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USER`S MANUAL

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1. Setting the modulation through aftertouch The VCO and VCF modulation rate can also be modified through aftertouch with the faders under the TOUCH RESPONSE label The SPEED control also modulates the speed of the sub oscillator through aftertouch ARTURIA CS 80V USER S MANUAL 4 5 5 THE KEYBOARD MODULATIONS The INITIAL fader performs a slight frequency modulation on the oscillators This modulation is a linear ramp that depends at the same time on the fader setting and the velocity T0u P BEHO SI ASS IMITIAL Leg ee Initial tuning Fader at the top there is no modulation at the bottom the modulation is set to the maximum E About the orientation of these faders the original CS 80 operates in that way which can be confusing But we chose to reflect the original character of the machine The faders under the KEYB CONTROL label set the key follow rate The faders under the BRILLIANCE label set the key follow of the filters and those under the LEVEL label set key follows for the amplifier The LOW faders set the key follow slope for the lower part of the keyboard below C3 The HIGH faders set the slope for the higher part The slopes can be positive or negative PRO E Ree f ELEYB COMTROL gt BRILLIAMCI LEVEL LOW HIGH LOW HIGH Key follows 5 6 THE RING MODULATOR The ring modulator is an effect that creates a number of harmonics in the sound through the multiplication of th
2. Select another preset anywhere on the Sound Map interface click on any of the 4 snapshot buttons while pressing the Ctrl key 4 2 9 The LIST preset manager The list preset manager offers a more classical way to explore the presets using a list interface in which the presets are classified and filtered in order to simplify preset management gt To open the list interface click on the LIST button located on the toolbar of the Sound Map ARTURIA CS 80V USER S MANUAL 3 Click on DEIS T bunion The list preset interface is very simple you can see three columns showing from left to right The preset names The instrument type The name of the sound designers Name Instrument Author L_PWM HRD 01 4 Lupo L_BASS SYNT 01 M Lupo M I M M L_BASS FK 03 iasi TESS M L_BASS FK 02 M LUDO CA L_BASS BRS 01 Lupo TADA L_WOUAHOU 03 Loa L_BASS 04 ALUDO L_BASS 03 4 Lupe L_WOUAHOU 02 M P P P P P L_WOUAHOU 01 P P M M M M M L_BASS 02 M M M L_BASS 01 M Lupo J M B_4Vces_unis 3ass JM Blanchet J M B_Attack_bass 3ass JM Blanchet 31D_softsquareBass 3385 G Darcey m Sequence ORs 31D_softpercbas 3385 G Darcey 31D_fundamenta 34S G Darcey 5TD_dirtypulse 3365 G Darcey m Guitar 31D_SyncWhee 3ass G Darcey Il Keyboard 31D_MelloBass 3355 G Darcey MR Dub it 1985 IM Blanchet g Preset list interface All those data are classified by alphabetical order To select a preset si
3. USER S MANUAL C Laurence C Pittman D Diaz G Darcey J Muhoberac JM Blanchet Basses sn gt K Ujiie EFX J M B_Attack_bass Select a preset The CS 80V is shipped with about 800 presets which will allow you to get to know the sounds of the synthesizer A bank called Templates proposes a selection of presets which allow you to work from a basic template when programming a sound E It is also possible to view sounds by sub bank by choosing the option All in the bank For example to see all bass presets click on All in the bank selections and then on Bass Let s modify this preset For this well begin with a simple modification Modify the brilliance of the preset sound with the brilliance controller on the synthesizer For this increase or decrease the green linear BRILL knob on the control panel above the virtual keyboard The tone of the sound will become more or less brilliant Set this knob to your convenience LB 08G IMITIAL AFTER w i UD KK l ei Change the brilliance of the sound In the same manner you can change the range of the oscillator by decreasing the linear FEET knob to one of the 6 values expressed in feet like organs The lower the number the higher the pitch The standard tuning can be found at the value 8 With these first settings you have already modified the preset J M B_4Vces_unis You can now save the sound that you have just created To save a user
4. Capture Window Help CH Gel E t eil EI HI Edit Track y Region 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 CS 80 V2 gt Stereo ChaneQ St Delay Space Dsn _ Sends cs 80v2 No Plug in EFM1 FM Synth ES E Ensemble Synth ES M Monophonic Synth ES P Polyphonic Synth ES1 Synthesizer 1 ES2 Synthesizer 2 EVB3 Tonewheel Organ EVD6 Electric Claw EVOC 20 PS Vocoder Synth EVP88 Electric Piano EXS24 Sampler External Instrument Klopfgeist Sculpture Modeling Synth Test Oscillator Ultrabeat Drum Synth GarageBand Instruments AU Generators AU Instruments AU MIDI controlled Effects Arturia Modartt Native Instruments Prophet V2 Spark Spark Vintage Drum Machines a gt a gt gt gt gt gt gt gt gt gt Analog Laboratory gt gt ARP2600 V2 gt gt cs 80V2 gt gt Jupiter 8V2 Le gt mini V b gt i ius SSPE Modular V2 gt Apple Oberheim SEM V gt gt gt gt gt gt gt YM 01 00 00 o RE ie r e AG of ARTURIA CS 80V USER S MANUAL 8 10 USING IN ABLETON LIVE AU AND VST From the plug ins tab simply double click on the CS 80 V2 VST or AU icon or drag and drop the plug in into a MIDI track Oi
5. MES O MES A 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 CS 80V USER S MANUAL 7 9 APPENDICES 9 1 GENERAL PARAMETERS FOR ALL POLYPHONIC VOICES atavcf Pressure action setting aftertouch on the amplitude of the sub oscillator martino the VE atavco Pressure action setting aftertouch on the amplitude of the sub oscillator action on the VCO atinit Velocity action setting on the glissando for the start of the note atspeed Pressure action setting aftertouch on the frequency of the sub oscillator bend Tuning wheel pitch bend brill General synthesizer brilliance depcho Chorus depth depdel Delay depth drydel Level of mixing of the part treated by the delay exp Expression pedal kbbrhi Key follow setting for the superior section on the on the filter cut off frequency kbbrlo Key follow setting for the inferior section on the on the filter cut off frequency kblvhi Setting for the key follow for the superior section on the VCA volume kblvlo Setting for the key follow for the inferior section on the VCA volume mod Modulation wheel panvl Pan position of track1 panv2 Pan position of track2 panv3 Pan position of track3 panv4 Pan position of track4 panv5 Pan position of track5 panv 6 Pan position of track6 panv Pan position of t
6. CHORAU ELA l The effects section Of course all of the settings that we have modified during these chapters can be saved in the preset that you have created 3 7 THE MODULATION MATRIX On the left of the synthesis parameters is a second hatch smaller than the one for Multi mode This contains an extension of the possibilities for modulation when compared to the original CS 80 It is presented in the form of a modulation matrix in which we choose 10 sources SubOsc EG etc which will modulate 10 destinations VCO 1 Freq LP 2 res etc 2 ARTURIA CS 80V USER S MANUAL AMOUNT DESTIMATION SOURCE AMOUNT DESTINATION The modulation matrix The choice of source and destination is done by clicking on LCD screens The individual matrix positions will offer 12 modulation sources and 38 destinations with an attenuation control in between Let s apply 2 supplementary types of modulation to the preset 2VCO_1VCF_Link Open the hatch of the matrix to access the parameters Among the modulation sources choose the first low frequency oscillator LFO 1 Choose the cut off frequency for the low pass filter among the destinations by selecting LP 1 cut i S0URCE AMOUNT DESTINATION Modulate the frequency of the low pass filter LP 1 cut with the LFO LFO 1 Between the LCD screens is a knob AMOUNT It allows you to set the level of modulation by applying positive values by turning to the right or negativ
7. Chorus and delay effects Ei To quickly isolate a voice where the EDIT button is lit and play it across the whole keyboard just close the Multi panel For the 4 zones The MIDI channel from 1 to 16 and Omni The low and high notes from C2 to C8 The playing mode rotating polyphonic trigger reassigned reinitialized monophonic unison Arpeggio activity Ei If you wish to preserve CPU power avoid using the Rotate mode rather place the zone on ReAssign mode 3 5 THE REAL TIME CONTROLLERS AND MIDI ASSIGNATION Like its excellent ancestor the CS 80V is particularly adapted to real time playing One of the major points of evolution when compared to the original is the possibility to assign any CS 80V knob to an external MIDI controller Let s look at an example Click on MIDI Learn button of the toolbar Click on the brilliance knob BRILL A MIDI assign dialog then appears gt Move the MIDI controller of your choice the modulation wheel for example The CS 80V knob will move with it Next you can automate the movements of your MIDI controller in your MIDI sequencer or simply make it evolve in real time when you are playing live MIDI Control Setup ld L te Learning Brilliance Min hex CLEAR MIDI assigning of the Brilliance knob As you have previously read the CS 80V has a large number of controllers acting on the tuning tone brilliance or the volume of a sound The k
8. E Mon Apr 23 10 19 Kevin Q eoo Cubase 6 Project Untitled 1 P Add Audio Track Add Instrument Track Add MIDI Track E Add Track Using Track Preset a Add Arranger Track 4 Add FX Channel Track E Add Folder Track Y Add Group Channel Track 11 Add Marker Track 0 Add Ruler Track Add Signature Track K Add Tempo Track JL Add Transpose Track DI Add Video Track Show All Used Automation Hide All Automation Jemen men mg Cubase 6 Project Untitled1 Men el tut l l 2 3 4 5 6 7 8 veel ron gt Add Instrument Track Y No VST Instrument Cancel Drum Groove Agent ONE Synth D Analog Laboratory ARP2600 V2 CS 80V2 CS 80V2 10 voices HALionOne Jupiter 8V2 Maschine mini V Modular V 2 Pianoteq 4 VST Pianoteq VST Prophet V2 Spark ARTURIA CS 80V USER S MANUAL 7 8 7 2 Rescan the plug in directory in Cubase If the CS 80 V does not appear in the list of VST plug ins you can perform a rescan of the plug in directory 8 7 3 Saving of presets When the session project is saved the CS 80 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 CS 80 V will load the P
9. den FREI e e Ve e ra la uo Wm e e wm Ce 24dB i Low Low oO 5 SHORT 5 0 Control of the two lines of synthesis On each line of synthesis there is an oscillator that can generate square triangle sawtooth and sine signals The first switch activates the square signal while the second activates the second waveform which can be either a triangular signal or a sawtooth Selection of waveform To select the sine first validate that the linear slider is lit and then set its volume with this slider The square and triangle signals are affected by the pulse width settings noted PW The fader is used to choose a pulse width from 50 to 90 This pulse width can be modified by a low frequency oscillator LFO The modulation rate is set with the PWM fader and the speed with the SPEED fader ARTURIA CS 80V USER S MANUAL 3 FAST 10 RI a a Gree LIMK veo a PWM Settings Unlike the original CS 80 LFO where only the sine waveforms were available the wave can be set with the WAVE FORM selector The waveforms available are sine saw up saw down Square noise and random This LFO can function in three modes chosen on the LFO MODE selector s FREE all LFOs of each of the polyphonic voices function independently of the others TRIG the LFO restarts at the beginning of its waveform each time that the polyphonic voice is activated MONO only the LFO of the first polyphonic voice
10. 0 9945 Apply the same changes to the third and fourth voice Place these 4 voices to unison mode by selecting the UniLast setting in the VOICE MODE menu in the edit zone The sound of the first 4 voices is deeper as a result of the detuning of the 4 voices and widened as a result of the pan position settings between all of the voices The fifth Single placed in zone 2 must now be configured as a Random voice mode It will play a polyphonic accompaniment sound Random mode Activate the ring modulator on this Single to obtain a modulate sound that will be played on the second zone Ring mode activation Your keyboard now contains 4 different zones first is a bass second is a polyphonic keyboard and third and fourth are leads You can change the parameters of all the voices as you want for example you can change the patch of each voice Then you can play up to 8 different sounds on 4 zones To do that just click on the patch number close to the zone number Select your patch and edit it by clicking on the red Edit button It s also possible to define various parameters like arpeggio or the MIDI channel of the zone Below you will find a list of these parameters 2 ARTURIA CS 80V USER S MANUAL For each of the 8 voices you can set The choice of zone from 1 to 4 or no zone Transposition in semitones Fine tuning Volume Pan position Portamento Glissando Ring modulator
11. On the choice between the portamento continual variation and the glissando variation by semi tone is controlled by MIDI messages corresponding to the sustain pedal The fader above the SUST MODE switch sets the sustain time When the SUST switch is at the top Off sustain time is given by the fader setting When it is set to the bottom On sustain time depends on the MIDI messages from the sustain pedal When the pedal is off there is no sustain when it is on sustain follows the fader setting The two positions of the SUST MODE switch allow standard functioning switch off towards the top or a mode where the sustain is interrupted when a new note arrives switch on towards the bottom 5 10 THE ARPEGGIATOR The arpeggiator is used to transform a chord into a succession of individual notes The SPEED knob sets the speed for the arpeggio the SYNC button allows us to obtain a multiple or sub multiple tempo of the host application The PLAY button triggers the arpeggiator which when a note is played activates the notes one after the other but stops when there are no active notes held on the keyboard The HOLD button memorizes the notes 4 ARTURIA CS 80V USER S MANUAL played as long as it is active The arpeggiator in HOLD mode is stopped through the use of the PLAY button The MODE selector chooses the arpeggio mode increasing decreasing back and forth random and in the order that the notes appear The OCTAV
12. a note is present in two zones the arpeggios remain independent Control of polyphonic voices For each voice you need to choose the zone by clicking on the ZONE display The OFF position allows you to deactivate a particular voice it is possible to limit the polyphony Once the zone has been chosen the sound or single that the voice will use needs to be selected By clicking on the SINGLE PATCH display we can select one of the singles of the current preset or a new single For a given preset there can be up to 8 singles one per voice It is important to note that the choice of zones and the choice of sounds are independent Two zones can manage cards using the same sound and one zone can manage voices with different sounds The ACTIVE indicator shows the polyphonic voices that are currently active Four knobs set for each voice the range two octaves by semi tone fine tune a semi tone volume and the position in the stereo field pan In this section it is also possible for each voice to use or not to use the portamento or glissando the ring modulator or the effects chorus and delay with the PORTA R MOD or FX buttons The EDIT button is to edit the sound or single assigned to the polyphonic voice This updates the graphical interface controls so that they display the single settings The Multi mode possibilities are extremely varied It is possible to separate the keyboard into different zones each
13. a sinusoid signal frequency PWM Pulse Width Modulation is a setting that allows you to modify the waveform cycle or wave length This can be done manually with the help of a knob PW or by modulation with an envelope or LFO This impulse width variation translates to a spectrum modification resembling a waveform change E Unlike many other classic analog synthesizers the CS 80V allows you change the impulse width not only for the square waveform but also for the triangle This brings a large number of additional sound possibilities to compliment the base signal The CS 80V waveform The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillator1 oscillator2 will restart a new period every time the first oscillator completes a period even if oscillator2 has not completed a complete period this signifies that it is not tuned to the same tonality The more you tune oscillator2 upwards the more you will encounter composite waveforms Oscillator 1 vans AM AM A AAW TV VV VV VV y Synchronization oscillator2 is synchronized with the first and tuned to with double the tonality The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering A ring modulator can be created when an oscillator modulates another oscillator On the CS 80V you can find the RING MODULATOR module ab
14. band pass filter you will obtain a wah wah effect FUNCTION E AUB OSCILLATOR A l Pra Le TL HOISE Ahh HPE LP The LFO section of the CS 80V Now to finish here is the diagram of a complete synthesis voice on the CS 80V containing 1 oscillator VCO 1 noise module 1 mixer mixing of the 2 VCO and the noise module towards the low pass and high pass filters 2 filters VCF high pass and low pass 1 amplifier VCA 2 envelopes one for the filters and the other for the VCA 1 LFO ARTURIA CS 80V USER S MANUAL 5 Pum E S NOISE HPF RES LEVEL INITIAL AFTER LEVEL TOUCH RESPONSE Pulm O5C IL aL A D R INITIAL AFTER BRILLIANCE TOUCH RESPONSE A complete CS 80 synthesis voice ARTURIA CS 80V USER S MANUAL 7 A FEW ELEMENTS OF SOUND DESIGN Here is a series of examples designed to guide you through the creation of various sounds as well as a vintage analog styled note sequence They progress in order of difficulty going from the easiest to the most difficult and are organized into 3 parts The first part will help you to grasp subtractive sound synthesis You will start with the most basic patch patch a VCO oscillator through a filter and a VCA amp output to finish by touching on the programming of a more rich sound several VCO sources VCF filters VCA envelopes etc The second will help you to use the Multi mode and the arpeggiator The third will give yo
15. each effect polyphonic voices in the same way ARTURIA CS 80V USER S MANUAL 4 Brilliance and Resonance General volume 5 14 THE MULTI MODE When the Multi mode hatch is open the playing mode is called multiple In this mode each of the eight polyphonic voices available can take a different sound and can be commanded by four zones of MIDI control Opened Multi mode hatch Under the Multi mode hatch are two identical groups of four lines of settings and a Supplementary group of four lines The two first groups set each of the eight voices while the last set the MIDI message control zones Control zones The zones allow the independent control of the polyphonic voices Each zone responds to a MIDI channel which can be assigned to the same or a differing channel When a note comes through the selected channel it is only taken into account if it is between the limits of the KEYB RANGE display The zone will therefore activate the polyphonic voices associated with it depending on the choice in the VOICE MODE display To modify the KEYB RANGE limits double click on the display and choose the low note with a left click and the high note with a right click or Shift click for Mac There are 6 polyphonic voice modes possible CsAssign This mode of voice control is identical to the original CS 80 The zone plays a voice randomly among the voices that have been affected to it The portamento or the glissando is rei
16. have the option to only keep the keyboard and its assignable controllers visible on the screen by clicking on the KBD icon The advantage being quick access to real time controllers and sound presets while having a reduced work area You can activate this reduced mode by clicking on the KBD icon which is on the right of the tool bar a CS 80V2 Settings Knob Mode Circular K ma ba Y Midi Multi T Y e E WHEEL I ii ALL d g SUB OSCILLATOR 1 FEET 2 H e TOUCH RESPONSE e KEYB COMTROL gt t j mu 16 Se es esd E Bis Fetz I EM IA gt a E BB hg pm pm rr if 5 omnes al Tt r emeng GE EES wem SUB OSC Cia 2 AFTER LOW HIGH LOW HIGH i J 7 0 WHEEL I o f j O INITIAL uP ac Gan RE 2 NOTES Le Le RAND 2 e 1 Ke i LONG LONG The reduced mode 3 3 OVERVIEW OF THE SINGLE MODE CS 80 The single mode contains 62 synthesis parameters which will allow you to create a nearly infinite variety of sounds The controllers associated with these parameters are found regrouped in 2 rows just under the Multi hatch Each of these 2 rows is composed of 1 oscillator VCO which provides the base audio signal with its 3 waveforms square sawtooth and triangle Also this section allows control of the pitch of the oscillator the frequency and the impulse width of the waveforms 1 low frequency oscillator SUB OSCILLATOR used to modulate the impulse wi
17. is used The latter allows us to bring a general effect to all of the voices at the same time like the original CS 80 It is possible to synchronize the LFO speed with the tempo of the host application with the MIDI SYNC button The signal from the oscillators then goes through two filters in a series one high pass and one low pass The cut off frequency and the resonance of each of these filters can be set with the green and red HPF and LPF faders above or below the labels HIGH HIGH HIGH HIGH 5 LONG LONG LONG WAVE Siow n RN i i LOW LOW D SHORT SHORT SHORT DA LowPass1 Cutoff 535 00 Hz yop Setting the filters By clicking on these labels it is possible to activate or deactivate a filter in order to save on calculation power The 24dB button allows us go from a 12 dB filter to a 24 dB filter The two low pass and high pass filters are simultaneously modified The filters are modulated by an envelope where the Initial Level JL Attack Level AL Attack A Decay D and Release R settings function in the following manner JL represents the start of the envelope relative to the frequency of the filter The filter frequency will be modulated starting with a frequency inferior to the frequency setting The more JL is increased the lower the starting frequency will be AL represents the maximum level attained by the envelope A the attack time meaning the time that the envelope takes to go from the JL level to the
18. of sound design will be of particular interest for users who have never worked with a subtractive synthesizer but wish to understand the basics in this domain im SIE E mae Gi EI P ee Tool Dar eg e ep Multimode IA Modulation matrix Lines I amp II synthesis parameters Ring modulator Arpeggiator Cum gown a ARTURIA n EC K upon e e CS 80V 2 ut The CS 80V front panel Effects Ribbon controller 3 1 USE OF PRESETS Use of presets is one of the main areas of evolution of the CS 80V when compared to the original In fact the original CS 80 only allowed 4 spaces in memory for saving 4 sounds In the CS 80V a preset memorized sound contains all parameter settings of the synthesis voice Single as well as Multi mode parameters and the different real time controllers and effects needed to reproduce the sound To get to know a few of the different sounds contained in the CS 80V we will select the preset J M B_4Vces_unis For this click on the button BANK at the left of the display indicating the name of the bank currently in use By clicking you will see a dropdown menu indicating the available banks Choose the bank JM Blanchet When the menu appears it opens sub menus in a step by step manner This allows us to get to the sub bank and presets of a sound designer with a single click Choose the sub bank called Basses and finally select J M B_4Vces_unis among the presets 1 ARTURIA CS 80V
19. s take a very simple sound Select the preset 2VCO_1VCF_Link from the Templates Filters sub bank First set the mix output to first voice as the image below Start by reducing the cut off frequency of the low pass filter LPF This will make the sound more muted For this set the linear green LPF knob Low LOW H NI E VEF Set the cut off frequency Note that the filter cut off frequency is modulated by an ADR envelope Attack Decay and Release To really hear the effect from the ADR envelope on the filter cut off frequency increase the value for the resonance RES This will amplify the filtering effect and the sound will start to make the cutoff frequency more pronounced producing a whistle effect Change the length of attack for this envelope A so that the brilliance increases slower or faster when a note is played In the same manner change the value for the decay D The brilliance will also decrease faster or slower while you are holding the note HIGH HIGH HIGH HIGH 5 5 LONG LONG LONG 10 10 LONG LO L 9 E LOW LOW D SHORT SHORT SHORT 0 NEE emm The parameters of the filter envelope You have probably noticed that a different envelope can also modulate the amplitude of the sound VCA Increase the attack time A so that the volume of the sound progressively increases Do the same thing with the release R the volume will progressively decrease when you rele
20. the mouse on the virtual keyboard 8 8 2 Saving the presets When the session is saved the status of the CS 80 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 CS 80 V will load the P1 preset plus the modifications you made to it The Librarian Menu of Pro Tools can be used with the CS 80 V like with all other plug ins Nevertheless it is highly recommended to use the internal CS 80 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 CS 80 V 8 8 3 Automation under Pro Tools The automation function with CS 80 V functions like with all RTAS HTDM plug ins check the Pro Tools documentation for more details on plug in automations 8 9 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 ARTURIA CS 80V USER S MANUAL 7 7 MIDE Thru Grab File Edit OOO Y z inspector Preferences Settings Auto Zoom Automation Flex Set Locators Repeat Quantize off 3840
21. voice will occupy zone 3 C5 to C6 1 4 The seventh amp eighth voices will occupy the zone 4 C6 to C7 1 5 All these zones must be configured on all MIDI channels by selecting Omni close to the Keyboard range The voice modes allow you to play differently according the voice 1 6 Set the UniLast for each voice 1 7 Deactivate the PORTA R MOD and FX buttons for each voice 1 8 Set the FEET voice to 16 this will create a bass for the low part of the keyboard RAHGI HIGH KEYH IDICH LOW 1 FEET 2 a Ge EVE A SIS ar Keyboard and MIDI configuration Feet configuration In order to get a polyphonic voice you have to set number of polyphonic voices in the tool bar x3 is enough for our sound SOUNE Its Af i pa Set the polyphony ARTURIA CS 80V USER S MANUAL 1 Here you can see the zone assignment The keyboard zone assignment Before changing the different mode parameters please deactivate the tremolo effect TREM in the effect zone Now let s apply some change to our sound Start by changing the pan position of the first voice Place the sound on the right turn the knob PAN fully to the right value of 1 00R Detune this voice by slightly turning the detune knob DET to the right value of 1 40 Now change the pan position of the second single fully to the left value 1 00L gt Detune this voice by turning the knob DET to the left value of
22. 0V USER S MANUAL To select an individual or a group of instrument types First click on the A button on the bottom of the type filter window this will hide all the instrument types from the sound map ALI The ALL button Then select the type s you want to see by clicking on the corresponding square box es A nock appears on the selected box es and the type s of presets appears on the map interface MEE Ma r d el Show pad presets This is a good way to simplify and to refine the preset search If you click again on the All button all types of presets will be displayed on the map Preset snap shot memories You can select up to four presets anywhere on the map interface and save them on up to four Snap shot memories You will be able to use those four presets on the COMPASS view to create new sounds by morphing feature see below for more details on this feature Of course you can save any kind of type of presets on these four snap memories ZEN SHAPE SNAP 4 a Select a snap memory To save a preset on a snap memory Select a preset on the sound map main interface gt Hold the Shift key and select one of the four snap memory button The snap memory button is now highlighted in red Repeat the same actions if you wish to save presets on the three other snap memories When all memories already contain a saved preset you can replace them with other presets
23. 1 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 CS 80 V However it is highly advised to use the CS 80 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 CS 80 V future versions 8 8 USING IN PRO TOOLS RTAS 8 8 1 Opening of the plug in Access to the CS 80 V plug in is like all other plug ins in Pro Tools via a new Instrument Track creation Pro Tools File Edit View MES Clip Event AudioSuite Options Setup Wind Input Only Monitoring Scroll to Track le A r ip e Create Click Track 7 ARTURIA CS 80V USER S MANUAL Start 7 End Length INSTRUMENT INSERTS A E Y no insert multichannel plug in EQ multi mono plug in Dynamics Pitch Shift iJo Reverb Delay Modulation Harmonic Dither Sound Field Instrument Other Ableton Live stereo Analog Laboratory stereo ARP2600 V2 stereo Avid Marketplace Boom stereo Brass 2 stereo CS 80V2 stereo CS 80V2 10 voices stereo DB 33 stereo w Yv v v v v w w v ES The CS 80 V must be loaded on an instrument stereo track We can now make CS 80 V sound by playing with
24. 1 res Resonance of the low pass filter of the first line HP 2 cutoff High pass filter cut off frequency of the second line HP 2 res Resonance of the high pass filter of the second line LP 2 cutoff Low pass filter cut off frequency of the second line s P 2 res Resonance of the low pass filter of the second line VCA 1 Level VCA level of the first line VCA 2 Level VCA level of the second line 4 ARTURIA CS 80V USER S MANUAL SIN 1 Level Level of the sine of the first line SIN 2 Level Level of the sine of the second line LFO 1 Speed Frequency of the LFO of the first line LFO 1 Level Level of LFO output for the first line LFO 2 Speed Frequency of the LFO of the second line LFO 2 Level Level of LFO output for the second line EG VCF1 IL Starting level for the filter envelope of the first line EG VCF1 AL Attack level of the filter envelope of the first line EG VCF1 A Attack time of the filter envelope of the first line EG VCF1 D Decay time of the filter envelope of the first line EG VCF1 R Release time of the filter envelope of the first line EG VCF2 IL Starting level for the filter envelope of the second line EG VCF2 AL Attack level of the filter envelope of the second line EG VCF2 A Attack time of the filter envelope of the second line EG VCF2 D Decay time of the filter envelope of the second line EG VCF2 R Release time of the filter envelope of the second line EG VCA 1A Attack ti
25. 10 90 HIGH HIGH HIGH HIGH 5 6 10 LONG LONG 10 LONG 10 FREE W ES gt m 1 i Le CS L Be S E g CC z MBE MIDI Nooa e Mae a 5 Ee gt s iim Sio E SLOW m 24dB LOW i ow i Bl f O SHONI AN o 5 0 0 WHEEL i FAIRG RODULATOR g SUB OSCILLATOR Ee 2 e TOUCH RESPONSE y KEYB COMTROL ITA y j Vv ee 16 PS f E f e ee EN mmm e e gue P i N m oo NOISE A j BUB OSC d EE A Akh z sus osc L WHEEL IMITIAL AFTER LOW HIGH LOW HIGH ARPEGHIATOR Fe e UP DN 4 CS 80V Teen RAND 2 gt 2 NOTES fe LONG LONG The Single mode similar to the original CS 80 The Multi mode Ei The Single mode presents the exact architecture of the original CS 80 which is a single timbre distributed across the whole of the keyboard with an 8 note polyphonic limit The Multi mode takes from the GX1 the father of the CS 80 which used 3 keyboards 2 polyphonic and 1 monophonic and a separate pedal keyboard to play different sonorities distributed to each of the keyboards To get to the Multi mode click on the button to open the hatch situated above the synthesis parameters A virtual LED display on the right of the tool bar now indicates Multi mode is active To go back to Single mode simply click on the close hatch button The LCD display now indicates Single Opening the Multi mode hatch 1 ARTURIA CS 80V USER S MANUAL You also
26. 2 controllers are directly linked to the playing on the keyboard Velocity controls the cutoff frequency BRILL and the VCA volume Aftertouch controls the speed of the vibrato modulation and the VCA volume This was the configuration of the original CS 80 But you will be able to go further thanks to the modulation matrix as these controls are among the sources of modulation Aftertouch can be employed to accentuate one of the 2 voices of synthesis apply aftertouch on the VCA volume When you press harder on a note on the keyboard the volume of voice 2 will progressively appear This will create a morphing effect between these 2 voices ARTURIA CS 80V USER S MANUAL 6 LONG LOMG 10 LOMA Apply aftertouch on the VCA volume The ring modulator The ring modulator is essentially used to add a variety of harmonics to a sound Let s use the example of the sound from a bell Start by activating the ring mode by clicking in the gt M lt logo DETUME O BOOULATOR iO ATTE DECAY DEPTH SPEEDO Activate the ring modulator Increase the release time R on the envelope of VCA1 towards 440 ms The SPEED setting of the ring modulator allows you to very quickly increase the number of secondary harmonics in order to create a bell sound around 150 Hz barely the halfway mark for the knob or a simple beating identical to a tremolo around 2 Hz gt To get a bell sound the oscillation frequency must be high se
27. 69 Sf JAUSE INC PBASEANUENDO CV S01 ls 70 OP INSTTUMICHT USE IN VST TOLE anaie EE T a eis aoe lu leo iia 70 8 32 IRESCAN ME PINON GITECIONY UC E 70 Ee SAVES OL EE EEN 71 Sion MISINGIN RO TOOLS RIAS e EE EE 71 SOL Openin Ol EE 71 02 OCA EE ES SOS E E EE G 7 WUSINGINBOGIC MACOS A AU EE I2 STO USINGIN ABLETON LIVE CAU AND VST Kugener Eege 73 DEE SV CHAT E 75 9 1 GENERAL PARAMETERS FOR ALL POLYPHONIC VOICES A 75 9 2 PARAMETERS APPLIED TO A PARTICULAR TONE ooo aa aa aae a aaiae 76 10 CS 80V END USER LICENSE AGREEMENT sssssssececccccccccccssssessccccccecoccccssssseesecccccecocccsssssssssccccceeeescsssssse 78 ARTURIA CS 80V USER S MANUAL 1 INTRODUCTION 1 1 THE BIRTH OF THE YAMAHA CS 80 Yamaha was created at the end of the 19 century in Hamamatsu Japan The first electronic instrument the Electone D 1 electronic organ was designed and built in 1959 But the history of the CS 80 began when in 1974 the GX 1 was released The GX 1 The GX 1 was an analog polyphonic synthesizer that was built in order to test the market It costed 60 000 and was premiered in the US in 1973 at the NAMM convention Keith Emerson John Paul Jones of Led Zeppelin Jurgen Fritz of Triumvirat and Stevie Wonder all bought one Stevie Wonder called it the Dream Machine One of the strong features of the GX 1 is the superposition of the two full sized velocity sensitive keyboards The CS 80V with the Multi mo
28. AL level D the decay time meaning the time that the envelope takes to go from the AL level to zero level no modulation R the release time meaning the time that the envelope takes to go from the zero level no modulation to the JL level 4 ARTURIA CS 80V USER S MANUAL LONG LONE LOMO Setting the filter envelope The output of the filters is controlled by a volume VCF LEVEL before being added to a sine wave gt lt The signal can thus be treated by the output amplifier VCA controlled by an envelope The LEVEL control sets the volume at the end of line of the synthesis The envelope controlling the VCA is a standard ADSR envelope A attack time the time for the volume to go from silent to full volume s D decay time the time to go from the end of A to S S sustain level reached after the decay period R release time to come back to O once the note has been released 3 BHOAT u O SHORT i E Ap i H F EMI WEA Setting the VCA envelope Four faders set the action of the velocity and of the pressure of the keys on the frequency of the filters and the level of the VCA The green faders to control the frequency the gray ones to control the volume A S BRILI LEVEI BRILI LEVEL KITIAL AFTER TOUCH RESPOASE II e REITER Setting the filter frequency and the amplifier volume modulations Each of the lines of synthesis can be transposed with the 1 FEET 2 selector an octav
29. E selector presents the choice of the number of octaves that the arpeggiator will traverse for each cycle The REPEAT selector is to choose the number of cycles repeated for each octave Arpeggiator settings 5 11 THE ORIGINAL PRESET BUTTONS These buttons like on the original CS 80 allow the selection of pre set sounds These selections work like a help system and as soon as a control is modified we find the 12 selection panel indicates that the audible sound corresponds to the settings modified by the user Pre selections Each pre selection line corresponds to the control of each line of synthesis 5 12 THE RIBBON The ribbon works like a pitch wheel when the PITCH button is triggered The COARSE knob sets the upper range of frequency variation It also responds to the pitch bend MIDI message It should be noted that the original CS 80 had an unusual behavior when using the pitch ribbon to control downward pitch shifts When sliding the pitch range up the COURSE knob limits the amount of pitch shifting but when bending the frequency down the range goes all the way down to O Hz This is a feature that s unique to the CS 80 and is faithfully reproduced in the CS 80V allowing this emulation to create truly unique performances just like its hardware predecessor ARTURIA ray JA The ribbon 5 13 GENERAL SETTINGS Three supplementary settings control the synthesizer s general brilliance resonance and volume They
30. FURCTION q me OECILLATOR E 2 SITE DECAY DEPTH SPEED gt M lt He Ce 16 po GD po gt e pe p ZC At E 4 242 D nOIBE OSC Hr U BPEEO wn VEF VEA Polyphonic Settings y TOUCH RESPONSE kg ADM INITIAL AFTER TITTEN e LONG LONG LONG 10 10 LONG LONG SHORT 8 LONG LOMO LONG 10 LONG LONG e SHORT 0 e TOUCH RESPONSE 1 Git feae PBEWDBPEED VCO VEF I INITIAL sua gac ARTURIA CS 80V USER S MANUAL r KEYS CONTROLS LOW HIGH LOW HIGH Gm TED a of the others setting the different SS g INITIAL SAFTER TOUCH RESPONSE ZiMTIALs AFTER 10 10 10 0 0 Z KEYB CONTROLA BRILLIAMCE LEVEL VOLUME mm sc RK Low Hian LOW HIGH 6 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all forms of sound synthesis subtractive synthesis is one of the oldest and still certainly one of the most employed today It is this method that was developed toward the end of the 60 s on analog synthesizers like the Bob Moog s ones ARP Yamaha Buchlat Oberheimt Sequential Circuitst Prophet series Roland Korg MS and PS series and many others This concept of synthesis is still used on most current digital synthesizers complementing sample reading or wave tables which have progressively replaced the analog oscillators of the first synthesizers in the 80 s The Yamaha CS 80 or even your own CS 80V cons
31. R envelope On the VCF of the CS 80V the envelopes include 2 additional settings The initial level JL is the start level of the envelope relative to the frequency of the filter The filter frequency will be modulated starting with a frequency inferior to the frequency setting The attack level AL is the maximum level of the filter envelope 10 LORG LONG 10 LOWE 10 The CS 80V ADSR envelope 6 2 3 The low frequency oscillator The LFO Low Frequency Oscillator or SUB OSCILLATOR on the CS 80V possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz In other words you won t hear the pitch of its sound but rather use it as a cyclic modulation on the setting to which it is connected 5 ARTURIA CS 80V USER S MANUAL amplitude Wm fum sound signal amplitude modulator signal LFO amplitude time modulated signal Low frequency oscillator modulation For example If the LFO sinusoid waveform modulates the volume of an amplifier the sound will increase in volume then disappear in a varying manner following the speed the frequency of this LFO This will produce a tremolo effect An LFO sinusoid waveform modulating the frequency of an oscillator would produce a vibrato effect The frequency of this oscillator will thus be modulated up and down With an LFO sinusoid waveform modulating the cut off frequency of a slightly resonant
32. TAS RTAS short for Real Time AudioSuite is an audio plug in developed by Digidesign AVID technology for their Pro Tools systems 8 5 A 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 8 6 64 BIT COMPATIBILITY The CS 80 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 7 ARTURIA CS 80V USER S MANUAL Mac users don 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 8 7 USE IN CUBASE NUENDO VST 8 7 1 Instrument use in VST mode The opening of the CS 80 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 CS 80 V2 in the rack Cubase File Edit Project Audio MIDI Scores Media Transport Devices Window 1 Help E eg 2 4
33. USER S MANUAL ARTURIA YOUR EXPERIENCE YOUR SOUND ARTURIA CS 80V USER S MANUAL Programming Robert Bocquier Lead Developer V2 Nicolas Bronnec Lead Developer V1 Pierre Jean Camilieri Thomas Diligent Sylvain Gubian Xavier Oudin Graphics Thomas amp Wolfgang Merkle Bitplant Manual Antoine Back V2 Silvere Letellier V2 Houston Haynes V2 Tomoya Fukuchi V2 Yasu Tanaka V2 Jean Michel Blanchet Yuji Sano Sound Jean Michel Blanchet Sylvere Letellier A Gonzales Christian Giudicelli Howard Scarr Jaime Newman Ludovic Llorca M Fabio Scott Solida Glen Darcey Darrell Diaz Chris Laurence Mateo Lupo Jamie Muhoberac Chris Pittman Katsunori Ujiie 2 ARTURIA CS 80V USER S MANUAL Designers Thanks to Pascal Blin Elsa Chal Debeauvais Randy Fuchs Mr Tohyama Akira Naito Houston Haynes Fabrice Paumier Laurent Falla and the numerous beta testers Very special thanks to Yamaha Corporation ARTURIA S A 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
34. _Lead 17 Snap 1 JMB_Soft Pad Snap 4 JMB_Velo_Arp Snap 3 Sc _ ChromeBone Create a new sound If you wish you can save it on a User bank of the CS 80V memory 5 ARTURIA CS 80V USER S MANUAL 5 USING THE CS 80V 5 1 SINGLE MODE When the Multi mode hatch is closed the CS 80V is in Single mode In this mode the 8 polyphonic voices available are set with the same sound The sound that is used corresponds to the settings of the controls apparent in the graphical user interface Multi mode hatch closed This mode should be selected if you require the same manner of use as the original CS 80 5 2 TWO LINES OF SYNTHESIS The original CS 80 has a particular structure Unlike many synthesizers of that time it used 2 independent generators of subtractive synthesis each one with an oscillator a filter and an amplifier These two lines of synthesis are managed by the central part of the interface in two parallel groups of controls FAST 10 90 HIGH HIGH HIGH HIGH 5 cb LONG LONG LOMO 10 10 LONG LONG 10 gt FREE e um e e Te EM ER TRIG E H E non DW OW ee ES ech Tech mi Po d i 50 Lue LOW LOW H SHORT SHORT SHORT H SHORT BL 0 SHORT 0 24dB HPF lt gt lt INITIAL AFTER em le eS ll ee 7 Bam fom TOC AE RPOREE f AT IOUTIK AFTER A ys 7 Lett y l gt HPF lt gt LPF lt 1 PA FAST 10 90 10 HIGH HIGH HIGH HIGH 5 h LONG LOMO LONG 10 10 LONG LONG
35. ance of line 2 controlled by the velocity SlInLe2 Volume of line 2 controlled by the velocity SlLevl Line 1 VCA level SlLev2 Line 2 VCA level SlLevFl Line 1 filter output level SlLevF2 Line 2 filter output level S1Lf1Sp Line 1 LFO speed S1Lf1Pw Line 1 impulse width modulation amplitude S1L 2Sp Line 2 LFO speed S1Lf2Pw Line 2 impulse width modulation amplitude S1Mixe Mixing of line 1 and line 2 S1M01Am Modulation amplitude for line 1 of the matrix S1M02Am Modulation amplitude for line 2 of the matrix ARTURIA CS 80V USER S MANUAL 7 S1M03Am Modulation amplitude for line 3 of the matrix S1M05Am Modulation amplitude for line 5 of the matrix S1M06Am Modulation amplitude for line 6 of the matrix S1M08Am Modulation amplitude for line 8 of the matrix S1M09Am Modulation amplitude for line 9 of the matrix Slolnoi Oscillator 1 noise level Slolsin Oscillator 1 sinusoid level Slo2noi Oscillator 2 noise level Slo2sin Oscillator 2 sinusoid level Slo2wid Oscillator 2 impulse width S1ReLol Resonance of the line 1 low pass filter 1 S1ReLo2 Resonance of the line 2 low pass filter 7 ARTURIA CS 80V USER S MANUAL 10CS 80V END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right for the use of software including related media documentation for example pr
36. and cannot be ARTURIA CS 80V USER S MANUAL 7 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 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 owner of an educational Product you are not entitled to any vouchers that s
37. art 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 8 ARTURIA CS 80V USER S MANUAL or sound effects 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 invoice shall be evidence of the date of purchase Any implied warrantie
38. ase the note 1 ARTURIA CS 80V USER S MANUAL iD 10 LONG LONG 10 LOMA i0 O SHORT SUH O SHORT O FOPA AO D i H LEWE WOR The ADSR envelope controllers 3 4 OVERVIEW OF THE MULTI MODE The CS 80V allows the creation of 8 parallel voices and thus in theory 8 different sounds played at the same time Ei On the original CS 80 a note was controlled by a card that was filled with electronic circuits that represented the complete synthesis architecture It is for this reason that we could for example obtain notable differences in the settings of a sound between the notes played and the tuning of the oscillator The CS 80V conserves this ideal you can program eight different sounds eight voices which are assignable in a multitude of applications With the Multi mode it is possible for you to assign each of these 8 voices to 4 keyboard zones and to 4 different MIDI channels These 8 voices can also be superimposed across the entire keyboard in order to create a composite sound that is very rich and expressive Unison mode Let s follow this example Choose the preset Tremolo in the Templates low frequency bank and Effects sub bank In this example the 8 voices all have the same settings First open the Multi mode to access the parameters Now set the different zones as follows 1 1 The first 4 voices will occupy zonel C1 to B3 1 2 The fifth voice will occupy zone2 C4 to C5 1 3 The sixth
39. be 26 E WENO INCY E 27 e TEE 27 Geh e EE ER 29 AS gt NEIVA TOWLE INGCT EE 30 BS NELIS E 34 ASS The COMPASS E 36 S USING THE CS OUV EEN 38 HL SSS TING MODE Ee 38 32 EECHER 38 NA HE IVICA ION IAT EE 41 A LE SUB OSCILATOR aeia e dd EE 42 Sy PAE KEYBOARD MODELA TO eelere 43 OO IS RUNG MODE o o e na o el be del nal ido 43 a F LEE E 6 EE 44 a SEAN UE MEI E EE 44 a SNE EE EE 44 MO EE 45 SR RAE ORIGINAL PRESE EB VERON S oreore Correlates Ee 46 MZ A BN o 46 lo GEES 46 esr amas 0s Ue BBs B Sipe en nn o O 47 6 THE BASICS OF SUBTRACTIVE SYNTHESIS eeseeoseossossessessesssossossessesssossessessesssossessessssssossessessesosossessesso 50 ARTURIA CS 80V USER S MANUAL Gel KEES EEN 50 OL AMBOS CULITO CV CO EE 50 Oda EE 53 Olo Lheamphiher or VCA EE 55 0 OTHER MODULE eelere 56 Oh TIC REVO EE 56 OD NEE 56 OZ LIME LOWITE UCA EE IE 7 A FEW ELEMENTS OF SOUND hee EE 60 TE SUBTRACTIVE SOUND SYN THESIS eege 60 GE E WE EE 60 GE E E EE 61 Tid SCOP EE 62 T2 I ER We EE 63 al TOUTAYUCTENT SOUNGS EE 64 Tid TEE 64 7 2 3 Introduction of the arpeggiator in a Multi preset 65 Lo OTHER SIDESOF THE C5 SOV aid 66 E E EE 66 LIZ Sreo SONA E 67 5 MODES OF OPERATION eet 68 8l STANDALONE ee 68 Coll EE 68 Oiled CONEICC A A eit ess ic is re es ha Ta a hc le 68 2 NST 2 EE 69 E NVS D Zar nev mee nee DRT Hae Tr re JET re ve Tree n nee ese eee 69 aA RTS A aie a ove ia 69 Bi AEN RE 69 S20 ABI COMPATIBILI E EE
40. ch it The CS 80V provides all the features of the original CS 80 But it offers also a unique Multi mode and a modulation matrix to create entirely new sounds It also comes with a wide selection of presets We hope you will enjoy it as much as musicians enjoyed playing the original 1 2 WHY A VIRTUAL CS 80 Only 3 000 CS 80 synthesizers were manufactured Weighing in at more than 80 kg it takes at least two people to move it And even though few have had the occasion to own one it remains a favorite among musicians and amateurs alike Some famous artists have gone as far as buying several to have a permanent stock of spare parts Why such a success With two independent lines of synthesis the CS 80 offers an original structure at the same time simple and rich The ergonomics of the machine offered an approach that inspired musicians moving a knob modifying a wheel can be enough to radically transform a sound But this synthesizer reproduced identically despite its particular structure would bring little innovation to today s musical landscape ARTURIA CS 80V USER S MANUAL Arturia has thus brought new life to the myth remaining faithful to the sound and the functionality but also taking it several steps further As you will see these new additions bring a new lease of life to the CS 80V The possibility to affect a different sound to each of the polyphonic voices an independent keyboard management positioning in
41. ck on the cursor and a vertical mouse movement It is also possible to use finer settings with a right click on Windows or Shift click on Mac OS X FAST 10 TL e e e HUB OSCILLATOR gt Fb ke rm MBE dh Lob Sliders 4 2 2 Knobs Generally the sequencers offer several knob control modes The default mode of control for knobs with the mouse is the circular mode click on the knob and turn around it in order to change the value of the controller The circular mode gives high precision in the manipulation of controls The further the mouse goes from the knob the higher the precision of the setting WOLUME e Circular knob In linear mode the knob can be set only by vertically moving the mouse not going around it Like the sliders it is possible to obtain a higher precision by right clicking or Shift click on the knob concerned The linear mode can sometimes be simpler to use than the circular mode although we can lose in precision the precision is limited by the number of vertical pixels on the screen on 2 ARTURIA CS 80V USER S MANUAL which the mouse movements are being evaluated Movement to linear mode is available in the options of your sequencer In Cubase for example this choice can be found via the Edit gt Preferences menu and is found in the General tab of the window 4 2 3 Switches The CS 80V has several types of switches Simply click on these switches to change their stat
42. d a dropdown menu appears with a list of the presets of the same sub bank You can choose another preset by selecting the corresponding line in the dropdown menu As soon as the preset has been chosen you can play the new sound on your MIDI keyboard or from your sequencer M B 4Vces unis J M B_Attack_bass J M B_Dub it J M B Electic_bassl M B Electr_bass2 M B Fretless M B Fretless J M B_Subbb2 M B Subbbb1 J M B_Synchro_Bass J M B_Synchro_bass2 Choice of a Fern the same sub bank In the dropdown menu concerning the banks the Al option allows you to open a sub list with all of the sub banks available in all of the banks This gives you access directly to all of the presets of a given type for example all of the basses no matter which bank they are in This function is particularly useful to quickly see all of the presets of the same type When a preset has been modified an asterisk appears next to its name in the tool bar 2 ARTURIA CS 80V USER S MANUAL 4 1 2 Creation of a bank sub bank preset To create a new bank click on the left sided arrow button The dropdown menu displays the names of all of the existing banks of sounds and a line called New bank Click on 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 tool bar and entering the new name To create a new sub bank just click on the middle sided button and select New sub bank Y
43. d and their own audio characteristics ARTURIA CS 80V USER S MANUAL 5 The Map interface CS OS m Percussive m Sequence m Strings m Guitar m keyboard The types of presets are represented by different geometrical characters and colors for an easy way to locate them gt Y Bass sounds Brass sounds EFX sounds m FM sounds Y Guitar sounds D Keyboard sounds Lead sounds m Pad sounds El Percussive sounds Y Sequence sounds A Strings sounds Others sounds To select and to listen a preset directly click on one of the icons anywhere you want on the map area The icon is now highlighted in red If you hold a few seconds on the selected preset a popup appears and indicates the name of the preset ARTURIA CS 80V USER S MANUAL Sc_ Procession Select a preset You can create new presets thanks to an exclusive real time morphing feature Click between a group of presets and hold the left button of the mouse on this point Four red arrows drawing a cross appear linking the group of four presets Morphing between a group of presets You can now drag your mouse between those presets The green arrow shows you the Starting point of your motion When you release the left mouse button you can play the resulted sound and if you wish you can save it on a CS 80V user bank By this way it is very easy
44. de allows the creation of the same type of sounds that the GX 1 offered In 1976 Yamaha introduced the CS 80 which has the same circuits as the GX 1 The price tag 6 900 put it out of the reach of most musicians and the weight 83 kg with stand made it sometimes hard to use on stage But the qualities of this synthesizer considered Japans first great synthesizer made it immediately famous in the Music Industry ARTURIA CS 80V USER S MANUAL The CS 80 The CS 80 was made popular in the late 70 s and early 80 s by a number of pop groups including Electric Light Orchestra Toto Paul McCartney and Wings Other artists and bands like Vangelis Bon Jovi Jean Michel Jarre Geoffrey Down Stevie Wonder and some others managed to turn the CS 80 into a real myth Let us quote Matt Friedmann from the Vintage Synth Explorer website No synth sounds greater The best examples for its extremely fat sound are Blade Runner Mask or Bounty by Vangelis as well as Dune by Toto With two analog oscillators per voice the CS 80 has the potential for some really phat sounds A great VCF filter with independent hi pass and low pass resonant filters a powerful ring modulator and plenty of modulation controls further enhance the CS 80 s sonic potential There are 22 preset sounds 6 user selected from bright and ugly colored buttons above the keyboard The keyboard is weighted and has a full 61 keys with
45. dth A high pass resonant filter tied to the 12 dB 24 dB cutoff selector A low pass resonant filter tied to the 12 dB 24 dB cutoff selector An ADR envelope that modulates the high pass and low pass filters 1 amplifier VCA allowing the amplification of the signal coming from the filter to direct it to the stereo output An ADSR envelope modulates the signal going through the amplifier Velocity and aftertouch settings on volume VCA and brilliance VCF FAST 10 o0 HIGH HIGH HIGH HIGH 5 6 LONG LONG LOMO 10 10 LOMA LONG mm a ES gt s a EH ca OO Se oe Ce 5 Mech US 0 50 m J iow iow Low Low 1 O SHORT SHORT SHORT 1 SHORT SHON NI 24dB gt HPF lt gt A INITIAL AFTER E SN GI Ss but e VCA TOUCH RESPONSE i z INITIAL AFTERS u H gt HPF lt gt E 1 AA 10 HIGH HIGH HIGH HIGH 5 h LONG LOMO LONG 10 10 LONG LONG m I gt i TRIG el e mit NONO y rn pm je me pm e pg 2448 i LOW LOW 0 7 SHORT 5 The synthesis parameters dh A series of 24 buttons of factory presets will give you base examples for the programming of synthesis parameters These presets are found on the control panel They offer the presets of the original CS 80 ARTURIA CS 80V USER S MANUAL 1 Synthesis line presets Let s see how to quickly create a polyphonic sound that evolves through time To really understand the programming of the CS 80V let
46. e reen Ei The rocker type switch is On when in the lowered position 4 2 4 Ribbon The ribbon by default controls the pitch bend of the synthesizer Simply click on the ribbon while playing a note on the master keyboard or in the sequencer and move the mouse horizontally to change the pitch Just like a spring loaded dial the ribbon comes back to its initial position once the mouse has been released ARTURIA The ribbon controller 4 2 5 Setting keyboard zones Setting keyboard zones allows defining a zone on a master keyboard This presents two displays one for the minimum limit of the zone and one for the maximum To modify these values simply click on the value and vertically move the mouse TB RAMA j HIGH VOICE MODE Keyboard Zone settings There is another solution for easier definition of keyboard zones Just double click on the zone to be modified and a mini keyboard will appear on the screen Keyboard range Setup UUUIUUIUUIUUIUUDIDUD The mini EO aa zone ane easier We can define a zone by simply clicking on the keyboard a left click modifies the minimum limit and a right click or Shift click modifies the maximal limit The white zone on the keyboard represents the active zone ARTURIA CS 80V USER S MANUAL 2 4 2 6 Virtual Keyboard The keyboard allows you listen to the synthesizer sounds without the need for an external master MIDI keyboard and without programming a melody in the seque
47. e LFO Speed The VCO1 frequency is now modulated by the LFO1 It creates a kind of detune if you set the amount to the maximum the sound becomes much more pronounced 6 ARTURIA CS 80V USER S MANUAL SOURCE AMOURT DESTINATION SOURCE AMOUNT DESTINATION A a i W A Amount ModO ke ong 0 0297 Matrix amount For the second modulation we will now modulate the filter by the sub oscillator For that select the SubOsc as source and the HP1 cut as destination Set the amount you prefer and listen to the sound You can choose the threshold of the filter by lowering the filter frequency And to finish this part connect the modulation Whee to the LFO2 speed and the LFO2 to the LP1 cut FAST 10 90 FREE i Ve SOURCE AMOUNT DESTINATION SOURCE AMOURT DESTINATION w e p I TRIG TL Ce NSE HOMO e e A D MIO INYE SLOW 2 cone up EE e veo _ LEI PEED PWE NI OHM FAST 10 90 El ii FREE 1I gt TRIG WD IIIe Your sound is now modulated by different parameters adding unique complexity Try different matrix settings to see how the CS 80V can become an effective solution to design your own sounds 7 1 3 Use of real time controllers As we have previously seen the use of real time controllers is one of the strong points of the CS 80V They will allow you to apply a large variety of simple and quick modulations to the sound all while playing the keyboard Velocity and aftertouch These
48. e below 16 default range 85 a fifth above 5 1 3 an octave above 4 a fifth and an octave above 2 1 3 two octaves above 2 The second line can be tuned with the DETUNE fader and finally the mixing between the two lines is controlled with the MIX fader er FEET z 16 gr Gi Tr A 24a g EREE ERTA ere MEIN Transposition of the lines of synthesis Detuning of the second line Mixing of the two lines Additional buttons SYNC and LINK increase your sound design options The SYNC button synchronizes the oscillator of the first line with the oscillator of the second When activated it is the frequency of the second oscillator that will be audible the frequency of the first being imposed on the second in order to create new harmonics ARTURIA CS 80V USER S MANUAL 4 The LINK button connects the oscillator of the second line toward the filters of the first The filters and amplifier of the second line are not used and therefore deactivated to conserve calculation power 5 3 THE MODULATION MATRIX The original CS 80 possessed no other sources of modulation than those described above To increase the possibilities of synthesis a new modulation matrix is available To activate it open the left hatch On the original CS 80 this hatch held four mechanical preset selectors SOURCE AMOUNT DESTINATION SOURCE AMOUNT DESTINATION Closed modulation hatch Open modulation hatch Th
49. e input signal with a sine wave RING MODULATOR ATTE DECAY DEPTH SPEED gt M lt a T Setting the ring modulator Dry and wet mixing is set with the gt M lt fader Dry sound is at maximum in the high position The frequency of the multiplying sine is set with the SPEED fader The lower the fader is positioned the higher the sine frequency The generated harmonics will then move away from harmonics of the treated sound Three other faders modulate this effect These set an envelope applied to the frequency of the sine ATTK gives the time taken for the sine to go from the initial frequency set by SPEED to the frequency set by DEPTH while DECAY sets the time for the return to the initial frequency 4 ARTURIA CS 80V USER S MANUAL 5 7 CHORUS TREMOLO Chorus Tremolo is an effect that allows a variety of effects from simulation of an ensemble to that of a rotary speaker It is activated with the CHOR switch b b SPEED DEPTH E CHOR Setting chorus tremolo The TREM switch takes us from chorus mode to tremolo mode While the rotary SPEED and DEPTH knobs respectively set the speed of rotation and depth of the effect 5 8 STEREO DELAY Delay is an effect that simulates an echo It is activated with the DEL switch a a SPEED DEPTH MIH TELAT l Setting Delay The rotary SPEED DEPTH and MIX knobs set the time between each echo the echo decay time and finally the output level for the
50. e left value 1 00L Also detune it by lightly turning the DET knob to the left value of 0 99 Now change the pan position of the fifth voice fully to the right value 1 00R Detune the third set the DET knob to a value of 1 01 Use pan to position this single lightly to the right value 0 78R Detune the fourth put the DET knob to a value of 1 00 Place these 4 voices to unison play mode by selecting the UniLast function in the play mode menu of the edit zone Now change the second and the seventh voice to zone 2 with single patch 2 Change the voice mode of the second voice to Unilow You can now edit the second single patch by clicking on the EDIT red button Set the transpose of the seventh voice to 12 Now set the different level of each voice to get your sound By performing these first settings you have modified the Multi _Sequence preset You can now Save it in your own bank The completed preset If you wish to use this configuration with a MIDI sequencer playing each single on a different MIDI channel choose a channel for each zone Ei Don t forget that the notes played outside the limits of each of the 4 zones will not sound 7 2 2 A composite sonority in unison mode Now let s see a different use of the unison mode layering several singles on the same note remember you can go as far as 8 simultaneous voices ARTURIA CS 80V USER S MANUAL 6 Choose the preset Mu
51. e rate of resonance through the RES slider 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 resonance level the filter will begin to produce a sound close to a sine waveform At this stage the use of a key follow is very important as you can create a melody by tuning the cut off frequency of the filter with the frequency of the oscillators Frequency GQ resonance The resonance 6 1 3 The amplifier or VCA The amplifier Voltage Controlled Amplifier receives the audio signal coming from the filter or directly from the oscillator if it is not being filtered to adjust before the volume is sent to the outputs 10 LOWG LONG 10 LOWE 10 O SHORT SHOR O SHORT 0 oP O a H LEVEL The CS 80V VCA 5 ARTURIA CS 80V USER S MANUAL In conclusion here is a diagram that should help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER LOUD SPEAKERS audio signal Audio signal path 6 2 OTHER MODULES 6 2 1 The keyboard If we stop here the sound that you will obtain will be uniform without life and without an end The oscillator delivers a sound signal the audio output of a waveform of a fixed pitch in a continuous manner In the diagram above the only way to stop this quickly disagreeable sound is to lower the filter cut off frequency so that it becomes more and mo
52. e values by turning to the left I SOURCE ABOUAT DEATIHATIOH SOURCE AMOUAT DESTINATION Turn the knob to the right for a positive value After this modulation is set the cut off frequency will vary in a cyclic manner to the frequency of LFO1 You can also set the speed of the Sub Oscillator by changing the value of the SPEED button ARTURIA CS 80V USER S MANUAL 4 THE INTERFACE 4 1 USE OF PRESETS Presets let you memorize the sounds of the CS 80V A preset contains all of the information pertaining to the reproduction of a sound In the program the presets are classed in banks and sub banks Each bank contains a certain number of sub banks which generally determine a type of sound sub bank Basses sub bank Effects etc Each sub bank contains within itself a certain number of presets The CS 80V is shipped with several factory banks But it is possible to create new user banks of sounds each containing a number of sub banks and presets For security the factory banks cannot be directly modified It is nonetheless possible to create a sound based on a factory preset by saving it as a user preset 4 1 1 Choice of a bank sub bank preset The bank sub bank and preset currently in use by the CS 80V are each permanently displayed in the synthesizer tool bar eS aS Display of current bank sub bank and preset To choose a preset in the current sub bank click on the button on the left of the field an
53. effect The MIDI SYNC button is used to obtain echo times as a multiple or sub multiple of the host application tempo You choose the multiple or sub multiple with the SPEED knob 5 9 THE PEDALS The original CS 80 was a synthesizer possessing all of the functions of a real playing surface A number of settings and possibilities of expression and sustain are explained below ARTURIA CS 80V USER S MANUAL 4 A EXP Lal WAH PEDAL SELECT Expression pedal The EXP and WAH buttons when activated allow the use of a pedal expression MIDI message 0x04 either on the amplification of the volume expression or on a sweeping filter wha wha LOWG LOMO B e oii p wan Ee PEDAL le bh bh SELEGT PORTA Portamento and sustain pedal settings The PORTA fader allows the control of a portamento on notes This means that for a given polyphonic voice when a new note is activated the frequency of the VCO will gradually move from the frequency of the previous note to the frequency to the currently held note When the GLISS switch is at the high position Off the passage will be done continuously at the low position On it will be done by semi tone When the play mode of the zone is CSASSIGN see 86 14 then the portamento transitions from note played at least 200 ms before It is possible to enable or disable the portamento for each voice see 86 14 When the PORTA GLISS switch is at the low position
54. ere are ten modulation controls available For each modulation the source must be selected from 12 choices and the destination in a list of 38 choices by clicking on the SOURCE and DESTINATION displays The AMOUNT knob sets the rate of modulation The sources of modulation are as follows LFO1 Low frequency oscillator of the first line LFO2 Low frequency oscillator of the second line SubOsc General low frequency oscillator EG Filteri Envelope of the filters of the first line EG Ampi Envelope of the VCA of the first line s EG Filter2 Envelope of the filters of the second line s EG Ampi Envelope of the VCA of the second line Velocity Velocity of the MIDI note After Pressure of the MIDI note Aftertouch Ribbon Ribbon controller Wheel Modulation wheel FootExp Expression pedal Off No modulation The modulation destinations are as follows VCO 1 Freq Frequency of the oscillator of the first line VCO 1 PW _ Pulse width of the oscillator of the first line Noise levell Noise level of the first line Noise level2 Noise level of the second line VCO 2 Freq Frequency of the oscillator of the second line VCO 2 PW Pulse width of the oscillator of the second line HP 1 cutoff High pass filter cut off frequency of the first line HP 1 res Resonance of the high pass filter of the first line LP 1 cutoff Low pass filter cut off frequency of the first line LP
55. ering by subtraction which explains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be considered like a sophisticated equalizer that reduces depending on the case the high or low frequencies of a sound amplitude amplitude amplitude CF WAI frequency A frequency TT frequency rough signal low pass filter filtred signal CF Cutoff Frequency Spectral representation of the filtering action The removal of undesirable frequencies with a cut off frequency is not done suddenly but progressively this depending on the filtering slope This filtering slope is expressed in decibels per octave or dB Oct The filters used in classic analog synthesizers have 24 dB Oct or 12 dB Oct slopes The filter settings 5 ARTURIA CS 80V USER S MANUAL The CS 80V offers 2 types of slope where the CS 80 had only the 12 dB Oct slope On the CS 80V you have access to 3 different types of filtering Let s have a look at some of their properties The low pass filter LPF deletes high frequencies going from a frequency limit the famous cut off frequency and only allows low frequencies through Depending on the setting we will hear the sound becoming more or less brilliant more or less dampened This is the type of filtering that you will find more often than not on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synt
56. eyboard receives velocity and polyphonic aftertouch information A ribbon controller lets you continuously control any synthesizer parameter through a modulation matrix the base assignment being oscillator frequency ARTURIA CS 80V USER S MANUAL 2 3 6 THE EFFECTS SECTION The effects section lets you add Chorus Stereo Delay or even a Ring Modulator to your sound You can also impose a Portamento Glissando to what you play on the keyboard Settings concerning sustain and expression pedals are also available in this section Let s keep the Tremolo example and see how to use the effects within Multi mode Deactivate the FX button for Single1 We won t place effects on the bass sound Sending sound to the effects Leave the FX button activated on the singles you want s It is important to know that effect settings are the same for all singles with the same patch Activate the ON OFF switch for Chorus and Delay in the effects section on the left of the virtual keyboard Set the Delay MIX knob to counterbalance the dry sound of the Singles and the return of the delay Next turn the Delay SPEED knob to set the speed of the repetitions Finally set the chorus depth by turning the DEPTH knob You can choose between two types of chorus Chorus and Tremolo The Tremolo oscillations are faster than those of the Chorus This effect is ideal for auto pan effects FA oe FA SPEED DEPTH SPEEDO DEPTH MIN
57. hesizers Hz 20 00 40 00 80 00 160 0 3200 G40 1280 2560 5120 10240 The low pass filter The high pass filter HPF unlike the low pass eliminates low frequencies and only allows high frequencies through The sound will become finer It is very useful for removing redundant low frequencies with a bass sound for example Arty Hz 20 00 40006 80 00 1600 320 0 640 0 1280 The high pass filter 2560 S120 8610240 The band pass filter BPF eliminates frequencies situated on either side of the cut off frequency It is in fact the addition of a low pass and a high pass filter Use it to focus on a particular band of frequencies that you wish to emphasize This will make the sound more pinched On the CS 80V you obtain this type of filtering by combining the actions of a high pass filter and a low pass filter as there is technically Speaking no separate band pass filter ARTURIA CS 80V USER S MANUAL 5 E mer Hz 20 00 W 00 s0 00 1600 320 0 640 0 12780 2560 S120 10240 The band pass filter A second setting to compliment the cut off frequency the resonance You will also find it called Emphasis or even Q for Quality of filtering on many synthesizers The resonance amplifies frequencies close to the cut off frequency the other frequencies remaining are either unchanged before the cut off frequency or reduced after the cut off frequency On the CS 80V you can increase th
58. hip 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 information available on www arturia com 5 In case a sound library is p
59. ic the Solina V May it help you weave the music of your dreams Sine wave form Amplitude control module Input VCA with aliasing Output correction ARTURIA CS 80V USER S MANUAL 2 ACTIVATION amp FIRST START CS 80 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 CS 80 V as an Audio Units AAX VST2 or VST3 Nya 9 Audio Units 2 1 REGISTER amp ACTIVATE Once the CS 80 V has been installed the next step is to register the software The registration process will require you to enter the serial 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 CS 80V USER S MANUAL 3 QUICK START This chapter will help you to familiarize yourself with the general usage of the CS 80V You will be presented with an overview of the different sections of the synthesizer as well as the Single voice and Multi mode settings You will find a precise and detailed description of all settings and controllers in the chapters that follow Chapter 8 A few elements
60. ies of notes If you wish to transpose the note make sure that the arpeggiator HOLD button is deactivated 7 3 2 Stereo sound without the effects If you use a preset with one of the 3 unison modes High Low Last it is possible to make the sound fatter and heavier without using a chorus effect Remember that in this mode all of the voices assigned to that zone play at the same time when we press a note Start by slightly detuning all of the voices used in this sound Separate the stereo position of each voice You will get a sonority that is naturally large and nearly identical to what can come from a chorus effect It should be noted that the more voices you use the richer the sound 6 ARTURIA CS 80V USER S MANUAL 8 MODES OF OPERATION 8 1 STANDALONE The CS 80 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 8 1 1 Launch the application To launch the CS 80 V application e on Windows go to the menu Start gt Programs gt Arturia gt CS 80 V2 and choose CS 80 V2 e on Macintosh open the finder gt Applications gt Arturia and double click on the CS 80 V2 application icon 8 1 2 Configuration of the instrument Click on the Settings button on the CS 80 V toolbar It will show the following Audio MIDI Settings dialog box Aud
61. io Settings output Built in Output H Test Show advanced settings active midi inputs The Laboratory In this option menu you can e Set the audio output port ARTURIA CS 80V USER S MANUAL 6 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 8 2 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 8 3 VST3 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 8 4 R
62. ll act on zonel 6 ARTURIA CS 80V USER S MANUAL Click on the arpeggiator PLAY button and set a speed next to 160 ms or Tempo 4 if you have clicked the MIDI sync button ARPES BI ATOR DO me Uh SYNC SPEED PLAY HOLO The arpeggiator PLAY button Play a chord between CO and B2 the notes one after the other on the order that you placed them gt It is possible to change the playing order by clicking on the MODE slider U 4 4 ra ARPES BIATOR E Ba d SYNG SPEED PLAY HOLD LONG LONG The linear MODE slider If you wish you can hold the chord by clicking on the HOLD switch To remove one or several notes click again on the HOLD button and play the note to be removed It is now possible to simultaneously play or record a bass part on the first octave of your keyboard accompaniments on the next 2 octaves while having the arpeggio on the last U 4 4 ARPEGBIATOR f DOWN 3 Eegen E UP DH rs e rs ry wa A a a a RAND a NOTES 1 SYNC SPEED PLAY HOLD MODE OCTAVE REPEAT The arpeggiator settings 7 3 OTHER SIDES OF THE CS 80V When we move away from the conventional methods of play the CS 80V offers programming options that help you to go further Here are a few examples 7 3 1 A step sequencer By conjointly using the arpeggiator and Multi mode settings it is possible to obtain an 8 note step sequencer Load the preset Multi_Seq
63. llator made with TAE 1 3 2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a condenser in the circuits The discharge of the condenser results in a light bend in the original waveform notably for sawtooth triangular and square waveforms TAE allows the reproduction of this condenser discharge Underneath is the analysis of a waveform from the original CS 80 original and that of the CS 80V They are both equally deformed by the CS 80 low pass and high pass filtering Temporal representation of a sawtooth waveform deformed by high pass and low pass filtering of the original CS 80 Temporal representation of a sawtooth waveform deformed by high pass and low pass filtering reproduced by TAE ARTURIA CS 80V USER S MANUAL What s more the original analog oscillators were unstable In fact their waveform lightly varied from one period to another If we add to this the fact that the starting point for each period in Trigger mode can vary with the temperature and other environmental conditions we find one of the characteristics that participated in the typical sound of vintage synthesizers TAE reproduces the instability of oscillators bringing a fatter and bigger sound 1 3 3 A better reproduction of analog filters TAE allows the more precise emulation of analog filters over standard digi
64. lti_Sequence in the bank Templates sub bank Sequences_arp This preset contains 8 different singles but they are played successively to each note played They are all assigned to zone 1 which covers the whole keyboard Deactivate the VOICE ARP next to the voice mode F KETE RANGI IDICH LOW HIGH Deactivate the arpeggiator gt Begin by placing zonel to UniLast unison mode All of the singles should be played by the same note Placing zonel to UniLast unison mode Detune them with the DET knobs The global sound will achieve more complexity Also change the pan position of each of the singles in order to form a very large stereo sound Singles can be sent to delay and chorus effects using the FX button The ring modulator will not be used for this sound Deactivate the R MOD button on all of the singles It is also possible to change the pitch of certain singles by detuning them by an octave ora fifth below You will thus obtain a rich and powerful lead sound Unison mode settings 7 2 3 Introduction of the arpeggiator in a Multi preset Now let s program a Multi preset using the arpeggiator on one of the 4 zones Take the preset 2Parts_Splits from the Templates bank Splits sub bank 2 split zones on the keyboard are already in place A single bass sound on zone 1 from CO to B2 which will be played in ARP mode A lead accompaniment single on zone 2 from C3 to C8 The arpeggiator wi
65. lume of line 2 controlled by the pressure aftertouch S1Detun Detuning of line 2 in relation to line 1 _SleviAl Attack level for the envelope of the filters online 2 0 Steviat Attack time for the envelope of the filters online do _Stevide Decay time envelope of the filtersonline 2 0 _SteviRe Release time for the envelope of the filters on lime 2 0 Slev2At Attack time for the envelope of the VCA on linet Zeie Decay time for the envelope of the VCA on lime do Slev2Re Release time for the envelope of the VCA on line 1 Slev2Su Sustain time for the envelope of the VCA on line 1 Slev3Al Attack level for the envelope of the filters on line2 Slev3At Attack time for the envelope of the filters on line 2 Slev3In Initial level for the envelope of the filters on line 2 Slev3Dc Decay time for the envelope of the filters on line 2 Slev3Re Release time for the envelope of the filters on line 2 Slev4At Attack time for the envelope of the VCA on line 2 Slev4Dc Decay time for the envelope of the VCA on line 2 Slev4Re Release time for the envelope of the VCA on line 2 Slev4Su Sustain level for the envelope of the VCA on line 2 S1FrHil Line 1 high pass filter cut off frequency S1FrLol Line 1 low pass filter cut off frequency S1FrHi2 Line 2 high pass filter cut off frequency S1FrLo2 Line 2 low pass filter cut off frequency Sl1lInBrl Brilliance of line 1 controlled by the velocity SlInLel Volume of line 1 controlled by the velocity S1InBr2 Brilli
66. me of the VCA envelope of the first line EG VCA 1 D Decay time of the VCA envelope of the first line EG VCA 1 S Sustain level of the VCA envelope of the first line EG VCA 1 R Release time of the VCA envelope of the first line EG VCA 2A Attack time of the VCA envelope of the second line EG VCA 2D Decay time of the VCA envelope of the second line EG VCA 2 S Sustain level of the VCA envelope of the second line EG VCA 2 R Release time of the VCA envelope of the second line Off No destination To remove a modulation select OFF in input and output You could set the level to zero but the calculation would still be carried out thus using CPU power which is always preferable to avoid A destination can only accept six sources of modulation Above this the modulation is ignored 5 4 THE SUB OSCILLATOR The sub oscillator is a low frequency oscillator LFO that affects all of the polyphonic voices The SPEED fader sets the speed and FUNCTION sets the waveform sine saw up saw down square noise and random FUBETION m E e SUB OSCILLATOR z Setting the sub oscillator The action of this LFO is determined through the VCO VCF and VCA faders which sets the modulation rate of the oscillator frequency filter frequency and output level for both lines of synthesis y TOUGH RESPONSE PBEHD SPEED WoO WGI SE F e KEYB COMTROL BRILLIAMCE LEVEI VOLUME E d F AUB DAC IHITIAL AFTER LOW HIGH LOW HIGH
67. meters The calculations to produce the sound took three days The second biggest challenge of physical modeling synthesis is to simplify the algorithms wherever possible without sacrificing the essential nature of the instrument being modeled The goal is to achieve an efficient model which can be used interactively in real time without limiting the spontaneous paths a musician may take during a rush of creativity 1 1 1NO END IN SIGHT There are several methods of physical modeling synthesis including Karplus Strong algorithms digital waveguide synthesis and formant synthesis Each one uses a different paradigm to bring a modeled sound to its musical fruition The main point here is that physical modeling synthesis is capable of recreating the character of a real instrument during performance including its subtle nuances of expression while using a thousand times less hard drive space than the sampling method would take to produce an inferior result If that were not amazing enough it should be mentioned that physical modeling algorithms have the ability to combine parameters into instruments that have never existed There is no limit to the types of sounds that can be produced And when you bring together a bunch of music lovers who also have a tremendous grasp of the applicable laws of physics and the characteristics of electronic circuits you wind up with Arturia And Arturia now offers you our latest marriage of math and mus
68. mply browse the list and click on the name of a desired preset gt You can inverse the order from A to Z or from Z to A by clicking on the column title an ascendant or descendant arrow shows you the order type Instrument Author Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass L Duncan Bass C Duncan C Duncan C Duncan C Duncan C Guncan C Duncan C Duncan C Duncan Inverse the order of the instrument types 3 ARTURIA CS 80V USER S MANUAL 4 2 10The COMPASS morphing interface The Morphing page is an independent module allowing you to quickly create some new sounds thanks to a real time morphing from the four selected presets saved on the snap memories The four presets are placed on the four cardinal points of the compass Snap 4 2 M L_WOUAHOU 62 Snap 1 M L_BASS FK 01 Snap 4 C P_Dub1 m Percussive Sequence m Strings Snap 3 m Guitar GTD_SyncWheel m Keyboard The Morphing interface gt To open the Morphing page click on the COMPASS button situated on the toolbar of the Sound map To create a new morphed sound from those presets Click anywhere on the center of the compass area four red arrows appear converging to the group of presets gt Hold the left button of your mouse and drag the convergence point until having the good sound The green arrow shows you the starting point of your motion ARTURIA CS 80V USER S MANUAL 5 Snap 2 ML
69. ncer Just click on a virtual key to hear the corresponding sound 4 2 7 MIDI control One of the major points of evolution when compared to the original is the possibility to assign any CS 80V knob to an external MIDI controller Most of the knobs sliders and switches on the CS 80V 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 CS 80V application is correctly configured to receive MIDI events coming from the device Every instance of the CS 80V receives MIDI events transmitted on a given channel This reception channel is defined in a global manner for the synthesizer either in your sequencer or in the independent CS 80V application see the corresponding chapters On the reception channel the CS 80V can receive up to 120 different MIDI controls It is possible to choose a reception control for each knob Learn Menu A new button and menu have been introduced in CS 80V The button and menu provide 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 SOUND MICA MAP EAPN T MULTI New Config Save Config As Delete Current Config vd Empty Learn Menu ER Learn Mode Button The Learn Menu is composed of 2 sections e First section provides
70. ncies Its sound is ideal for brass sounds percussive bass sounds or rich accompaniments Amplitude Hammoric number Frequency Time and spectral representations of a sawtooth signal ARTURIA CS 80V USER S MANUAL 5 o The square possesses a more hollow sound that the sawtooth it only contains odd harmonics but none the less its rich sound notably in low frequencies can be used for sub bass sounds that will come out well in the mix the square oscillator is often set an octave below that of the sawtooth wood sounds clarinet if the square signal is a little filtered etc Hannon number Frequency Harreric number Frequency Time and spectral representations of a square signal and with modulated pulse width o The triangle can be considered like a highly filtered and so soft square signal It is very low in harmonics odd only and will be very useful for creating sub basses flute sounds etc Ampliude Amplitude Ti Hamcricnumbar 10 20 201 40 Frequency Time and spectral representations of a triangle signal o The sinusoid is the purest of all It is a unique harmonic and produces a much damped sound It can be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that don t exist in the original waveforms ARTURIA CS 80V USER S MANUAL sine amplitude amplitude over me Time and spectral representations of
71. ned will then be displayed Continue selecting the parameters you want to map to create a complete configuration Manages Configurations New in CS 80V the possibility to maintain multiple configurations e Default configuration By default CS 80V loads the configuration for Arturia Analog Experience keyboards e Select one configuration A configuration is loaded by clicking the corresponding entry in bottom part of Learn menu e 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 e 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 e Remove a configuration It is possible to remove a configuration by first loading it and then clicking on Delete Current Config ARTURIA CS 80V USER S MANUAL 2 Minimum and Maximum Ranges For each assignment a minimum range value and a maximum range value can be set This allows you to limit ho
72. nitialized when the time between the arrival of this note and the release of the previous note exceeds a certain value in the area of 170 ms Thus in the case of chords all of the voices will start their portamento or glissando from the same note Rotate The polyphonic voices are used in a rotating assignment The zone uses the next free available voice When the last voice is reached then the zone takes the newest note played by releasing the first one Reset The polyphonic voices are played in order by their number The zone uses the first free available voice beginning with the lowest one ReAssign When a new polyphonic voice is chosen the zone uses the voice which has just played the same note 4 ARTURIA CS 80V USER S MANUAL s UniLow Unison with priority to the lowest note This means that if two notes are presented at the same time it is the lowest note that is played s UniHigh Unison with priority to the high note This means that if two notes are presented at the same time it is the highest note that is played s UniLast Unison with priority to the last note played The newest note is prioritized The VOICE ARP button allows you to accept or not accept the use of the arpeggiator on this zone independently of the others The arpeggiator possesses one setting for all zones but each zone uses the arpeggiator independently This means that each zone can choose to activate the arpeggiator or not and when
73. o New Config creates a new controller set o Save Config As saves current configuration to a new one o Delete Current Config removes current configuration from list e The second section contains the list of existing configurations o The checked one is the currently selected MIDI map o Click on a configuration to load it Assigning MIDI Controls In order to start assigning MIDI controls click the Midi Learn button left part The button remains highlighted to indicate that the learn mode is ON Click on a knob or button in the GUI to open the MIDI assignment popup 2 ARTURIA CS 80V USER S MANUAL Plug in parameter name Assigned or MIDI Control Setup not Leasing Min Max Control number MIDI assignation popup e 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 CS 80V e Manual assignment It is also possible to change the assigned MIDI control number by clicking on Control xx and select a specific value e Support for NRPN In addition to MIDI Control Change messages NRPN messages are now supported either send NRPN MIDI control messages to CS 80V or check NRPN then manually select LSB and MSB numbers MIDI Control Setup Lesrning Brilliance hy rm SIGNED MIDI assignation popup NRPN activated e Remove assignment Assignments can be removed by clicking the Clear button The message Unassig
74. ogram descriptions manuals and other documents and materials manufactured by Arturia SA Product s 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 the Licensee a non exclusive right to use the Product in perpetuit
75. ou can also change the name of the new sub bank Finally to create a new preset click on the right sided arrow button and select New preset The new preset is created recording the current settings of the CS 80V You can thus work on the settings of a sound and save the sound again with the same preset name by clicking on the save button see the following paragraph You can also change the name of the new preset by clicking on its name 4 1 3 Saving a user preset To save your setting modifications in the current preset click on the Save button in the tool bar of the CS 80V Save button in the tool bar If you want to save your settings under another preset name click on the Save As button in the tool bar A dropdown menu appears and allows you choose an existing preset in this case the contents of the existing preset will be replaced with the current settings or to save your settings as a new preset in this case click on New preset in the sub bank of your choice ei new_ V2 A Gonzales ir y Vi new V2 L Llorca P New subbank mua DPW BA Palkia ca V2 H Spare b b Acc Basstrinque new_W2 J Newman p pa b Acc Contranoise new_V2 JM Blanchet b Pad new_V2 _JM Blanchet2 b New preset gt in kx Op Save As button and Save menu in the tool bar When you are working from a factory preset which cannot be deleted clicking on the Save button will not replace the c
76. ove and to the left of the ribbon controller By lowering the linear gt M lt slider lever while increasing SPEED the sound will become richer ARTURIA CS 80V USER S MANUAL 5 in harmonics The result can quickly become distorted but interesting for inharmonic sounds like special effects or bells for example RING MODULATOR Amplitude Amplitude Harmonic number Frequency Ring modulation The noise module the noise signal spectrum has all frequencies at an equal volume level often referred to a white noise For this reason the noise module is used to create different noises like the imitation of wind or special effects White noise is the richest of noises Pink noise is also regularly present on synthesizers It is less rich in the high frequencies than white noise Also note that the audio output of noise can also be used as a modulation signal especially when strongly filtered to create random cyclic variations On pre cabled synthesizers the noise module is either integrated into the oscillator its audio output being placed to compliment the waveform outputs or within the mixer directing the Signals towards the filter On the other hand on modular synthesizers it is an independent sound source 6 1 2 The filter or VCF The audio signal generated by an oscillator the waveform is next generally directed to a filter module Voltage Controlled Filter It is this module that we use to model the sound by filt
77. performance controllers for vibrato pitch brightness and volume Surprisingly there s also a ribbon controller for the pitch bending There is no MIDI or CV Gate The first edition of the service manual has a lot of hand drawn pages including the main panel layout ARTURIA CS 80V USER S MANUAL PANEL LAYOUT EE EE HHPHH DPE RRE LIO EE EES Hi OHHH reo 1 PBtrti4 Bt 4 BH Hi End cdt Des ra ofO t 4 R 1045 r pmi SiD PH 2D HE JO i e OHHH S ch job a HHHH pon Hassel 4444 OS By din nd ME LD EPt ts d ais o Pdi Hs Ch P gp a zm LOH HF as Simi t BH Hi HHH PHHH BHH ho 28 pri 23H Hg o HHH gt An Ao Pett 1 mTorr Bette Zb ZEB 21 7411 e r Li f BHH HI BS H TU mmt G t Sat A a A Der mu if The CS 80 Service Manual In conclusion let s also quote another huge reference in the field Peter Forrest in the A Z of Analogue Synthesizers Susurreal First published 31 10 96 When it comes to trying to decide which of the top flight synths is the best ever it s not easy From almost any practical viewpoint and in terms of versatility of sound there are a lot of instruments which wipe the floor with the CS 80 But if you are looking at richness of sound coupled with performance power and sheer overkill maybe nothing can tou
78. preset User click on the save icon in the tool bar the settings of the current sound will be saved in the preset being used without changing its name If the current preset is a factory preset the factory preset will not be replaced gt To choose another destination for the sound click on the Save as icon and then choose the destination For example select New in the choice of banks 2 new bank and sub bank locations as well as a new preset are immediately created The names New bank New sub bank and New preset appear in their respective displays Click on each of these displays to customize the name for each of these 3 parts bank sub bank and preset 3 2 METHODS OF PLAYING The CS 80V offers 2 playing modes ARTURIA CS 80V USER S MANUAL 1 The Single mode allows you to play a single sound here we will call it timbre redistributed across the keyboard gt The Multi mode allows you to play a group of single timbres distributed across 4 zones on the keyboard Split or several single timbres superimposed across the keyboard Unison Y miai Multi lim Qu ry LEARN sac FAST 10 CIA HIGH HIGH HIGH HIGH 6 5 LONG LONG LONG 10 10 LONG LONG 10 LONG gt s da e el a o 525 a yw avs ae ae a A oe H KS N g LOW ith LOW ive H uni 0 0 SKORI Buus O SKORI 0 0 24 dB R e WII be AFTER SS oe IT a e e e CA e TOUCH RESPONSE clWITIAL AFTER A FAST
79. produced or transmitted in any form or by any purpose other than purchaser s personal use without the express written permission of 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 CS 80V USER S MANUAL TABLE OF CONTENTS L INERODUC TION ee ENEE EE 5 LE THEBRTA OF THE YAMAHA EOS EE 5 Ke E E TN IP E Sa EE EE 7 US YABETIBR ECHTEN SE 8 LaL E RE e 1 3 2 A better reproduction of analog oscillator waueforms 9 L33 A betterreproduchon of anale WICTS lt A AA AAA AAA AAA AAA 10 LIA IMEI TO AAA AAA AA A RIES 10 LRL NO ENDING Haro rio bi 11 2 ACTIVATION FIRST START ccccssccccsccssccsccccccccscccscccccsccssccsscccesccssccsccccecccssccsesccecccssccecccesccscccsesces 12 2N REGISTER O ACTIVATE nt id 12 er OUT CS TAR lt a ee 13 Sl USE OP PRESETS oir 13 32 MIE TIODS OB PLANO A A A A A 14 3 3 OVERVIEW OF THE SINGLE MODE C9 80 ins ARS Aen 16 de OVERVIEW OF THE 8 Te MODE EE 18 3 5 THE REAL TIME CONTROLLERS AND MIDI ASSIONATION 20 SS e Ser KC EE IER Le 21 Salty FHE MODULATION MA TR KEE 21 4 THE TIN PE RRE eeh eebe e 23 AL USE ORIPRE SES Ee ee ee 23 Add CHOICE E 23 Ad OLEO OE bank SUD DONK EE 24 RASO AVI DUST PTOS T cee aa 24 ANA Impor Esport Of A DONK Of E 24 E USING CONTROLE EE 25 A TO a A EE 23 A O OE ENP EE 23 A GE EE 26 CRY MM EE EE 26 ADD DONE DOTA ZONES ee E ee
80. rack7 panv8 Pan position of track8 portam Portamento time setting reson General synthesizer resonance ringAt Ring modulator attack time ringDc Ring modulator decay time ringDp Ring modulator modulation depth ringMo Amplitude of mixing of the part treated by the ring modulator ringSp Sinusoid frequency of the ring modulator specho Chorus speed spedel Delay speed subAvcf Modulation amplitude of the sub oscillator on the vcf s subAvca Modulation amplitude of the sub oscillator on the vca s subAvco Modulation amplitude of the sub oscillator on the vco s subfrq Sub oscillator frequency tunvl Tuning of tracki tunv2 Tuning of track2 tunv3 Tuning of track3 tunv4 Tuning of track4 tunv5 Tuning of track5 tunv Tuning of track6 tunv7 Tuning of track7 tunv8 Tuning of track8 volume General synthesizer volume 7 ARTURIA CS 80V USER S MANUAL volvl Volume of track1 volv2 Volume of track2 volv3 Volume of track3 volv4 Volume of track4 volv5 Volume of track5 volv6 Volume of track6 volv7 Volume of track7 volv8 Volume of track8 9 2 PARAMETERS APPLIED TO A PARTICULAR TONE Each setting begins with sx with x being the tone number single from 1 to 8 so the following list is related to single 1 S1AfBr1l Brilliance of line 1 controlled by the pressure aftertouch S1AfLel Volume of line 1 controlled by the pressure aftertouch _SIAfBr2 Brilliance of line 2 controlled by the pressure aftertouch S1AfLe2 Vo
81. re damp until it finally disappears or simpler yet lower the volume of the amplifier To start and stop the sound and at the tone that we require we use a keyboard that is connected to the oscillator This will play the sound as soon as a key is pressed and mute it when released Of course this connection is made through MIDI it replaces the gate type of connections on analog synthesizers which triggers the note when a key is pressed and stop it when released On analog synthesizers the key provides a gate which is often used to open and close the volume of the amplifier The key position provides a control voltage that tells the oscillator what pitch level to play when the gate opens 6 2 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the volume of the sound when we press a key on the keyboard and ends after the note is released The most common modules developed use 4 settings that we can vary The Attack is the time that the sound will take to reach its maximum volume once we have pressed a key on the keyboard The Decay fall is the time that the sound will take to diminish when a note is pressed The Sustain hold is the maximum volume level that the sound will reach when a key is pressed The Release is the time that the sound will take to diminish once the key has been released ARTURIA CS 80V USER S MANUAL 5 Sustain level Attack time ADS
82. reset management and to quickly find the appropriate sounds 3 ARTURIA CS 80V USER S MANUAL The sound map also offers brand new interface for creating new sounds thanks to a morphing feature between four presets The Sound Map offers three views The MAP main interface the sound map classifies the presets thanks to statistic methods in order to organize the sounds on a map from their own audio characteristics The LIST presets list this page offers a more classical interface to classify the presets using lists and filters to find the desired sound The COMPASS morphing interface this page allows creating new sounds in real time thanks to a morphing result with up to 4 presets gt To open the main Sound Map interface click on the SOUND MAP button located on the tool bar A new window appears over the CS 80V main interface ET SOUND hin uf Cp x MULTI KEYE Open the main Sound Map interface To open the preset list page click on the LIST button on the top right of the sound map interface o A ei R Fa d nee ai Open the List interface To open the preset morphing page click on the COMPASS button Open the Morphing interface To return back on the main sound map interface click on the MAP button Return back on the map interface 4 2 8 The MAP main interface The sound map interface shows a map where are shared out all the presets of the CS 80V organized for their types of soun
83. s 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 CS 80V USER S MANUAL 8
84. se its low frequencies to clearly hear this effect make sure not to set the cut off frequency of the low pass filter too low as the sound will be too soft Change the range of the oscillator from 8 to 16 with the FEET 1 fader ARTURIA CS 80V USER S MANUAL 6 Change the range of the oscillator Now increase the release time R of the VCA1 to the value 1000 ms so that the sound persists after the release of the keys Be sure to set the level of the general sustain fader S to 0 so that the changes on the release time can be effective 5 LONG LOMA LOMA ID 10 LONG LONG 10 LORG 10 E E e E e Le Mn SHORT H H I 343 75 ms COPE o TAPA e INITIAL gt Increase the VCA release time Now you can add all the parameters you want like changing the oscillator waveform activate the sine waveform change the filter attack 7 1 2 The modulation matrix We will discover one of the many additions to the CS 80V the modulation matrix To begin open the matrix hatch by clicking on its bottom left corner r AINE BOOULA ATTE DECAY DEPTH AP n Open the Modulation Matrix Now set the LFO1 as a source in the first modulation source area and the VCO 1 Freq as destination The LFO1 speed can be changed with the speed button mila Ta Pu TRIG e t E Mo Fa 7 a MBE MONO AY A eee am GUS 3 HI SPEED D Aa 24 dB Ze el eme ery a Set th
85. stereo space and particular tuning allow the amplification of the unique presence and the sonorities of this polyphonic synthesizer New combinations have emerged and the Multi mode will open enormous perspectives for those who take the time to discover its characteristics To this we have added a modulation matrix which widens the possibilities of creative combinations A new version which respects the past while bringing the possibilities of the present and future this was our vision for this CS 80V 1 3 A BETTER EMULATION THANKS TO TAE TAE True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits used in vintage synthesizers When implemented in software code TAE algorithms guarantee the respect of hardware specifications This is why your CS 80V offers an unparalleled quality of sound In detail TAE regroups four major advances in the domain of synthesis 1 3 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and also when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM etc and at no CPU extra cost 137 all Ll d ci 254 20 627 22 000 8270 64 ARTURIA CS 80V USER S MANUAL Mionc ill d e e e e e m Se 20627 22000 F Linear frequency spectrum of the CS 80V osci
86. t this knob around 2 000 Hz WHEEL DETUM Ki e Wi k fs i l d SUB OSC Lo WHEEL The SPEED settin Lightly lower the gt M lt lever around 0 20 to mix the volume of the raw sound with the one coming from the ring modulator WHEEL Dl SC d poso H SUB OSC WHEEL Up a 0 2 00 Using the ring modulator for a bell sound If you wish you can control the speed of the ring modulator in a progressive manner with an attack envelope A or even through an external MIDI controller This helps you to easily create special effects 7 2 MULTI MODE The Multi mode allows the creation of a combination of different sounds up to 8 spread across keyboard zones up to 4 within an individual preset They bring very different results which directly influence how a sound or sequence is played 6 ARTURIA CS 80V USER S MANUAL 7 2 1 Four different sounds on the keyboard Choose the preset Multi_Sequence in the bank Templates sub bank Sequences_arp On launch the 8 voices are assigned to the voicel CO to C8 Each of the 4 zones has a different single sonority the singles named 1 2 3 and 4 These singles can be detuned assigned to a pan position and mixed In this example voices 1 to 8 are the same and have the same settings such as Pan and volume Change the pan position of the first voice Place the sound to the left of stereo space turn the PAN knob fully to th
87. tal filters To obtain this result the TAE technology is based on the analysis of the analog circuits to be reproduced and converts them in algorithms that faithfully mimic the characteristics of the original filters These curves show the comparison of the original CS 80 filter and that of the CS 80V 20 0 Response curve of the 12 dB low s pass filter of the original CS 80 Response curve of the 12 dB low 40 pass filter of the CS 80V Response curve of the 12 dB low pass filter of the original CS 80 and the CS 80V 1 3 4 Ring modulator The CS 80V includes a ring modulator just like the original CS 80 The ring modulator allows the application of a waveform a sine wave to another in order to transform it The result is a more brilliant sound distorted and enriched in harmonics As a result of this increase in the number of harmonics standard ring modulation algorithms create an audible aliasing To avoid this unwanted effect TAE includes a module for the dynamic control of the amplitude with aliasing correction which removes every trace of aliasing in the signal coming from the ring modulator ARTURIA CS 80V USER S MANUAL e The ancillary and perhaps lingering resoonse of additional components such as the snares under a snare drum Similar complexities can be found in instruments such as an acoustic guitar A few years ago a French scientist finally completed a comprehensive modeling of all acoustic guitar para
88. titutes the best illustration of the enormous possibilities of subtractive synthesis 6 1 THE THREE MAIN ELEMENTS 6 1 1 The oscillator VCO The oscillator Voltage Controlled Oscillator is the starting module with the noise module which is often classed among the oscillators for the creation of a sound on an analog system It will generate the initial sound signal We can think of the oscillator like a violin string that once stroked or plucked vibrates to create its sound The main oscillator settings are The pitch determined by the oscillation frequency You can set the frequency of the oscillator with 2 controllers first the FEET selector or range on other synthesizers which determines the fundamental frequency it is expressed in feet it contains all of the harmonics at decreasing volume levels in high frequencies 16 8 4 2 the highest number 16 brings the deepest tone inversely the smallest number 2 brings the highest tone Secondly the detune setting detune or fine tune allows you to tune the oscillator more precisely Ei On the CS 80V the height settings FEET and detune DETUNE are found among the real time controllers above the keyboard The waveform which determines the harmonic richness of the audio signal On the CS 80V 4 waveforms are available o The sawtooth presents the richest audio signal of the 4 waveforms it contains all of the harmonics at decreasing volume levels in high freque
89. to quickly get some new and exiting sounds without programming anything on the synthesizer interface The Sound Map overview On the top right of the Sound Map main interface you can see an overview of this map You can use the map overview for navigating into the map and to zoom in or out inside of the map area ARTURIA CS 80V USER S MANUAL 5 The map overview interface To navigate into the map click inside of the red square and drag it on the map area to view other sections of the Sound map gt To zoom in the view on the sound map click on the Zoom slider under the overview window and drag it on the right to increase the size of the map To zoom out the view on the sound map click on the Zoom slider and drag it on the left to decrease the size of the map The zoom slider E You can also use the ZOOM or ZOOM buttons under the slider to increase or decrease the map size step by step by factor 1 Click on the FIT ZOOM button allows resizing the map to its global size The FIT ZOOM button The instrument type filter window On the right of the map main interface an instrument type filter window allows you to choose which type of preset you want to see or to hide on the map By default all types of presets are selected m Other Ol m Bass ONE Ol Ol OLEE m Percussive m Seguence m Strings mjGuitar m keyboard The instrument type filter 3 ARTURIA CS 8
90. u tips on creative use of key follows and creating a stereo sound without the use of additional chorus and delay effects 7 1 SUBTRACTIVE SOUND SYNTHESIS 7 1 1 A basic sound To begin we will see how to program a basic sound As we saw in Quick Start chapter 3 the CS 80V uses two identical and independent lines of synthesis We will only use the first the one above for this example It will be simply composed of an oscillator a low pass filter an output VCA the envelope corresponding to the output VCA Choose the preset saw in the Templates bank sub bank Waveforms This sound uses a sawtooth waveform the high pass filter is closed but not deactivated while the low pass is completely open The amplifier envelope has a minimum attack time A as well as a short release time R This minimalist configuration will let you easily perform some simple experiments with this basic sound Start by progressively lowering the cut off frequency of the low pass filter The sound gets softer and softer FAST 10 90 HIGH HIGH HIGH HIGH TR e Ve e w TRIG 7 I TL E TH e MBE a AN rL A i i i Low LOW 0 WW hl Fi Le SI NW n ane A LowPassi CutOff feet 335 00 Hz _ vcr ei Ji Ke Lett wo MA PEED va PWN gt HPFS lt Ail gt LPF lt Ri M FAST 10 20 10 HIGH HIGH HIGH HIGH ETT the frequency of the low pass filter gt Increase the frequency of the high pass filter You will hear the sound lo
91. uence from the Templates bank Sequences_arp sub bank the 8 voices are on the same zone the first and the same single 1 The VOICE ARP button is active on the 8 voices Start by clicking on the PLAY button on the arpeggiator and play one note on the keyboard You can hear that all of the voices play one after the other zone 1 is set to Rotate mode with the same height ARTURIA CS 80V USER S MANUAL 6 When the arpeggiator is playing you can set the decay time D on the VCA1 and 2 amplitude envelopes The shorter the time the more percussive the sound Of course the effect produced will only be heard correctly if the sustain level S is 0 So that the arpeggio plays alone click on the arpeggiator HOLD switch Set the height of each of the 8 notes by turning the HOLD transposition knob among the Single voice settings When you turn to the right the height of the note increases by semi tone if you turn to the left the height decreases by a semi tone Choose the values that Suit you to make an 8 note melody Itis also possible to change the note order by moving the MODE slider of the arpeggiator gt To obtain a better distribution of the notes in stereo you can set the stereo position of each voice to the left and to the right through the use of the pan pots To create silence on one of the 8 voices lower the VOL knob for the selected single Ei By choosing the UniLast mode for zonel you will get a ser
92. urrent factory preset but will instead automatically open the Save As menu to save the current settings as a user preset 4 1 4 Import Export of a bank of presets It is possible to import new banks of presets conceived for the CS 80V To import a new bank of presets click on the preset bank import button on the tool bar Preset bank import button on the tool bar ARTURIA CS 80V USER S MANUAL 2 When you click on this button a window appears allowing you to choose the preset bank file for the CS 80V as AYS file format Choose the file that you want to import and click on Open The new bank of presets will automatically appear among the available banks The CS 80V equally offers the possibility to export your own sounds to save them to use them on another machine or to make them available to other users It is possible to export a preset a sub bank or a complete bank To export the current bank sub bank or preset click on preset bank export button in the tool bar of the program Y Midi e Mutt Bank Subbank Preset Current preset bank export button in the tool bar Select the type of export that you want to perform bank sub bank or preset and a window will appear giving you access to a choice of destination folder and file name for the bank that you are exporting 4 2 USING CONTROLLERS 4 2 1 Sliders The sliders are the most frequently used controllers on the CS 80V They are simple to move with a cli
93. w much the controller will affect the parameter on CS 80V e The assigned parameter will have the configured minimum value when the controller will be at its lowest position e The assigned parameter will only reach the configured maximum value when the controller will be at its highest position e You can invert Negative Slope the Min and Max so that parameter will have minimum value when control has the highest value and parameter will have maximum value when control has the lowest value Output parameter alues A MAX Y Y SET Input Y control MIN SE values DEFAULT Output Output parameter parameter alues alues A MAX MIN Pe Sek Ps Input e Input g control control MIN values MAX values POSITIVE SLOPE NEGATIVE SLOPE parameter_value MIN MAX MIN control_value 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 e Activate Learn mode select a parameter GUI control e Tweak control to assign it optionally setup minimum and maximum e Select a second parameter e And tweak the same control e Deactivate Learn mode Tweaking assigned control should modify both parameters with regards to assignation setup Min Max THE SOUND MAP The sound map is an innovative preset explorer which offers an easy and funky way to locate and choose a preset on a map area to simplify the p
94. y 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 NFR Products are exempt from update upgrade or crossgrade offers
95. zone with a different sound to widen an accompaniment sound with the stereo image or fine tuning for a large chorused effect Another example would be to use the ring modulator only on one voice in order to limit intermodulation effects and so forth In order to listen to a particular sound just close the Multi hatch The sound used is thus the sound being currently edited The closing of the hatch corresponds to solo mode with a voice control using the CsAssign mode on the entire of the keyboard Certain settings are the same for all voices This is the case for settings that control the effects chorus delay ring modulator pedals sustain and portamento It is also the case for the settings controlling the sub oscillator the pressure on the keys that affect the sub oscillator the key follows and finally the general brilliance and resonance of the synthesizer ARTURIA CS 80V USER S MANUAL 4 g SUB OSCILLATOR 1i FEFI 2 WHEEL METUNE e RING DUDU IR K E ken CHII j Fe O reem 4 ADISE Akh SUB 08 7 ARTURIA rr AR PEG GIATOR DOWN A A lt A Le HARD MOTES General settings The other settings affect each sound independently parameters of a single voice HIGH HIGH HIGH HIGH tw FREE AMOUNT DESTINATION TRIG dei MBE HONDO e Am e wm SLOW o KE FAST 10 90 GH Hi FREE TM OI Le i el TRIG mn mg NSE MONO Me bn e be e BLOW LR BOOULATOR

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