFO oscillation speed simply turn the Frequency button gt You can also create light fluctuations in the change of speed of LFO1 For this connect the LFO2 Eg output to the FM input Frequency Modul
136. ton possesses a coarse an octave per semi tone setting with a left click and a fine tune setting a semi tone with a right click The range selector allows the setting of oscillator range on 6 positions Low 32 16 8 4 and 2 With the Low position the oscillator can be used at a very low frequency on a cycle of more than 6 minutes The other positions set the oscillator to octaves 1 2 3 4 and 5 That is to say the note C3 is played respectively on C1 C2 C3 C4 and C5 At the Low position the oscillators perform modulations using lower calculation power than the other positions Two modulation inputs allow the separate setting of each of the oscillators in the group They are very useful for modifying the tuning between oscillators thanks to a low frequency oscillator a keyboard follow or other modulation source Like the controller modulation inputs they can be connected to the output of another module Connected to an oscillator functioning in the same audible spectrum they can obtain sonorities with FM characteristics A synchronization input and the associated interrupter allow the synchronization of the slave oscillator on one of the other oscillators In this case the synchronizing oscillator will be heard while the synchronized oscillator will improve the tone In the low position the synchronization is said to be hard which is to say that the synchronized oscillator will restart a cycle for every cyc
137. treated signal can be respectively set with the gain direct and gain effect knobs ARTURIA MODULAR V USER S MANUAL 81 1 14 4 Phaser 12 3538 nmount Amount 9 4 4 Sweep Stages Rate gt Stereo feSonance P Resonance Stereo width Dry Wet VCA1 VCA2 gt Phaser Amount Sets the depth of the phaser action Rate Sets the speed of the phaser Sweep Sets the phaser resonance Stereo width Sets the width of the stereo space Dry Sets the gain applied to the input signal Stages Sets the phaser type 6 or 12 stages Wet Sets the gain applied to the treated signal VCA1 VCA2 Connects the phaser to the VCA1 or VCA2 output The phaser module treats the signal coming from the 2 output amplifiers eventually treated by an equalizer in function with the state of the 2 VCA1 and VCA2 interrupters The action consists of dephasing the input signal and combining it with the original signal Thus we can have a filter that combs with notches the frequency spectrum to the rhythm of an oscillator which follows the frequency set with the rate button The depth button sets the amplitude for the action of the filtering while Resonance amplifies certain harmonica The rotating stereo width button sets the amplitude of the stereophonic aspect of the phaser When the stereo width is set to 0 the left and t
138. ts take their values from the rotating buttons of the current step on the corresponding line eventually with a configurable smoothing through the smooth buttons The fourth output for which the smoothing can also be set through the smooth button is managed in the following manner It takes the value from one of the 3 outputs in function with the current step and the type of progression specified with the Chain selector This allows the linking sequences to create variations For example to link lines 1 2 and 3 to obtain a 24 step on the same controller oscillator sequence controllers output controllers OSCILLATOR COLUMNS frequency Trigger Smooth 1 4 in on MIDI SYNC rd off SEQUENCER The sequencer sections To create an 8 step note sequence from the sound you have previously edited bass1 ARTURIA MODULAR V USER S MANUAL 29 gt Assign Driver oscillators to one of the 4 sequence lines For this on the sequencer screen click a few times on the corresponding LCD display on the bottom of the Driver on the right to select the sequence line L1 2 3 or 4 Validation of a sequence line on the Driver oscillator gt On the 2 VCAs click on the trigg out plug to apply a trigg corresponding to the sequencer output Sequencer trigger so that it can be taken into account and freely react without the help of a keyboard trigger The seque
139. tual keyboard and its assignable controllers Repeat furzru length Next 2 FIXED FILTER BANK 1000 i u LLI C e A E e SEQUENCER The second section composed of a sequencer and effects DUAL DELAY MID SYNC 1 time feedback delou amount ARTURIA MODULAR V USER S MANUAL 18 VRE eget detune retri i A 9 The virtual keyboard and extensions section 1 4 3 Reduced view of the keyboard and the real time controllers You also have the possibility to only keep the keyboard and its assignable controllers visible on the screen The goal is to have quick access to all of the important real time controllers and sound presets all while having a smaller work surface Reduced view of the keyboard 1 5 Using presets Using presets is one of the main areas of evolution of the Modular V when compared to its predecessor which did not save sound A preset contains all of the inter module connection information and the different controller settings needed to reproduce an identical sound To make you familiar with the different sounds contained in the Modular V we will select the preset Bass1 gt For this click on the button above the LCD screen indicating C Engel this screen presents the name of the bank currently being used By clicking you will see a scrolling menu appear which will indicate a list of the available banks Choose the bank named JM
140. u to create a connection It is also possible to delete all of the connections by choosing the Remove connections option or delete one of the connections by clicking on it in the menu ARTURIA MODULAR V USER S MANUAL 53 ENVELOPE FILTERS lpf Remove connections Not Connected ENVELOPE frequency frequency Oscillator Ame A O YCA Mixer VCA Envelope j 8 ae 16 Input output connection menu appears after a right click or Shift click A The module inputs can only be connected to one output connector On the other hand each output connector can be connected to any number of input connectors which allows for example the use of the same modulation signal to modify several synthesis settings 1 12 2 Modifying a connection To disconnect the end of a cable at input connector level and reconnect it to another input click on the end of the cable concerned and hold down the mouse button You can now drag the end of the cable to another input with the mouse and release the button To delete a connection you can use the menu available with a right click or Shift click Another method is to click on the cable to select it upon which the cable will appear in a lighter color to show that it is selected and press the DEL button on the keyboard to delete the connection A You will have a lot of trouble clicking on a cable if the Move away cables option is active In this mo
141. ult obtain a complex envelope following the evolution of an audio signal It is also possible to connect any other source of modulation to the envelope follow input An envelope for example The course of the latter can be modified with the envelope follower parameters ARTURIA MODULAR V USER S MANUAL 125 f E FOLLOWER Stork long The envelope follower module Let s have a closer look at these two situations 1 22 2 1 Trig by an external audio source In the first case the Modular V will be used as a VST insert effect for an audio track in Cubase SX If you don t have Cubase know that the procedure remains globally the same for any other sequencer gt Firstly place a sample preferably a drum loop on an audio track on the sequencer gt Open a VST Insert effect on this track by choosing Modular V2 FX gt On a MIDI track choose the Modular V2 FX as MIDI control output It will thus be controlled by your master keyboard or by a sequence recorded in the arrangement This point is essential for generating the sound of the Modular V It is also possible to create a continuous note hold so that the Modular signal doesn t stop For this set the Release knob on the VCA1 envelope fully to the right in the direction of the hands of a clock gt On the Modular choose the EFX Ext In preset in the Factory bank The Ext Left audio in on the lower section is connected to the enve
142. ve minimum value when control has the highest value and parameter will have maximum value when control has the lowest value parameter value MIN MAX MIN control value 1 11 5 5 Multiple assigned parameters It is possible to assign multiple parameters to a single control This allows you to change many parameters with one fader or knob Activate Learn mode select a parameter GUI control Tweak control to assign it optionally setup minimum and maximum Select a second parameter And tweak the same control Deactivate Learn mode ARTURIA MODULAR V USER S MANUAL 51 Tweaking assigned control should modify both parameters with regards to assignation setup Min Max 1 11 5 6 Tricks The Oscillator 1 to 9 tune controls have two parameters FINE and COARSE tune If Learn mode is ON clicking on control provides access to the assignation of the FINE parameter shift clicking on control provides access to assignation of the COARSE parameter 1 12 Using cables The connection of different modules is the base work of creating a new patch The Modular V owes its creative possibilities in no small part to the innumerable connections possible between modules On the original system all of the connections were made with cables of two types Audio and modulation cables which allow for example the connection of an oscillator sawtooth signal to a filter input gt The trigger cables which allow for
143. ve your current settings under the current preset click on the Save button on the Modular V toolbar Save button on the toolbar If you want to save your preset under a different preset name click on the Save As button in the toolbar A drop down menu will appear allowing the choice of either an existing preset in this case the preset contents will be replaced by the current setting or to save your preset as a new preset in this case click on New Preset in the sub bank of your choice MR ORN W Mii cabi new V2 C Giuducelli ENVELOI new V2 JM Blanchet gt i new V2 JM Blanchet2 gt new_V2 _K Kurazaki new V2 L Llorca gt new V2 N Ubukata gt new V2 N Ubukata2 gt new_V2 _R Rozmarniewicz new V2 T Perlman 4 Templates b 2 0_modules test Ld Blank gt New bank Controlers gt 4 Temp Effects L Chorus2 Template Syn gt Chorus3 Template_Seq gt Template_wav gt Chorus_Delay Delay_MIDI Delay_Mono Delay_Short New sub bank Delay_Stereo Fixed_filtersL Fixed_filters2 Fixed_filters3 Phazer 12stges Phazer 6stages Phazer Mono Acc Pluton O oN Oe oG oG oO oG o New preset Save As menu on the toolbar Hm When you are working on a factory preset which cannot be erased clicking on the Save button will not replace the current factory setting but will automatically open the Save As function to save th
144. virtual keyboard 1 30 2 Saving the presets When the session is saved the status of the Modular V is saved as it is even if its programming does not correspond to the preset For example if you are working on a preset P1 in which you have modified the parameters without saving them in the plug in itself the next time you open the session Modular V will load the P1 preset plus the modifications you made to it The Librarian Menu of Pro Tools can be used with the Modular V like with all other plug ins Nevertheless it is highly recommended to use the internal Modular V menu with the presets saved like this they are usable no matter which mode is chosen standalone or other sequencer and they can be exported exchanged more easily and will stay compatible with future versions of Modular V 1 30 3 Automation under Pro Tools The automation function with the Modular V functions like with all RTAS HTDM plug ins check the Pro Tools documentation for more details on plug in automations ARTURIA MODULAR V USER S MANUAL 135 1 31 USING IN LOGIC MAC OS X AU Make sure the plug in has been tested OK in the Logic Audio Units Manager To launch it click on the menu Preferences gt Start Logic AU Manager Create a new Software Instrument track Grab File Edit Capture Window Help a 3 1025 Kevin Q eoo O uu gm mu E E Inspector Preferences Settings Auto Zoom Automation Flex Set Locators Repea
145. where the source can be external trigger source connected to the Trigg input or internal clock where the frequency is set with the Clock Rate dial The choice is made with the Trig selection interrupter The values sampled are presented as output with more or less glide set with the Glide dial It is this module when sampling noise which is used to product random modulations ARTURIA MODULAR V USER S MANUAL 75 1 13 11 Envelope follower ENY FOLLOWER Short long Sie H N Time choice Maya threshold Sw Threshold Time Follow in PX Pm SIDSE Follow out xU sd Comparator in a Envelope follower Time choice Selection of follow mode Time Sets the constant time of the level measurement Threshold Sets the threshold of comparator Follower out Envelope follow output connection jack Follower in Envelope follow input connection jack Comparator in Comparator input connection jack This module possesses two functions The first generates an envelope from the audio signal connected to Follower in The Time setting determines the detail for the envelope follower The lower the value the more the input signal variations will be respected This setting relies on the Time Choice which can be short or long In the first case the analysis of the input signal will be very precise generating a s
146. y module manages the signals used for triggering envelopes and sequencer There are 2 delays which can function independently in series or parallel following the setting on the mode selector ARTURIA MODULAR V USER S MANUAL 72 Set to the off position the 2 delays are independent When their trigger input moves to an active state their internal counter is initialized The output will move to an active state when their internal counter reaches the value specified by the rotating time button When the trigger input returns to an inactive state the output immediately goes not an inactive state Set to the parallel position the 2 internal counters start at the same time when the trigger input of the first delay goes to an active state Each manages its output in function with its time setting In the series position the second counter only begins when the output of the first delay moves to an active state Independent mode Parallel mode ARTURIA MODULAR V USER S MANUAL 73 1 13 9 Noise generator Serial mode FILTERS LFF Low Pass Frequency Low Pass Input gt Low Pass Output High Pass Frequency High Pass Input High Pass Output Low Pass Frequency Low Pass Input Low Pass Output Low Pass Frequency High pass Output High pass Input White Noise Pink Noise The
147. zation less precise Set the frequency band width gt If you have applied several strong equalizations with very pronounced band reductions for example you run the risk of having a consequential decrease in volume To regain a normal volume level turn the gain knob on the bottom right of the filter bank towards the right Watch out for saturation Filter bank output gain Thanks to MIDI it is possible to record frequency gain and band width knob movement with the MIDI sequencer This will make the sound speak or evolve in a manner that synthesizer filters cannot Try it for yourself 1 7 2 2 The Dual delay You can also enrich your sound and give it more stereo space for this add stereo delay ARTURIA MODULAR V USER S MANUAL 34 DUAL DELAY MIDI SYNC p f feedback The delay effect As is the case for all of the Modular V effects the Dual Delay works in real stereo in the sense that it possesses an independent input and output for both sides gt To activate the delay effect begin by triggering the 2 VCA1 and VCA2 switches This will commute the action of the effect to the 2 audio outputs of the sequencer It is also possible to keep a part of the sound effect free by deactivating one of the two VCA switches This can be very interesting when using the synthesizer for multiple tones for example a bass sound played on the keyboard comin

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