Home

Arturia MiniV – User Manual EN

Contents

1. 0 5 0 5 Soft clipping transfer function 14 ARTURIA Mini V USER S MANUAL 2 ACTIVATION amp FIRST START Mini 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 Mint V as an Audio Units AAX VST2 or VST3 instrument Nya 9 Audio Units 2 1 REGISTER amp ACTIVATE Once the Mini V has been installed the next step is to register the software in order to obtain the activation code that will enable you to use it The registration process will require you to enter the 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 3 QUICK START This chapter will help you get to know the main aspects of how the Mini V works You will be presented an overview of the different parts of the synthesizer wh
2. K External In Yca Out OFF Do the same thing for the first destination by clicking on the display situated on the right of the first line choose VCO2 PW square width of oscillator2 f i amor SOURCE DESTINATION source ib Si Uco 2 pw Mor on 4 op Mor g er i Choice of destination Increase the rate of modulation by turning the Amount knob between the two displays Place it at a value of 0 0480 The square width of oscillator2 lightly varies in a manner so as to create a detuning between the 2 oscillators MODULATION MATRIX AMOUNT o i A DESTINAPON ke DIST MATTON Lb H VCO PYVM or y og Amount Modo oe 0 0480 Turn the Amount knob For the 2 source of modulation choose the Velocity to modulate the filter Cutoff gt Turn the Amount knob to a value of 0 31 74 ARTURIA Mini V USER S MANUAL PA mm ANDI source R DESTINATION Lb VGO 2 PW Ue lacty a ior R The velocity to modulate the Cutoff Place the Range knob of oscillator3 to Low mono the last position on the left It will oscillate in low frequencies like a LFO Lower the tuning to 48 4 octaves by turning the central knob to the left with a right click on the mouse This oscillator will not produce audible sound if only light clicks marking the oscillation cycle it will be used to modulate the filte
3. F lt Add Arranger Track al Add FX Channel Track Add Folder Track Y Add Group Channel Track 11 Add Marker Track DT Add Ruler Track B Add Signature Track EL Add Tempo Track JL Add Transpose Track T Add Video Track 2S eee 8 A e Cubase 6 Project Untitled1 x miis Rif iwi 2 3 4 5 6 7 8 9 10 y Add Instrument Track Y No VST Instrument Drum Groove Agent ONE Synth gt Analog Laboratory ARP2600 V2 CS 80V2 CS 80V2 10 voices HALionOne Jupiter 8V2 Maschine minimoog V Moog Modular V 2 Pianoteq 4 VST Pianoteq VST Dranhat 1 9 Se ARTURIA Mini V USER S MANUAL 81 8 7 2 Rescan the plug in directory in Cubase If the Mini 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 Mini 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 Mini V will load the Pi 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 Mini V However it is highly advised to use the Mini V internal menu the presets saved in th
4. e MA Click on the amount potentiometer 5 7 7 The parameters available for the Motion Recorder The parameters available as modulation destinations for the Motion Recorder are e VCOL FU ias Coarse frequency of oscillator 1 e VCO1 PWM Pulse width of oscillator 1 e VCO1 AM eee ee Output level of oscillator 1 available in the Mixer VCOZ FM ciernes Coarse frequency of oscillator 2 e VCO2 PWM Pulse width of oscillator 2 VCO2 AM eee eee Output level of oscillator 2 available in the Mixer e NCOS Pcia Coarse frequency Frequency of oscillator 3 e VCO3 PWM Pulse width of oscillator 3 VCO3 AM coccion Output level of oscillator 3 available in the Mixer e VCO12 FM Coarse frequency of oscillators 1 and 2 e VCO123 FM Coarse frequency of oscillators 1 2 and 3 e VCO12 PWM Pulse width of oscillators 1 and 2 e VCO123 PWM Pulse width of oscillators 1 2 and 3 e VCO12 AM Output level of oscillators 1 and 2 CUCO Aen seess Filter cut off frequency e Emphasis Level of filter resonance e EG VCF lev Amount of filter envelope e EG VCA leVv Amount of amplifier envelope A Portamento time MIXMOd ceeeeee eens Balance between oscillator 3 and noise e Mod Wheel Amount of internal modulations only oscillator and filter e VCA AM avisan VCA output level e LCRO
5. 4 2 1 Opening the sound map 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 Mini V main interface E gt Midi All e Poly J Mode High iea MODULATION MATRIX AMOJM 1 DI O sovurNct e DESTINATION ez ier ei EA MATTON or H Bowen avcr LD ge EGVCF H GREG EA VCO 3 gt M n AN ARPEGGIATOR MODE OCTAVE REPEAT ee ree jm mm TYPE CHORUS DELAY ia A weber oe ice 3 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 To open the preset morphing page click on the COMPASS button Open the Morphing interface 32 ARTURIA Mini V USER S MANUAL gt To return back on the main sound map interface click on the MAP button rn KS e Return back on the map interface 4 2 2 The sound map interfaces 4 2 2 1 The sound map main interface The sound map interface shows a map where are shared out all the presets of the Mini V organized for their types of sound and their own audio characteristics The types of presets are represented by different geometrical characters and colours for an easy way to locate them Y The Bass sounds O The Brass sounds O The EFX sounds m The FM sounds 0 The Guitar sounds Ml The Keyboard sounds The Lead sounds E Th
6. Moog Modular V 2 stereo Oberheim SEM V stereo Pianotegq stereo Help 1 30 00 01 30 Mini V must be loaded on an instrument stereo track We can now make Mini V sound by playing with the mouse on the virtual keyboard 8 8 2 Saving the presets When the session is saved the status of Mini 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 Mini V will load the P1 preset plus the modifications you made to it The Librarian Menu of Pro Tools can be used with Mini V like with all other plug ins Nevertheless it is highly recommended to use the internal Mini 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 Mini V 8 8 3 Automation under Pro Tools The automation function with Mini V functions like with all RTAS HTDM plug ins check the Pro Tools documentation for more details on plug in automations ARTURIA Mini V USER S MANUAL 83 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
7. TO save your setting modifications in the current preset click on the Save button in the tool bar of the Mini V 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 lets 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 JMB_Dark Pole Ye YR mci a slpo 2 n new_V2 _J M Blanchet Arpeggio MODULATION MATRIX new_V2 _Menno Meijer Basses JMB_Compressor new_V2 _N Ubukata EFX JMB_Mini_FM new_V2 _T Koot gt Leads b a pare new_V2 _Tasmodia Pads JMB_Vocal_Bass G Darcey gt Percussives J M Blanchet2 S New subbank Templates Lisers E 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 current 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 Mini V 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 ART
8. knob The 3 Type buttons choose between the 3 types of chorus simple medium complex gt To clearly hear the different depths of modulation simply increase the value of the Depth knob The higher the value the more detuned the sound becomes For a classic chorus use minimal values around 0 16 DOWN wen eee RAND emm PL m Ss Depth ch wer J le The Depth parameter gt Set the modulation speed by turning the Rate knob The faster the speed the faster the detuning Here again use values situated around 0 50 Hz if you wish to have a slight detuning 76 ARTURIA Mini V USER S MANUAL ARPEGGIATOR pa A 2 fs ees 2 O 2420 RATE 1 DEPT DEY Chorus Speed TE mee 0 03 Hz Age ez g e ze The Chorus Rate knob Place the Dry Wet knob to the center Dry 50 00 Wet 50 00 to obtain a balance between the gain applied to the signal without effect Dry and the setting of the gain applied to the treated signal Wet OFF WE cent EEN jute fae H D EE PR 09 0 0 e a EUT ee Pe RIES UNM SRS SCHON Chorus Dry Wet Dry 50 00 Wet 50 00 A q TE The Dry Wet EA 7 3 2 The stereo delay This module allows you to repeat the incoming signal in an independent manner for the left and right tracks so as to create stereo echo The speed of repetition is set for the left and the right with the Time left amp right
9. 1967 Courtesy of Roger Luther MoogArchives com Success grew and big groups like Tangerine Dream the Beatles and the Rolling Stones would also become modular Moog owners In 1969 the company which at that time had around 40 employees was building up to 3 modulars per week and the order book was always full The modular synthesizer series had 5 years of high sales and sold around 200 models in the United States However the sales would rapidly decrease because the gigantic proportions of modular units puts a damper on the interest of most musicians and also prevents the instrument from entering most music shops and therefore from being known Furthermore a serious competitor ARP has just arrived on the market In the same time Bob Moog received requests for a more compact instrument that could be transported more easily directed more to stage than studio With the help of an engineer from Berkeley Jim Scott and the advice from numerous musicians he was about to create another legendary synthesizer the Minimoog Here it is A compact moderately priced electronic music synthesizer designed for live performance This is the way the Minimoog is introduced on the very first promotional brochure in the midst of 1971 The Minimoog synthesizer required several months of research and development and 4 prototypes before leading to the commercial model More than 12 000 units were sold until 1981 They were quite far from the 10
10. The Memory position ARTURIA Mini V USER S MANUAL 75 To remove one or several notes or add notes without keeping them in the arpeggio click again on the Hold switch to set it to Off position to the top and play the note to be removed To remove one or several notes click again on the Hold 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 2 following octaves all while having an arpeggio which develops on the latter two 7 3 THE EFFECTS OF THE MINI V The Mini V offers two additional effects letting you add another color and more space to TYPE CHORUS DELAY D ae your sound gt 9290222200 Y A RATE DEPTH ORY 1 TIME TIM EEDE FEEDS DRY WET LEFT RIGHT LEFT RIGHT WET The Chorus and Delay effects 7 3 1 The stereo chorus For this example take the sound of the accompaniments from the previous paragraph 8 1 3 Add chorus by clicking on the Chorus button on the right of the toolbar Add chorus Chorus is used to create an effect of doubling the sound which gives more width and thickness If you accentuate the intensity of the effect you will obtain a very detuned sound The speed of modulation can be set with the Rate knob the amplitude with the Depth knob and the mixing between the initial sound and the effect with the Dry Wet
11. the oscillator 2 can be disconnected to the keyboard following circuit poly mono unison switches have also been added l miimoog Y AS Settings Skin Knob Mode Panic 2 ie Users Basses Ye ER ma an e Poly 4 Mode yl o itm Ny S FILTER AMOUNT os CUTOFF FREQUENCY EMPHASIS OF CONTOUR VOLUME MAIN OUTPUT FREQUENCY i s UN 5 A Ae d P KP iy Le oy EXTERNAL Ox 1 4 INPUT VOLUME m 4 i OSCILLATOR OVERLOAD ON A cM 4 we 4 Pai Pa MODULATION af Le K om d d d 4 3 e OSCILLATOR 2 gt e ze i i 0 TACK TIM DECAY neg SUSTAIN LEVEL le gt 3 4 ARO 400 4 A ON e 0 o NOISE VOLUME a WHITE thy 2 LOUDNESS CONTOU om ATTACK TIME ME SUSTAIN 1 EVEL f A epes 4 i u The Classic mode the original Minimoog ba st mea dr t Sc os The Extended interface gives access to a motion recorder a vocal filter a LFO a modulation matrix an arpeggiator and two effects These different functions will enrich the basic settings of the Mini V Motion recorder Vocal filter Modulation matrix MOTION RECORDER VOCAL FILTER e eee MATRIX Lb e EE SEIN Lb BM VCO FM A n Mibi mibi ARPEGGIATOR MODE OCTAVE RE PEAT TYPE CHORUS r DELAY 1 a SYNC SYNC w a e h d DOWN 4 e lee CH Os 30 00 03 we e 2 8 care ey bay TIME TIME FEEDS FELD DRY ons v EI Hr RIGHT LEFT RIGHT READ DRY WET LFO Arpeggiato
12. 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 88 ARTURIA Mini V USER S MANUAL
13. CE snap 4 2 ML_Lead 17 Snap 1 JMB_Soft Pad Snap 4 JMB_Velo_Arp Snap 3 Sc_ChromeBone 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 everywhere 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 S n d p A 2 ML_Lead 17 Snap 1 JMB_Soft_Pad Snap 4 JMB_Velo_Arp Snap 3 Sc_ChromeBone ARTURIA Mini V USER S MANUAL 37 Create a new sound If you wish you can save it on a User 4 2 2 6 The list preset manager bank of the Mini V memory 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 Name Instrument JMB_Synth_Bells Perc JMB_Tribal_drums Perc KPR_Fat_ELP Bss KPR_Muted KPR_Octaver_Bass HR Mouse Droner HR Orionesk PR_Windy_Rpt 2_3 tuned Ld IR Amazing Lo PR_Detuned_Saw PR_Dirty_Guitarish PR_ELP_ Trilogy st L PR_Fat_Sawlead DR Fat Swirl PR_Filtersweep R RW White Ld Author J M Blanchet J M Blanchet K P Rausch K P Rausch K P Rausch K P Rausch
14. FPM ssccoccseeseccces LFO speed e D E EE LFO amplitude e Noise AM 008 Output level of noise generator available in the Mixer ARTURIA Mini V USER S MANUAL 53 EXC AM cd Level of the audio external input available in the Mixer e Pan iMOGacsadiwertan sits Panoramic e Vocal Filter X Vocal Filter X movement e Vocal Filter Y Vocal Filter Y movement A eens No modulation destination MOTION RECORDER Noise 4M Ext AM CO1 FM CO1 PWM CO1 AM Pan Mod CO2 FM Vocal Filt x YCOZ PWM vocal Filt CO2 AM OFF YCOS FM YCOS PWM YCO3 AM CO12 FM CO123 FM CO12 PWM CO123 PWM CO12 AM Emphasis EG YCF lev EG YCA lev Glide Mix Mod Mod Wheel Yca 4M Ifo FM Fo 4M Choose a modulation destination AO 5 7 8 Editing a motion curve You can edit in real time your motion curves thanks to the dedicated CURVE EDITOR interface This editor includes an ensemble of tools which will help you to draw or erase a part or the whole of the selected curve CURVE EDITOR The CURVE EDITOR interface Let s take a look on the Curve Editor interface 5 7 8 1 The Edit tools e Drawing tool Tool for drawing a freehand curve e Erasertool Tool for erasing an existing curve SEENEN tege ee Tool for drawing a straight line 54 ARTURIA Mini V USER S MANUAL e Curve tool Tool for dra
15. LJ button Play one or several note s on your MIDI keyboard to read the motion curve s To stop the curve playing you can deactivate the modulation destination by selecting the OFF option in the automation track The motion automation curves are re trigged each time a note will be played Finally they can be equivalent to super envelopes that are drawn by the user ARTURIA Mini V USER S MANUAL 51 5 7 3 Recording a parameter motion curve in real time gt gt Activate the live recording mode by clicking on the E30 button situated on the Mini V tool bar This button is now highlighted Play a note on your MIDI keyboard and hold it during the recording time The recording is now starting Choose the parameter you wish to automate by clicking on the dedicated potentiometer Tweak this potentiometer as you wish during the recording gt gt gt The motion recording stops by itself automatically after thirty seconds The button switches off To stop the recording before its time limit simply release the playing note The parameter you have automated is now selected on the LCD parameter screen of the active track and the result of the recording curve is displayed on the Motion Recorder main screen You can also change the parameter on the fly over the old one by clicking on another potentiometer You can also select a new parameter on the destination parameter m
16. MoogArchives com op cit ARTURIA Mini V USER S MANUAL 9 a m E x Ke gt K e n Minimoog Model D Courtesy of Roger Luther MoogArchives com The Minimoog knew an unparalleled success during the 1970 s Artists and bands like Tangerine Dream Kraftwerk Depeche Mode Keith Emerson Jean Michel Jarre Klaus Schulze and Rick Wakeman used the synthesizer notably for the typical sound and its very warm quality which is excellent for basses and lead sounds After the production stopped in 1981 there had been during the 1990 decade several failed attempts to restart production of the Minimoog With the arrival of computer music technologies the Minimoog has been very often mimicked as a virtual instrument with little success Arturia Mini V is the latest avatar and thanks to the TAE technology we dare to think it is probably the most accurate Minimoog emulation available on the market Now Moog Music Inc develops a modern version of the Minimoog hardware synthesizer under the name Minimoog Voyager a new version of the Minimoog that has quite a few innovations in its own right O O R A MOOG O o Moog plate affixed on the very first Minimoog prototypes MUSIC INC eallaliaatelere Moog plate affixed on Minimoog D series Courtesy of Roger Luther MoogArchives com 10 ARTURIA Mini V USER S MANUAL 1 2 A BETTER EMULATION THANKS TO TAE TAE standing for
17. S MANUAL 5 9 THE LOW FREQUENCY GENERATOR The Mini V brings a new module which allows the generation of a very low frequency to modulate any off the synthesis parameters It is situated in the extension panel which appears the Mini V is in open position Low frequency generator e Rate Knobh Sets the frequency the Waves knob selects the waveform e Midi Sync switch Synchronize the frequency of the generator to the tempo of the host application e Waverorme Sinus descending sawtooth ascending sawtooth square noise random triangle The modulation destinations for the LFO generator are selected exclusively through the Modulation Matrix see below 5 10 THE MODULATION MATRIX The Mini V increases the original possibilities of modulation thanks to the presence of the modulation matrix in the extension panel This panel appears when the Mini V is in open position MODULATION MATRIX AMOUNT AMC sOvuect DESTIN ATSON kt d Of STUMATION Lb E Emplas ls Lb VCO3 PYM Lb NI UCOZ FM Lb G cron Modulation matrix This matrix can be activated or deactivated with the selector in the task bar above the synthesizer ES In DW Activation of the modulation matrix The matrix allows 8 modulation connections To activate a connection select a source of modulation by clicking in the source zone next select a parameter to modulate in the destination zone and set the rate of modulatio
18. TIME CONTROLLERS AND MIDE ASSIGN a di ide 24 4 CAE ITNTERTACE e ee 27 4 1 SEDE e EE 2 Abel Choiceofa bank EE 27 4d EXCA no a Dank EE 29 Bled EE 29 Aba e 29 AS TE SUN E EE 30 O OPUNE THE SOUNO MOD espe a cia ced ome slcnoeschat carers eu a E date stauonss bons cue nantencas aueis cnet chauccmtdanassuae 32 ADD INCSOUNG EE 33 EE LME map MA EE 33 ABLA Re MI o e lee ld O aaa 34 A225 he Eer ee 35 AOD Ar Ee SHOU MEMOMES usas ces 36 ADO Tine MOTOS r 36 A bn EE 38 ASS WISE OF CONTROGGER EE 39 ADE POLO TEE 39 ASTD SSE ICS geet 39 AaS E E ISCO EE 39 Bas Fral EE 40 ASN MIDEN OA di ld uo i inde as lero 4 E GER Ne Er WEE 40 A502 sema MDL COROS geegent 40 e GEET EE 41 ASA Mimimom and maximun E 42 Ao IN eene 42 A e A A A O A A Se OEE a TY 43 5 HE SS YON BE SUZ RR EE 44 5 1 AROS CELA et S oraaa EEE ET AE ds 45 S ALAE NID EEN 46 5 3 THE OUER AND RECKEN 47 5 4 THE OUTPUT VOLUME AND ITS ENVELOPE racerene dictada 48 5 5 THE POLYPHONIC MODE THE PLAYING MODES ua 49 5 6 THE PITCH BEND AND MODULATION WHEELS oooconcnncnccnonccncnnonncnorornnonrononornnrnrnno nr rnr nono r nono nr non nono nac nn rc nor nroncnanaronos 50 Soe RHE MOTION RECORDER lada A A A A A OAE 51 4 ARTURIA Mini V USER S MANUAL 5 7 1 The Motion Recorder gctfvogffonddegchtvaiion non nnn nn rra nr nana cms 51 3A ELA PECOLACO MOTOR CUT VCS A A RA e 51 5 7 3 Recording a parameter motion curve in real TING sissies ncaa este a S
19. The Chorus effect enables to double and slightly detune your sound in order to make it deeper and livelier 3 types of stereo chorus are available Activate the ON OFF button for Chorus on the right side of the menu bar ARTURIA Mini V USER S MANUAL 23 Set the Dry Wet knob for Chorus in order to counterbalance the raw sound and the feedback of the effect Next turn the Rate knob to set the speed of the oscillations Finally set the chorus depth by turning the Depth knob You can choose between 3 types of chorus Chorus 1 2 and 3 from the simpler version to a more sophisticated chorus designed for sharper detuning effects TYPE CHORUS ie CR 0 0 A RATE DEPTH DEY N Le chorus 3 6 2 The delay The delay effect adds stereo echoes to the sound It has independent settings for the speed and the number of echoes on the right and left sides It is also possible to create a great number of rhythmic combinations between the echoes The speed of the delay can also be synchronized with the MIDI tempo Let s keep the JMB_Classic1 preset and see how to use the delay with this sound gt Press the DELAY button on the toolbar The effect is enabled Set the Dry Wet knob of the Delay so as to balance the raw bass sound Next turn the 2 Speed knobs of the delay to set the speed of echoes for the right side Time Right and left side Time Left It is
20. They are classed in order of difficulty going from the easiest to the most difficult and are organized into 3 parts e The first part will help you to grasp subtractive sound synthesis You will start with the most basic patch make a VCO oscillator sound in an output VCA amp to finish by touching on the programming of a more rich sound several oscillators the filter the frequency modulation of the filter and oscillators e The second will help you to use the modulation matrix e Finally the third part will teach you to use the arpeggiator and the effects 7 1 SUBTRACTIVE SYNTHESIS 7 1 1 A simple bass sound To begin we will see how to program a bass sound As we saw in chapter 3 Quick Start the Mini V uses 3 oscillators We will only use the first for this example It will be composed of e An oscillator e A low pass filter Filter e An output VCA Output e The envelope corresponding to the filter e The envelope corresponding to the output amplifier Loudness Contour You will thus obtain a base patch for subtractive synthesis Choose the preset Temp Blank in the Templates bank sub bank Temp_Synth This preset does not produce sound yet Don t worry this is normal The following image shows the different knob positions FILT RANGE OSCILLATOR 1 WAVEFORM VOLUME CUTOFF FREQUENCY EM VOLUME MAIN OUTPUT w 0 af A 6 4 e A e A a 4 UNISON i We e om Ze y 0 1
21. True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits When implemented in software code TAE algorithms guaranty the respect of hardware specifications This is why the Mini V offers an unparalleled quality of sound In detail TAE means 1 2 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 and at no extra CPU cost Mic Aliasing 22 000 pg i 43 110 60 dB at 6 034 Hz j 16 12389 13 762 15 135 16 508 17 881 19254 20627 22000 E Linear frequency spectrum of the Moogular oscillator made with TAE 1 2 2 Better reproduction of analog waveforms Original analog oscillators used capacitors charge and discharge cycles to produce common wave shapes saw tooth triangle square This means that waveforms were slightly curved TAE allows the reproduction of the capacitors discharge ARTURIA Mini V USER S MANUAL 11 Temporal representation of a waveform on a Minimoog oO 5 0 5 o 5 o 5 o Z 5 0 5 0 5 Temporal representation of the waveform from a different Minimoog like software synthesizer a o a gt a o a o a o Temporal representation of the Mini V waveform thanks to TAE In addition original analog oscillators w
22. YU KEE 81 Oke O SANA SN l 0 22 Rescon the pluz in directory IN EE 82 Ol SAVING Of EIERE beer eben 2 8 6 USINGIN PRO TOOES CR TAS EE 82 Ge O NN EE 82 EE 83 663 AULOMGMON IMA Fro Tools eebe 83 ARTURIA Mini V USER S MANUAL 5 8 9 USING IN LOGIC MAC OS ZOU 8 10 USINGIN ABLETON LIVE AU AND VST 9 MINI V END USER LICENSE AGREEMENT 6 ARTURIA Mini V USER S MANUAL FROM THE FIRST MOOG SYNTHESIZERS UP TO TAE Mind you neither of us had any idea where this was leading 1 1 THE GENESIS OF THE MINIMOOG SYNTHESIZER Robert A Moog was born in May 1934 in New York With a passion for music he took piano lessons for 12 years he was introduced to electronics by his father an engineer During his adolescence he discovered the Thereminvox plan invented during the 1930 s by a Russian engineer Leon Theremin or more exactly Lev Sergeivitch Termen Seduced by this instrument with its never before heard sounds he began to produce his own models and founded his own company in 1954 Frequenting musical professionals and in particular electronic and concrete music Moog realized that there was a real demand for electronic instruments of a higher quality One of the first clients to come to Robert Moog the professor of music Herbert A Deutsch asked him to listen to a song he had composed Moog is immediately convinced and they decided to associate their work Their co operation produced the first vo
23. 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 86 ARTURIA Mini V USER S MANUAL 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 and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the 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 sh
24. also possible to set the number of echoes on each side Feedb Right and Feedb Left DELAY SYNC TEL EEC NO E TIME TIME FEEDS FEEDS DEI LEFI RIGHT LEFT RIGHT WET Settings of the delay effect 3 THE REAL TIME CONTROLLERS AND MIDI ASSIGN Mini V has been improved in order to provide easier access to MIDI assignment possibility to save and select multiple configurations A default configuration matching Arturia Analog Experience keyboards is loaded at startup Thus you can control Mini V from Analog Experience keyboards without any configurations If you own a non recognized MIDI controller keyboard configuration is pretty straightforward gt gt Check that your MIDI controller is recognized in standalone if not recognized you can click Settings to configure MIDI inputs Click on the button Learn in the toolbar 24 ARTURIA Mini V USER S MANUAL ell TI My LEARN Oren LEARN Save Save As Remove Analog Experience Keyboards Spark Controller Learn menu in toolbar Select LEARN entry Learn mode is then activated Click on the Cutoff Frequency Knob on the GUI MIDI Control Setup LEARNING CUTOFF MIN MAX ASSIGNED E Use NRPN m k am A Control 74 CLEAR IFF FREQUENCY u j FILTER EXTERNAL MOC ATION Tanet INPUT VOLUME 7 4 i OVERLOAD MIDI assignment popup A MIDI assignment popup opens and then just move the control
25. sound more and more dampened 20 ARTURIA Mini V USER S MANUAL To do this set the Cutoff frequency potentiometer For fine tuning use the right mouse button this is valid for all potentiometers Notice that the filter cut off is modulated by an ADS envelope Attack Decay and Sustain To clearly hear the effect produced by the ADR envelope on the filter cut off frequency increase the resonance Emphasis value 5 00 This will amplify the filtering effect and the sound will start to whistle Change the length of attack for this envelope Attack time so that the brightness increases slower or faster when the note is sent In the same manner change the value of decay Decay time the brightness will diminish faster or slower as you hold the note rikicn AMUUNE CUTOFF FREQUENCY EMPHASIS Of CONTOUR o j A D FILTER Se ee E S EXTERNAL MOOULATION Fs v2 4 2 eS INPUT VOLUME an a f i y oi i 4 d H OVERLOAD ON D DO 10 ATTACK TIME DECAY TIME SUSTAIN LEVEL ter DO 800 y 00 TER CONTROL e e 10 NOISE VOLUME EN Le WITE E lt is d LOUDNESS CONTOUR EL VCF Attack TTACK TIME DECAY TIME SUSTAIN LEVEL 315 63 ms deg EK e The Attack time parameter of the filter envelope You will probably have noticed that an envelope also modulates the amplitude of the sound Loudness Contour Increase the Attack time so that the
26. the Mini V extension panel which appears when it is in open position we find two effects chorus and stereo delay E gt i senj HE EEEE EIOS TIME TIME FEEDE FEEDS DRY EFT RIGHT LEFT RIGHT wE Chorus and stereo delay The chorus has three knobs Rate Depth and Dry Wet which respectively set the speed the depth and the relationship between the original signal and the modified signal The type buttons allow the selection of chorus types from the simplest to the deepest The delay contains two knobs Time Left and Time Right respectively for setting the time for the left channel and the right channel two knobs FeedB Left and FeedB Right respectively setting the feedback of channels left and right and ffinally a Dry Wet knob which sets the relationship between the original signal and the modified Signal The Midi Sync switch lets you synchronize delay return time to the tempo of the host application ARTURIA Mini V USER S MANUAL 59 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 Moog ARP Yamaha Buchla Oberheim Sequential Circuits Prophet series Roland Korg MS and PS series and many others This concept of synthesis is still used o
27. the center Dry 50 00 Wet 50 00 You will obtain a balance between the gain setting applied to the signal without effect Dry and the gain setting applied to the treated signal Wet These different examples as you will have noticed presented different levels of difficulty We hope that they will have allowed you to see a few of the possibilities offered by the Mini V But don t hesitate to try your own settings this is the best way to progress and have more originality 78 ARTURIA Mini V USER S MANUAL 8 MODES OF OPERATION 8 1 STANDALONE Mini 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 Mini V application e on Windows go to the menu Start gt Programs gt Arturia gt Mini V and choose Mini V e on Macintosh open the finder gt Applications gt Arturia and double click on the Mini V application icon 8 1 2 Configuration of the instrument Click on the Settings button on the Mini V toolbar It will show the following Audio MIDI Settings dialog box A Audio Settings output Built in Output Test input Built in Microphone H Show advanced settings active midi inputs The Laboratory ARTURIA Mini V USER S MANUAL 79 In this option menu you can e Set t
28. the frequency of the oscillators We can thus through the modulation matrix use the bend wheel to modify a parameter of synthesis without modifying the frequency of the oscillator The RANGE potentiometer sets the amplitude of the bend wheel more or less four octaves per semi tone 50 ARTURIA Mini V USER S MANUAL 5 7 THE MOTION RECORDER The Motion Recorder allows recording in real time some parameters motions on the fly Four dedicated tracks containing each one parameter motion are available Those recording curves can be quantized to a MIDI tempo or not The different motion curves can also be manually modified thanks to a dedicated edition interface including drawing tools pen rubber curve lines MOTION RECORDER PR g Vocal F Iit y oT 100P The Motion Recorder main interface 5 7 1 The Motion Recorder activation deactivation To activate the Motion Recorder just click on the MOTION button situated on the tool bar This button is now highlighted gt gt The MOTION button To deactivate the Motion Recorder just click on the MOTION button This button is now extinct 5 7 2 Playing recorded Motion curves To hear the complete motion curve you have to hold a note or a chord on your MIDI keyboard or on your MIDI sequencer gt To play one or several recorded motion curves select the desired motion track to be read by clicking on its dedicated
29. 0 FREQUENCY FILTER Ki MODUL n Te dd mr 3 t 5 EXTERNAL L I mt E INPUT VOLUME e A o 4 H s C Br i om gt OVERLOAD Oo den TE Ee Ke out ON e ZS D x S D 19 o NOISE VOLUME D tos s OSCILLATOR Witt ON i An m o i BEE D M S SIC o 10 SOFT H T S a LOUDNESS CONTOUR CUPPING Ln xh d on A ATTACK TIME DECAY TIME SUSTAIN LEVEL VOICE DETUNE POLYPHONIC SP ems 09 60 t gt e 0 19 PINK kee V y z i Se 4 wk gt 9 wen 100 e pe l E 7 B E nas 10 d 10 10 GA 19 d 2 4 i e Z sec CONTROLLERS OSCILLATOR BANK MIXER MODIFIERS OUTPUT So as to hear the sound click on the first of the 5 blue Mixer switches This activates the signal coming from the first oscillator ARTURIA Mini V USER S MANUAL 69 EN EXTERNAL MIOS INPUT VOLUME d A Riss A E oul 10 gt 0 0 a MH A NOISE VOLUME y f 1 gt WHITE ON d WM 10 NW g j D Eco WR e OM e w a d 0 _ ON MIXER You will notice that the sound is particularly linear and without life The sawtooth signal from the first oscillator goes through a filter where the cut off frequency is set to the maximum This minimalist configuration will let you easily perform some simple experiments with this basic sound Start by changing the waveform of this oscillator to appreciate some of the tones it can produce RANGE O
30. 1 o Jager ern oa ww A A P ya AAN ao ES amet a i IW dy ee eS GarageBand Instruments AU Generators AU Instruments AU MIDI controlled Effects MSL EII III vvvvvaazvvvyyv Native Instruments 8 10 USING IN ABLETON LIVE AU AND VST From the plug ins tab simply double click on the Mini V VST or AU icon or drag and drop the plug in into a MIDI track 84 ARTURIA Mini V USER S MANUAL BR wu O SI MES O 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 Mini V USER S MANUAL 85 9 MINI V 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 program 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
31. 80 22 ARTURIA Mini V USER S MANUAL IOT notn e mm CA eme wm Lfo gt CutOff 0 0480 Turn the knob to the right to apply a positive value Let s delay the action of the LFO by applying modulation wheel on its amplitude Choose the modulation wheel Wheel among the sources Choose LFO AM among the destinations Set the modulation level by applying a positive value of about 0 0193 Set the modulation wheel up to 0 60 3 5 THE ARPEGGIATOR SECTION The Arpeggiator section lets you easily create an arpeggio from a chord played on the keyboard An arpeggio is a series of single notes of the same length that spell out a chord and play one after the other Arpeggiator settings are available on the right of the modulation matrix Let s take the example the JMB_Classic2 preset to see how to use the arpeggiator Click on the PLAY button of the arpeggiator Play a chord between C4 and C6 the notes will be played one after the other in the order you placed them it is possible to change the order by clicking on the mode button gt It is also possible to keep the chord help down by clicking on the HOLD button To remove one or several notes click again on the HOLD button and play the note you want to remove The arpeggiator 3 6 THE EFFECTS SECTION The effects section lets you add chorus or delay to your sound 3 6 1 The chorus
32. ATION MATRI MOTION RECORDER AmMOuUNT Basses sourct DESTINATS EFX Keyboards Leads Pads Percussives Horns Ds K U JP Choice of a preset in another sub bank To choose a preset in another main bank click on the D button at the left A dropdown menu appears with a list of the main banks available with the sub banks corresponding to the sub banks defined in each main bank and to the presets contained in each sub bank You can thus freely choose a preset by clicking on its name e mg Zen Zen e em LC Duncan C Engel d Arpeggio gt C Pitman Basses G Downes gt EFX gt J M Blanchet Leads gt Choice of a preset in another main bank In the BANK dropdown menu the AII 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 J M Blanchet EF L D Dark Do e Y CD_Machie CD_Motion P C Duncan VOCAL FILTER AN C Engel b a CD_PartyBass C Pitman r CD Polite G Downes CD Ratlam J M Blanchet CD_RunAway K P Rausch t CD_Shorty K Schulze r CD_Smoothy K Ujite CD_Upstairs M Lupo r CD_WhiteToast N Ubukata r CE Basso S S Solida gt i A Ces Ce CE Basso2 T Perlman z h 3 CE_Basso3 CE _Basso4 new_V2 _J M Blanchet CE ClickB
33. E 5 74 EE EE automation NTE E 52 IRTE Ouan ane a MOON A ii 52 5 7 6 Setting the modulation amount Of a motion Curve ocnnnnnnnnnnnnnnnnnnnnnnnnnonnnnnnnnnnnnnnnnnnnnnn nro nn non nro nn nro non rana nana nas 53 5 7 7 The parameters available for the Motion Recorder DE 53 Dis Oe SEENEN 54 Ke Ed COONS E 54 Dee AE CUT VC E e EE 3 0 RHE VOC ABI Ee GE 55 52 TAELOWEREQUENC GENERA TOR SA il dl S20 EAE MOD ULATION MATRE oie 57 Sel TEHESARPEG CLA TO Ria iio 58 E PRE CHORUS AND EE 59 THE BASICS OF SUBTRACTIVE SYNTH E SIS EENEG 60 OL THE THREE MAIN ENEE 60 GLL PCOS CIATION TOF VC EE 60 CLL INANE Fc een at ere se EE 61 AN Ee A e a e a a a a a a a 6l CELS o EE 62 OAA Puke W 1d th Modulatie EE 62 OLS A a a Ir Er Rem 62 Ghlo a GN A 63 Pla Eeer leo eer nea 63 OS Ae Mme EE 64 E Re Sales EPO TLE ae EE 64 641 Thecutott EE 64 OE TEO a a e 65 Odl Lean E EE 65 02 EELER 66 OZ TCR CV OOO EE 66 Die EE EE ee S INT e 66 O23 LMELOW LOQUE E 67 A FEEW ELEMENTS EN SOUND DESIG N coin ii 69 Tela SUBTRACTNE SN THESIS ees 69 Vell ASME DASS OU VAS A O o delas 69 Li SOS CIO LOS CAS OU ii hoi 71 E A E Pz Tea THE MODULATION AVIA TRIN ee 73 E A EE XA Ad WHEE BREGTS OFTHE MINT id 76 E GE 76 AS E VANA LATA O id MODES OF OPERA TION BE 79 E We E E EE 79 Add MAMMA INE AN dd a le 79 A E 79 e E EE 80 le oa E che EE 80 E aerate cats Sh ates sat isd ihe EE 80 EE 80 S20 AOASBEIE COMPA TUB td di eech 80 ENN BE IN CUBASE INGEN DOs
34. GE OSCILLATOR 1 WAVEFORM VOLUME CULO IREQUENCY EMPHASIS Of CONTOUR VOLUME MAIN OUTPUT 1 4 FREQUENCY A H 4 H H D a vty ooh A al he FILTER yii d moo On 7s ae NC lo Ta AS A XTERNAL d Al INPUT VOLUME 4 D OSCILLATOR x e op Nol bt Ze MODULATION T G gt e Zap a OVERLOAD d osc V ATO r 2 5 TACK Tii i d a H Y 400 ti fe vre Za wl an ly our On derer a H 10 OISE VOLUME J VOICE DETUNE POLYPHONIC 4 A fe o lt o DE e a it y 10 OUTPUT View of the Mini V in Extended mode 5 1 THE OSCILLATORS The Mini V has three independent oscillators which can be found in the Oscillator Bank section in the synthesis panel OSCILLATOR 1 WAVEFORM FREQUENCY A PL s OSCILLATOR MODULATION OSCILLATOR BANK Oscillators Each of these oscillators can produce different waveforms which are selected using the knob on the right The first two generate from left to right a triangle an asymmetric triangle an ascending sawtooth a square asymmetric square and impulse The third oscillator replaces the asymmetric triangle with a descending sawtooth By right clicking on these selectors it is possible to adjust the impulse width of certain waveforms ARTURIA Mini V USER S MANUAL 45 Square rectangular impulse triangle and asymmetric triangle If the waveform is again modified the impulse width will go back to its default value The choice of range
35. K P Rausch AAA K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch K P Rausch Preset list interface gt To open the list interface click on the List button situated on the toolbar of the Sound map ET Se PAS E wee a re s ef d ZE ts Click on the List button The list preset interface is very simple you can see three columns showing from left to right e The preset names e The instrument type e The name of the sound designers All those data are classified by alphabetical order To select a preset simply 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 38 ARTURIA Mini V USER S MANUAL Instrument Author Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Bass C Duncan Inverse the order of the instrument types 4 3 USE OF CONTROLLERS The Mini V uses different types of controllers potentiometers switches wheels etc Let s take a look on those different types of controllers 4 3 1 Potentiometers Generally the sequencers offer several potentiometers cont
36. OUD SPEAKERS gt audio signal Basic audio path in analog synthesis 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 unpleasant sound is to lower the filter cut off frequency so that it becomes more and more damp until it finally disappears or simpler yet lower the volume of the amplifier To start and stop the sound and this at the tone that we require we use a keyboard that is connected both to the VCA through a gate and to the frequency of the oscillators 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 trigger the note when a key is pressed and stop it when released The key position provides a control voltage that tells the oscillator what pitch level to play when the gate opens If you dont have a MIDI keyboard you can also play on the virtual keyboard of the Mini V to audition sounds while editing voices on your computer 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 end
37. SCILLATOR 1 WAVEFORM VOLUME i Y FREQUENCY A TL EXTERNAL INPUT VOLUME H i D A 10 EIA Wave Osct SA Square Change the waveform of oscillator1 Progressively lower the cut off frequency of the low pass filter The sound becomes more and more damp AMOUNT OF CONTOUR Oo a io ff DECAY TIME SUSTAIN LEVEL 600 J amp eet d W a 23 ed w u A ne fa el 0 8 MSEC C e Lower the cut off frequency of the low pass filter Change the range of the oscillator with the range knob as a default it is set to 8 In this case lower it to 16 RANGE OSCILLATOR 1 WAVEFORM 14 4 FREQUENCY 31 4 a E gt tow KN Tex OR Las S i av ON Change the range of oscillator1 Increase the decay time for the filter envelope Decay to a value somewhere around 400ms so that the cut off frequency progressively decays when you press a key You will thus obtain a simple yet efficient bass sound 70 ARTURIA Mini V USER S MANUAL ALY AMOUNT culofr Geen E PHASIS OF CONTOUR 1 1 e 1 ER an K I et ANON A a s amp s 2 Sn 4 EI E gt an et e 10 ATTACK TIME DECAY TIME SUSTAIN Level 600 D 600 J Vi TI D L d KEE Increase the decay time for the filter envelope You can now save your sound by clicking on the Save As situated on the left of the toolbar It will be useful as a base template for pro
38. The keyboard lets you listen to the synthesizer sounds without the need for an external master MIDI keyboard and without programming a melody in the sequencer Just click on a virtual key to hear the corresponding sound 4 3 5 MIDI control Most of the knobs sliders and switches on the Mini V can be manipulated with external MIDI controllers Before anything else make sure that the MIDI device that you wish to use is correctly connected to the computer and that the sequencer or the Mini V application is correctly configured to receive MIDI events coming from the device 4 3 5 1 Learn menu A new menu entry has been introduced in Mini V This menu entry Learn provides access to MIDI assignment functionalities ST gt Im Vu SE LEARN Save Save As Remove Analog Experience Keyboards Spark Controller Learn Menu The Learn Menu is composed to 2 sections First section provides Learn mode activation or deactivation First section provides e Learn Mode activation and deactivation e Save current configuration e Save As current configuration to a new one e Remove current configuration from list The second section contains the list of existing configurations e The ticked one is the current one e Click on one configuration to load it 4 3 5 2 Assigning MIDI controls In order to start assigning MIDI controls click Learn menu then LEARN entry The entry menu butto
39. URIA Mini V USER S MANUAL 29 When you click on this button a window will appear allowing you to choose the preset bank file for the Mini V minibank extension 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 Mini V 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 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 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 preset management and to quickly find the appropriate sounds The sound map also offers brand new interface for creating new sounds thanks to a morphing feature between four presets Sound MAP The main interface of the Sound map 30 ARTURIA Mini V USER S MANUAL The Sound Map offers three options The sound map the sound map classifies the presets thanks to sta
40. USER S MANUAL ARTURIA YOUR EXPERIENCE YOUR SOUND Programming Robert Bocquier Thomas Diligent Nicolas Bronnec Pierre Jean Camilieri Sylvain Gubian Graphics Morgan Perrier Yannick Bonnefoy Beautifulscreen Thomas amp Wolfgang Merkle Bitplant Manual Robert Bocquier Thomas Diligent Jean Michel Blanchet Houston Haynes Tom Healy Xavier Oudin Sound designers Jean Michel Blanchet Clay Duncan Celmar Engel Mateo Lupo Chris Pittman Klaus Peter Rausch Klaus Schulze Scot Solida Noritaka Ubukata Katsunori Ujiie Thomas Koot 2 ARTURIA Mini V User s Manual Xavier Oudin Gilles Pommereuil C dric Rossy Vincent Travaglini Gilles Pommereuil David Poncet Mitsuru Sakaue Noritaka Ubukata Antoine Back Very special thanks to Robert A Moog Michael Adams Houston Haynes Thanks to Steve Dunnington Randy Fuchs Roger Luther moogarchives com Francois Hays Mark Vail and the numerous beta testers 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 produced or tr
41. a new Software Instrument track Grab File Edit Capture Window Help e 000 Untitled Arrange w e R i a p Ki E ES a E New Tracks es e OF s Inspector Preferences Settings Auto Zoom Automation Flex Set Locators Repeat Secti Ei ES rf C muti EH Bounce Regions Bounce Colors Notes Lists Media zU a SSC Y wn gien Tt e a Ce Cu edn vi Track vi Region Type C Auiio Snap Smart Drag Overlap R Quantize off 3840 Software Instrument Q Swing Sr z O External MIDI i l l A Geet gt Global Tracks a GC di owt ascending Delay saa f V Open Library amics Gate Time Clip Length Score i gt Advanced Quantization gt No Output 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 Mini V gt Stereo WS St Delay Space Dsn Sends Jupiter 8V2 y EFM1 FM Synth ES E Ensemble Synth ESM Monophonic Synth i EVP88 Electric Piano EXS24 Sampler External Instrument Klopfgeist Sculpture Modeling Synth Test Oscillator Ultrabeat Drum Synth Analog Laboratory ARP2600 V2 cs 80v2 Jupiter 8V2 minimoog V SS ES Moog Modular V2 Apple Oberheim SEM V Arturia Prophet V2 Modartt Spark Spark Vintage Drum Machines 19 0 40 0 8 2 1
42. all 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 ship with the standard version of the Product 2 5 Any Products labelled or otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or crossgrade offers and cannot be exchanged for vouchers or coupon
43. ansmitted in any form or by any purpose other than purchaser s personal use without the express written permission of ARTURIA S A moog and minimoog are registered trademarks in the UK to Alex Winter In all other countries Moog and Minimoog are registered trademarks of Moog Music Inc Other products logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners November 2014 edition ARTURIA Mini V USER S MANUAL 3 TABLE OF CONTENTS 1 FROM THE FIRST MOOG SYNTHESIZERS UP TO TAE ooccoccoooccnocccnocconocconoccnnoccnocccnoccnonccncconocccnooccnsccnnasos 7 1 1 THE GENESIS OF THE MINIMOOG SYNTHESIZER oooccnncccnnccnnnccnnoccnnocconoconncononoconnoconoccononcnnoccnnarcnnarcnnnncnnos J 1 2 A BETTER EMULATION THANKS TO TAF ouccccccsscccssscescsesscscssescscsevscscsevassessacsesevsesessssssevacsesecacsesecasieacsesees 11 L2 AMAS SVC OSCHIQUOIS hited Ee ee 11 1 2 2 Better reproduction of analog WAVES el ae l1 1 23 betler reproduction of andalo EE 13 L24 Jmplementation Of thesoft CID DINO tats fee ee 14 2 ACFIVATION S FIRSESTAR EE 15 Zik REGISTER ACTIVA E AE 15 3 QUICK STAR KEE 15 3 1 USING THEPRESE EEN 16 BAP tee 17 32 EEN a En Ve TET a a a e EE a a a aA 18 I OVERVIEW OF THE CLASSIC EE ee dE 20 Sch EE EREECHEN 21 Dal IC TIO LOVE IAT E 21 I EE 22 3c TAHE ARPEGGIATOR SEC DION EE 23 30 TP EFFECTS SEC TION EEN 23 SIO EMC EEN 23 EE 24 3 7 HE REAL
44. as a monophonic synthesizer The Mini V offers the possibilities of polyphonic playing where the number of voices can be set from 2 to 32 with the Voices menu The Unison switch lets you to play all of the voices at the same time The Voice detune knob lightly detunes each of the polyphonic voices Mode High gt gt 6 y gt In MN Number of polyphonic voices and playing mode The Polyphonic switch activates or deactivates the polyphonic playing mode When deactivated the Mini V is in monophonic mode When more than one note is played on the keyboard the note that will be heard depends on the mode of playing selected in the playing mode menu VOLUME MAIN OUTPUT 4 i s UMISSOM e n D CH 0 10 VOICE DETUNE POLYPHONIC i Polyphonic and unison In Low mode we will hear the lowest note in High mode the highest note and in Last mode the last note played on the keyboard In the two first modes when the note is released we will hear the lowest note or respectively the highest without triggering the envelopes In the last mode the envelopes are always active It is possible to prevent the triggering of envelopes with the Legato switch which is on the left of the keyboard O LEGATO ON Activation of the Legato mode The original Minimoog uses the Low playing mode when the Legato mode is activated ARTURIA Mi
45. ass new_V2 _Menno Meijer 8 CE_DryBass new_V2 _N Ubukata CE_GawBass new_V2 _T Koot CE_GowBass new_V2 _Tasmodia b CE SubDub G Darcey p CE_TubularBass J M Blanchet2 CE VibroBass Templates gt CP_Ultrasubl Users CP_chris4 All gt Arpeggio CP_pitman1 New bank Basses S Bac TE mg gg mg T EFX j CP stitiner Choice of preset regardless of bank 28 ARTURIA Mini V USER S MANUAL When a preset has been modified an asterisk appears next to its name in the tool bar 4 1 2 Creation of a bank sub bank preset To create a new bank click on the D left 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 DU middle button and select New subbank You can also change the name of the new sub bank Finally to create a new preset click on the D right button and select New preset The new preset is created recording the current settings of the Mini V 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 title of the new preset by clicking on its name 4 1 3 Saving a user preset
46. be set to the low frequency Lo position in the range to be used in LFO mode This removed the possibility of using 3 simultaneous oscillators as well as a slow modulation on the filter cut off frequency for example With the added LFO module added in the panel of the Extended mode you can keep the 3 oscillator as a base for sound and add an additional source of modulation to be used on one of the 35 available locations Let s apply 2 additional types of modulation to the 1_Osc preset Among the modulation sources choose the low frequency oscillator LFO Choose the filter cutoff frequency among the destinations Turn down the frequency so that you can hear the result The cutoff frequency will vary in a cyclic way following the LFO oscillations CO1 FM Glide CO1 PWM Mix Mod CO1 AM Mod Wheel CO2 FM Yca oh CO2 PWM Ifo FM CO2 AM To AM CO3 FM Noise AM CO3 PWM Ext AM CO3 AM Pan Mod CO12 FM vocal Filt x CO123 FM vocal Filt Y CO12 PWM OFF CO123 PWM CO12 AM Emphasis EG YCF Att EG YCF Dec EG YCF Sust EG YCF lev EG YCA Att EG YCA Dec EG YCA Sust EG YCA lev E mi Modulation of the filter cutoff frequency by the LFO Between the LCD displays can be found the Amount knob You can set the modulation level by applying positive turn to the right or negative turn to the left values For this example take a value of 0 04
47. c richness of the audio signal On the Mini V 6 waveforms are available triangle saw triangle sawtooth square duty cycle 48 wide rectangular duty cycle 29 narrow rectangular duty cycle 17 O O O O E uE 60 ARTURIA Mini V USER S MANUAL WAVEFORM An The Mini V waveforms 6 1 1 1 Triangle The triangle can be considered like a very filtered and soft square signal It is very low in harmonics odd only and will be very useful for creating sub basses flute sounds etc Amplitude Amplitude Hamoric number 10 20 A 40 Frequency Time and spectral representations of the triangle waveform 6 1 1 2 Sawtooth The saw tooth presents the richest audio signal of the 4 waveforms it contains all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass sounds percussive bass sounds or rich accompaniments Amplitude Amplitude Harmonic number Frequency Time and spectral representations of the sawtooth waveform ARTURIA Mini V USER S MANUAL 61 6 1 1 3 Square The square possesses a more hollow sound that the saw tooth 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 saw tooth wood sounds clarinet if the square signal is a little filtered etc Arp
48. cal Filter frequency can be set in real time gt Manually by moving the red ball cursor between five vowels or moving the vowels letters by dragging them on the screen surface of the Vocal filter Manually moving the red ball cursor An LFO is also available to make an automation of the cursor movements You can set the radius amplitude of the LFO by clicking on the red ball cursor and moving it out of its central initial place This action will set the width of the circle of the ball movements It s also possible to re arrange the order of the five vowels on the screen space To do this simply click on one of the 5 letters and drag it on the place you wish on the screen Those changes will introduce some interesting variations when you will modulate your five filters manually or with the LFO Re arrange the order of the vowels On the bottom of the main screen three potentiometers and a button allow setting additional parameters as follow The Vocal Filter parameters From left to right CC EE Sets the balance between the dry signal coming from the Mini V or from an external audio source and the vocal filter Signal E E Sets the band width of the 5 band pass filters of the Vocal Filter At the right top it result a very thin audio signal close to a whistle sound Ee Geer Sets the rate of the Vocal Filter LFO e LJ button Start or stops the LEO activity 56 ARTURIA Mini V USER
49. e Pad sounds El The Percussive sounds V The Sequence sounds A The Strings sounds The 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 Mini V USER S MANUAL 33 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 gt You can now drag your mouse between those presets The green arrow shows you the starting point of your motion gt When you release the left mouse button you can play the resulted sound and if you wish you can save it on a User bank of the Mini V memory By this way it is very easy to quickly get some new and exiting sounds without programming anything on the synthesizer interface 4 2 2 2 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 34 ARTURIA Mini V USER S MANUAL The map overview interface To navigate into the map click insid
50. e ore F AMOUNT CUTOFF FREQUENCY EMP EL VOLUME MAIN OUTPUT gt 4 4 FILTER V A EXTERNAL MOr anON Ta D UNISON INPUT VOLUME KI gt t 3 j Wi 4 s ON e ef en e e Da Cu OVERLOAD on gt d gt Z y s 0 0 10 o te om wi L H e out ON e gt H 19 NOISE VOLUME SES white KEYBOARD CONTRO M SEC SEC e ity D 8 LOUDNESS CONTOUR OM gt 23 ATTAC TIME SAS EVEL VOICE DETUNE POLYPHONIC 10 a A H D Mi e a 200 200 a mie D S si A e A d SEC MA stc e A Ka t m OUTPUT View of the Mini V in Classic mode By clicking on the Open button of the toolbar or the upper wooden bar the Mini V will open and reveal the extension panel The effects an arpeggiator and a modulation matrix are contained here 44 ARTURIA Mini V USER S MANUAL a minimoog V Settings Skin Knob Mode Panic H J M Blanchet EFX JMB_Dark_Pole Y Ee nia an e Poly 2 Mode High Cia gt e gt in A LEARN CLOSE MOTION RECORDER VOCAL FILTER MODULATION MATRIX _ ARPEGGIATOR MODE OCTAVE REPEAT TYPE CHORUS e DELAY a wes 5 MIDI MIDI SYNC 4 oo 4 3 o OF 9 C OF Rtg oS oS ay py We B CR 3 6 y y y Fensi a a E 4 A AO a q or 4 O 9 AE E e SPEED PLAY MEM nons am e D vo oter FEEDS FEEDS DRY AMT or LOOP SPEED DRY WweT LEFT RIGHT WET rey o oa ALTE 3 3 AMUNN I A e RAN
51. e of the red square and drag it on the map area to view other sections of the Sound map 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 gt 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 fe LS NI ml te The zoom slider 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 4 2 2 3 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 The instrument type filter To select an individual or a group of instrument types ARTURIA Mini V USER S MANUAL 35 First click on the All button on the bottom of the type filter window this will hide all the instrument types from the sound map ALL 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 so m Pad Hide Show Pad Presets mt S miss Sh
52. e sine waveform of an LFO 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 A sine waveform on an LFO modulating the frequency of an oscillator would produce a vibrato effect With an LFO sinusoid wave modulating the cut off frequency of a slightly resonant low pass filter you will obtain a wah wah effect The original Minimoog does not contain any dedicated LFO You can use the third oscillator in low frequency Lo position of the Range selector to modulate the filter and oscillators frequency The signal of the third oscillator can be mixed with the noise signal to create some random modulations The LFO module of the Mini V Now to finish here is the diagram of a complete synthesis voice on the Mini V containing e 3 oscillators VCO e 1 noise module e 1 mixer mixing of the 3 VCO and the noise generator e 1 low pass filter VCF e 1 amplifier VCA e 2 envelopes one for the filter and the other for the VCA e 1LFO ARTURIA Mini V USER S MANUAL 67 Fitter Amplifier Audio wm wg gt output A A H ADS R Env LFO ADS R Env A complete Mini V synthesis voice 68 ARTURIA Mini V USER S MANUAL 7 A FEW ELEMENTS IN SOUND DESIGN Here is a series of examples designed to guide you through the creation of a sound and a sequence
53. ency the resonance You will also find it called Emphasis or Q for Quality of filtering The resonance amplifies frequencies close to the cut off frequency The other frequencies remaining are either unchanged below the cut off frequency or reduced above the cut off frequency On the Mini V you can increase the rate of resonance through the emphasis knob When you increase the resonance the filter becomes more selective the cut off frequency is amplified and the sound begins to whistle Amplitude Q 4 A Cuo Frequency Frequency Q resonance 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 AMOUNT OF CONTOUR SCH TIME tM TIME O LEVEL KEYBOARD CONTRO e LA Ze gt 4 gt SIC M s stc The filter settings of the Mini V 6 1 5 The amplifier or VCA The amplifier Voltage Controlled Amplifier receives the audio signal coming from the filter to be adjusted before the volume is sent to the speakers ARTURIA Mini V USER S MANUAL 65 VOLUME MAIN OUTPUT Le ial UNISSON J A The Mini V VCA In conclusion here is a diagram that should help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER _ L
54. enu situated on the left of the Motion Recorder main screen 5 7 4 Erasing a recorded automation in real time Erasing a recorded automation is very easy You just have to record again new motion automation by the same way as describe above The new motion will automatically take the place of the old one and will be displayed on the Motion Recorder main screen 5 7 5 Quantizing a motion curve The Motion Recorder allows you to quantize a recorded motion curve in relation to the internal Mini V tempo or to a host MIDI tempo Click on the QTZ menu situated under the Motion Recorder main screen and select the quantization factor you wish on the dedicated menu Click on the QTZ menu Some steps appear on the curve according to the chosen quantization 52 ARTURIA Mini V USER S MANUAL Steps appears on the motion curve Those steps on the motion curve can bring some interesting rhythmic grooves or some sample and hold effect if you use the Square tool available on the Edit interface See below for more details about the edit tools 5 7 6 Setting the modulation amount of a motion curve You can set the output modulation amount for each motion curves to refine the modulation results as you wish Select the desired motion track thanks to the LJ button Click on the amount potentiometer labeled AMT situated under the Motion Recorder main screen and set the desired amount of modulation
55. ere unstable Actually their wave shape was always slightly different from one period to another In addition due to analog hardware sensitivities new period trigger times varied with the temperature and other environmental conditions TAE simulates the instability of oscillators helping to create warmer sounds often given the affectionate term of fat 12 ARTURIA Mini V USER S MANUAL 1 2 3 Better reproduction of analog filters TAE allows the emulation of analog designed filters in a much more precise way than any existing digital filter In particular TAE has managed to reproduce the legendary Moog 24dB low pass resonant filter with great respect towards the original Standard 24dB digital low pass resonant filter from a typical Com software synthesizer parat ive respo nse filters Very selective 24dB resonance e filter of the Minimoog i TAE made Moog resonance filter first 24dB resonant filter to be that selective ARTURIA Mini V USER S MANUAL 13 1 2 4 Implementation of the soft clipping In analog synthesizers particularly at Moog s the resonant filter as the VCA uses a current limiting function preventing the signal from being too loud soft clipping TAE reproduces this current limiting function making the sound more natural It also allows filters to enter self oscillation like original hardware synthesizers do Current limiting emulation Input Output
56. ff frequency e Empbaeis Level of filter resonance JEG VOF Alanis Attack time of filter envelope e EG VCF Dec Decay time of filter envelope e EG VCF SUS 008 Sustain level of VCA envelope e EG VOF Lev Output level of VCA envelope e EG VCA EE Attack time of VCA envelope e EG VCA Dec Decay time of VCA envelope e EG VCA Gus Sustain level of VCA envelope e EG VCA Ley Output level of VCA envelope e Glide ENN AN Portamento time e MIXMOd cece eee ee ees Level of mixing between oscillator 3 and the noise e Mod Wbeel Level of the modulation wheel NCA AM iris VCA output level vk BC A EE VCA speed LFO A Misiones Level of LFO output e Osci 2 FM Frequency of oscillators 1 and 2 e Osci 2 3 FM Frequency of oscillators 1 2 and 3 e Oscl 2 PWM Modulation of the impulse width of oscillators 1 and 2 e Osc1 2 3 PWM Modulation of the impulse width of oscillators 1 2 and 3 e Oscl 2AM m Modulation of the amplitude of oscillators 1 and 2 E E a pasorese Modulation of the output panoramic e Vocal Filter X Modulation of Vocal Filter X movement e Vocal Filter Y Modulation of Vocal Filter Y movement OFF PA eo No destination of modulation 5 11 THE ARPEGGIATOR Situated in the Mini V extension panel which appears when in Extended mode the arpeggiator allows for each note the activation of a
57. figuration By default Mini V loads configuration for Arturia Analog Experience keyboards Select one configuration A configuration is loaded by clicking the entry in Learn menu Create a new configuration A new configuration can be created by performing assignment operations described in the previous section This configuration has then to be saved by clicking on Learn menu Save As entry A popup opens enter the name of your configuration A new entry for your configuration now exists in the list of available configurations Remove a configuration ARTURIA Mini V USER S MANUAL 41 It is possible to remove a configuration by loading on and click on Remove 4 3 5 4 Minimum and maximum bounds For each assignment a minimum bound value and a maximum bound value can be set This means that Assigned parameter will have the configured minimum value when the controller will be at its lowest position Assigned parameter will have the configured maximum value when the controller will be at its highest position You can invert 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 JM MAX S Input Es control MIN values DEFAULT Output Output parameter parameter alues alues BW a MAX MIN 7 p Input is Input SC co
58. for these oscillators can be set with Range knobs on the left From the left to right are the positions Low 32 16 8 4 and 2 the third oscillator adds the LowMono position at the extreme left The Low position corresponds to a very low frequency mode the position LowMono on the third oscillator adds a monophonic function In this mode the oscillator will generate the same signal irrespective of the note played unlike the Low mode where it generates a different signal for each of the notes in polyphonic mode The other positions of this knob correspond to the range the 8 position being the position without transposition positions 4 and 2 respectively 1 and 2 octaves above positions 16 and 32 respectively 1 and 2 octaves below Oscillators 2 and 3 can equally be fine tuned with the central Frequency knob By left clicking with the mouse on the knob the setting is done by semi tone by up or down an octave while when right clicked it is possible to tune it in a continuous manner by more or less a semi tone By double clicking on this knob it is possible to set it to its default value which is to say tuned e The Sync switch synchronizes oscillator 2 with oscillator 1 In this position it is the tuning of oscillator 1 which will be evident while oscillator 2 will bring and modify the harmonics heard e The Osc 2 Control switch allows to activate and deactivate the command of oscillato
59. 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 perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device
60. gramming lots of other sounds 7 1 2 A 3 oscillators lead sound Keeping the current sound and we will now go a little further and create a rich lead sound It will be composed of e 3 oscillators s A low pass filter Filter e An output VCA Output e The envelope corresponding to the filter e The envelope corresponding to the output amplifier Loudness Contour Start by again increasing the Decay time for the filter envelope so as to prolong the fall of the cut off frequency By using a value somewhere around 2000ms the sound will seem brighter gt So as to hear the sound from the 2 other oscillators click on the 3 and 5 blue Mixer switches Change the range of oscillator 3 with the range switch Set it to 4 for example The sound takes another form Don t hesitate in changing the waveforms of the three oscillators to hear the different tones that result You can also change the volume of these oscillators to create a different balance gt Now change the coarse tone of oscillator 3 to give it another tone For this click on the central knob with the right mouse button and turn it gently to the right until you reach the value 7 semi tone TETT the coarse tone of oscillator3 l Lightly detune oscillator 2 from the two others by turning this same knob with the left mouse button The sound will begin to move slightly and sound warmer If you want a sound that i
61. hat reduces depending on the case the high or low frequencies of a sound 6 1 4 1 The cut off frequency The removal of undesirable frequencies at the cut off frequency is not done suddenly but progressively 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 Mini V offers 1 type of slope 24 dB Oct slope amplitude amplitude CF amplitude frequency frequency frequency rough signal low pass filter filtred signal CF Cutoff Frequency Spectral representation of a rough then 24dB LP filtered signal On the Mini V you have access to one type of filtering The low pass filter LPF progressively removes high frequencies above the assigned frequency limit the cut off frequency and allows the sound below the cut off to pass through unchanged Depending on the setting we will hear the sound becoming more or less brilliant more or less dampened 64 ARTURIA Mini V USER S MANUAL This is the type of filtering that you will find more than often on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synthesizers gi Vy y f F ri d Way ji Hz 20 00 40 00 80 00 160 0 3200 6400 1280 2560 5120 10240 Spectrum of a noise signal proceed with a low pass filter 6 1 4 2 The resonance A second setting to compliment the cut off frequ
62. he audio output port e Choose the audio interface e Choose memory buffer size smaller size will increase the load on the CPU but will reduce latency and reciprocally e Choose sample rate between 44100 Hz and 96000 Hz e Choose one or several active MIDI input port s 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 VST 3 VST3 is a new update of VST audio plugins protocol It was updated in 2008 This has improved performance over previous versions of VST and has many new features as well Cubase 6 and Nuendo 5 are using this new protocol With VST3 on Windows users do not have to choose a folder path to install the plug in The installer will put VST3 files automatically into the appropriate directory on your hard drive 8 4 RTAS RTAS short for Real Time AudioSuite is an audio plug in developed by Digidesign AVID technology for their Pro Tools systems 8 5 AU AU for Audio Units is a plug in protocol de
63. his same oscillator to obtain a richer sound turn the central knob to the right or left with a left click take for example the value fine tune 1 0020 gt Lower the filter cut off frequency to make the sound less bright Take for example a value of 2 00 256 96 Hz Increase the amplitude envelope attack time Loudness Contour to around 4000ms Set the Decay time to around 700ms LOUDNESS CONTOUR ATTACK TIME Oe TIME SUSTAIN LEVEL nw BS r ud lr a Le Si i de Ce e L 100 MSEC Ae MSEC VCA Attack Scans 4000 00 ms ee Increase the amplitude envelope attack time Do the same with the filter envelope Place the Range knob of oscillator3 to Low mono the last position on the left It will oscillate in low frequencies like a LFO 72 ARTURIA Mini V USER S MANUAL Lower the tuning to 48 4 octaves by turning the central knob to the left with a right click on the mouse This oscillator will not produce audible sound if only light clicks marking the oscillation cycle it will be used to modulate the filter cut off frequency Click on the Filter Modulation switch to activate the filter cut off frequency modulation by oscillators LTE MODULATION 7 Click on the Filter Modulation switch Raise the modulation wheel to maximum to set the modulation frequency Qt oe lt A ett ee G ft me e KE Raise the val
64. ile using the program for the first time You will find a detailed description of all visible settings and controllers in the chapters that follow Chapter 6 A few elements of sound design is specially recommended for users who have never worked with a subtractive synthesizer before and who wish to learn the basics in this domain ARTURIA Mini V USER S MANUAL 15 O lm eS Settings Skin Knob Mode Panic 6 TOOLBAR Fass T Ki ME w_V2 TKoo Keyboards TK_Zync E A Y Midi A y 4 Mode reg e Da gt lin uy LEARN CLOSE MOTION RECORDER EXTENSION CONTROLLERS FILTER AMPLIFIER OSCILLATORS AMPLIFIER ENVELOPE Ki Va ge MIXER Overview of the Mini V 3 1 USING THE PRESETS Use of presets is one of the major areas of evolution when the Mini V is compared to the original which couldn t save sounds With the Mini V a preset memorized sound contains all of the parameter settings of the synthesizer plus the extension panel and the different real time effect controllers necessary to reproduce the sound To get to know a few of the different sounds contained in the Mini V we will select a simple bass preset gt To do this click on button aside the BANK LCD display this display shows the name of the current bank in use When you click you will see a dropdown menu indicating the available banks Choose the J M Blanchet bank When this menu is open it e
65. is 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 Mini V future versions 8 8 USING IN PRO TOOLS RTAS 8 8 1 Opening of the plug in Access to the Mini V plug in is like all other plug ins in Pro Tools via a new Instrument Track creation ProTools File Edit View EY Clip Event AudioSuite Options Setup Windo eoo EN Edit fwfewfew ptx Input Only Monitoring Scroll to Track XEF Clear All Clip Indicators XC Create Click Track 82 ARTURIA Mini V USER S MANUAL d Arma Bars Beats Min Secs Timecode Samples Tempo Meter Markers ex d Edit View Track Clip Event AudioSuite Options 1 5 00 0 10 00 00 00 00 0 5 Default 4 4 L Y INSTRUMENT INSERTS A E al Y no insert multichannel plug in multi mono plug in i o 17 0 30 00 00 30 00 1000000 EQ Dynamics Pitch Shift Reverb Delay Modulation Harmonic Dither Sound Field Instrument Other Avid Marketplace Setup Window Marketplace 25 KA AS O 2 2 lh A A 4 0 50 H 33 1 00 00 01 00 00 Ableton Live stereo Analog Laboratory stereo ARP2600 V2 stereo Boom stereo Brass 2 stereo CS 80V2 stereo CS 80V2 10 voices stereo DB 33 stereo Jupiter 8V2 stereo Maschine stereo Mini Grand stereo minimoog V stereo
66. knobs the number of repetitions heard can be set with the Feedback Left Right knobs and the mixing between the initial sound and the treated sound with the Dry Wet knob To set the time between the repetitions of the left track turn the Time Left knob Do the same thing with the Time Right knob for the right track Pe SS 2 Hilt ey 200 i a SS Ao kt TIME FEEDS FEEDS DRY Fi RIG SHY LEFT RIGHT WET POS PA APA PUT The Time Left knob To obtain a stereo effect it is important that the two time settings Time Left Right have different values gt A 2 position MIDI Sync switch synchronizes the repetition time with the tempo of the host application This will help to quickly find the appropriate timing for each side Try for example the values Tempo synchronized to a crotchet for the left and Tempo 1 5 synchronized to a dotted crotchet for the right side TIME FEEDS FEEDS DRY N SI LEFT RIGHT LEFT RIGHT WEE rer Pq sasara poe s achronization of delay to MIDI tempo gt Now set the number of repetitions for both sides by turning the Feedback Left Right knobs ARTURIA Mini V USER S MANUAL 77 Tr TEE wm Y le sal GE ER S S SS py Delay FeedBack Left so HT WEY 0 38 D The Feedback Left setting To finish as for the chorus effect place the Dry Wet knob to
67. litucde Amplitude 10 Hannon number 10 Al 30 40 Froquercy Amplitude Amplitude Hanreoric number 10 20 Ku 40 Frequency Time and spectral representations of the pulse top and square bottom waveforms The original Minimoog proposed 3 types of square waveforms square 50 wide rectangle 25 and narrow rectangle 10 This choice allowed compensation for the missing PWM setting The Mini V offers these 3 waveforms but includes also the pulse width modulation 6 1 1 4 Pulse Width Modulation The PWM Pulse Width Modulation is a setting that allows you to modify the duty cycle of the square waveform This can be done through a modulation only with an envelope or a LFO This pulse width variation translates to a spectrum modification resembling a waveform change Unlike classic analog synthesizers the Mini V lets 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 6 1 1 5 Synchronization The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillatori 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 mo
68. ltage controlled oscillator VCO In 1964 the first prototype of a Moog synthesizer was produced It was a modular system with a voltage controlled filter VCF an envelope generator a white noise generator a trigger and two keyboards each with a generator module sawtooth triangle and square as well as a voltage controlled amplifier module VCA A second prototype grouping those new modules all together was built during summer 1964 and shown at the AES Audio Engineering Society autumn show where Moog took advantage of an unused stand In 1965 upon the success encountered at this show Moog decided to release the 900 series for sale If zeg we re LIP gt Biz E eg R ME hy ae e Tt R AN MOOG COMPANY JI seg P The R A Moog Company at Trumansburg NY Courtesy of Roger Luther MoogArchives com In 1967 Moog decided to release different machines each with a certain number of modules This marked the birth of modular systems I II and III In 1968 worldwide recognition came with the success of Switched On Bach by W Carlos This album where classical music is played on a Moog sold over one million copies and won 3 Grammy awards Bob Moog quoted by Mark Vail in his book Vintage Synthesizers Miller Freeman 1993 ARTURIA Mini V USER S MANUAL 7 CH ei r if aS 1 Le D el a it d e a ES di Qi oo Tl o 1 oo 00 The modular system III
69. modular units per month that Moog Music produced in the late 60 s In 2003 Arturia has released a software emulation of the famous modular Moog synthesizers under the name of Moog Modular V 8 ARTURIA Mini V USER S MANUAL 100 30 DU 70 MINIMOOG 60 50 40 30 20 MODULAR 10 Q2 Q3 Q4 Q2 Q3 Q4 Q2 Q3 Q4 Q2 Q3 a4 Q2 Q3 a4 1967 Q1 1968 Q1 1969 Q1 1970 Q1 1971 Q1 Moog synthesizers sales figures 1967 1971 Courtesy of Roger Luther MoogArchives com The very first Minimoog prototype was called Model A Three other versions B C and D followed This last model is the final and most common incarnation of the Minimoog synthesizer and the only one that was put into production in large numbers The choice of wood rather than plastic for the cabinet prevailed from the beginning simply because Robert Moog preferred to follow the advice of musician friends rather than drawings coming from Moog s industrial engineers The Model D was first introduced at the NAMM convention in June 1971 It was Moog s first exposure to the music instruments industry and the industry s first exposure to synthesizers The reception is rather cold as according Robert Moog himself Most dealers didn t know what to make of a musical instrument with words like Oscillator Bank and Filter printed on the front panel A d Lok SCC SS a et Minimoog Model A prototype Courtesy of Roger Luther
70. n arpeggio MODE OCTAVE REPEAT pa y d DOWN wen wm am mim wm EL E MAA a MP e Ap d H ey SS emm wm SPEED PLAY MEM NOTIS ee A ee O M l l Arpeggiator The Speed knob sets the speed of the arpeggio The Midi Sync switch lets you synchronize delay return time with the host application 58 ARTURIA Mini V USER S MANUAL The Play switch triggers the arpeggiator which when a note is played activates the notes one after the other and stops when there are no more active notes on the keyboard The three state Off Hold Mem switch lets you choose the arpeggiator mode In Mem position the notes played on the keyboard are memorized To stop the memorization place the switch to Off mode To stop the chaining of the notes you must stop the arpeggiator with the Play position In the Hold position the notes played on the keyboard remain present until a new note or group of notes is played As long as a note remains active on the keyboard all of the notes played are memorized The Mode selector is used to choose the arpeggio mode ascending descending return random and in the order of appearance of the notes The Octave selector is used to choose the number of octaves that the arpeggiator cover for each cycle The Repeat selector is used to choose the number of cycles repeated for each octave 5 12 THE CHORUS AND STEREO DELAY In
71. n most current digital synthesizers complementing sample reading or wave tables which progressively replaced the analog oscillators of the first synthesizers in the 80 s The Moog Minimoog or even your own Mini V is among the best illustrations of the enormous possibilities of subtractive synthesis 6 1 THE THREE MAIN ELEMENTS 6 1 1 The oscillator or 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 RANGE OSCILLATOR 1 WAVEFORM l p FREQUENCY An OSCILLATOR MODILATION OSCILLATOR BANK The oscillator settings 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 RANGE selector which determines the fundamental frequency it is expressed in feet Low 32 16 8 4 2 the highest number 32 brings the deepest tone inversely the smallest number 2 brings the highest tone Secondly the detune setting FREQUENCY lets you tune the oscillator more precisely On the Mini V the RANGE and FREQUENCY buttons are placed in the OSCILLATOR BANK panel The waveform which determines the harmoni
72. n remains highlighted to indicated that the learn mode is ON Click on a control of the GUI to open MIDI assignment popup 40 ARTURIA Mini V USER S MANUAL Plug in parameter MIDI Control Setup Assigned name or not LEARNING CUTOFF MIN MAX Riewe gt 2 Control Control 74 ae EE number ek ek e FF FREQUENCY 5 u FILTER EXTERNAL MOC IATON res INPUT VOLUME 4 OVERLOAD MIDI assignment popup Learn assignment First and most easy going way to assign a control is to move it to be recognized by Mini V k Hand assignment It is also possible to change the assigned MIDI control number by clicking on Control xx and select another value gt Support for NRPN In addition to MIDI Control Change messages NRPNs are now supported either send NRPN MIDI control messages to Mini V or check NRPN then select LSB and MSB numbers MIDI Control Setup LEARNING CUTOFF MIN MAX ASSIGNED O Use NRPN e MSB 0 LSB 0 CLEAR Sie gje mm MIDI assignment popup NRPN activated Remove assignment Assignment can be removed by clicking Clear button The message Not assigned will then be displayed All these operations deal with a single plug in parameter In order to setup a complete configuration a set of parameters should be configured 4 3 5 3 Manage configurations New in Mini V the possibility to maintain multiple configurations gt Default con
73. n the bank For example to see all of the bass presets click on All in the bank selection and then on Basses 3 1 1 Modifying this preset For this we will start with a very simple manipulation Modify the brightness of the JMB_Classic1 sound using the Cutoff Frequency potentiometer of the filter Turn this potentiometer and you will hear the tone of the sound becoming more or less brilliant Set this potentiometer to your convenience AMOUNT OF CONTOUR TC cw 4 EXTERNAL n t AT 2 j 5 IMPUT VOLUME j e WW 4 2 9 P on d OVERLOAD i P 0 20 a 10 Cutoff DECAY TIME SUSTAIN LEVEL 2 35 211 71 HZ a 0 19 ME NOISE VOLUME LA GO OM 1 5 i M SEC Sac M SIC SIC Change the brightness of the sound t ARTURIA Mini V USER S MANUAL 17 In the same manner you can change the range of oscillatori by turning the Range potentiometer to one of the six values expressed in steps like on organs The lower the number the higher the pitch of the sound The standard tuning is found at the value 8 RANGE OSCILLATOR TV FREQUENCY 31 L 2 sa LO d an ATOR oe Range Osc1 da 16 By performing these first settings you have already modified the JMB_Classic1 preset You can now save the sound that you have just created To save a user preset click on the save icon on the toolbar the settings of the current sound will be saved i
74. n the selected preset without changing the name If the current preset is a factory preset the factory preset will not be overwritten To choose another destination for this sound click on the Save as icon and select a destination For example select New in the choice of bank 2 new emplacements for bank and sub bank and a new preset are immediately created The names new bank new sub bank and new preset appear in their respective menu locations Click on each of them to change the names is Users Basses Bass2 Y gt Midi A e Poly 4 new_V2 JM Blanchet VOCAL FILTER MODULATION MATRIX AMOUNT new_V2 _Menno Meijer 3 see EGO sua new_V2 _N Ubukata o i Co vi new MAI Tkoot 10 T eeen new_V2 _Tasmodia O SYNC ler Y Je e eZ l e O G Darcey b 4 J M Blanchet2 eo COA a i i SPEED PLAY LEO Templates gt Et SE lt gt Users Basses g Bassl New bank New subbank Basse G EET y 2 A 1 4 Pes Le re sz e SYNC Hei dezet eee TUNE O n aa O A A D p t OSCILLATOR z on Ka d MODULATION r d OVFRIOAD ef CH BA Saving a preset 3 2 THE PLAYING MODES The Mini V offers 2 playing modes 18 ARTURIA Mini V USER S MANUAL The Classic mode allows using the original configuration of the Minimoog Some additional features the oscillator 2 can be synchronized to the oscillatori
75. n with the Amount knob The sources of modulation are NV CO Output of oscillator 3 e EG CP EE Filter envelope output EG er E VCA envelope output e P BENG EEN Pitch Bend wheel e ModWheel Modulation wheel e AfterTouch Polyphonic aftertouch Channel pressure FOOUEXD EE Expression pedal e Velocity Velocity OES AAA LFO output e Kbd Follow Key follow output e EXE Minsa External input signal VCA OU eege eege VCA output signal ARTURIA Mini V USER S MANUAL 57 e Voice NUM cececeees Gives a different fixed modulation value for each voice number voice played e Trigged SH1 Fixed random modulation value for each note played e Trigged SH2 Fixed random modulation value for each note played E E SE No source of modulation The parameters that can be modulated are e VCOR EE Frequency of oscillator 1 e VCO1 PWM Impulse width of oscillator 1 VCOLAM ates Gees Output level of oscillator 1 VCO FM sico Frequency of oscillator 2 e VCO2 PWM Impulse width of oscillator 2 VCO2 AM tes sucia Output level of oscillator 2 VCOS FPM secs ccaxecectexs Frequency of oscillator 3 e VCO3 PWM 5 Impulse width of oscillator 3 e VCOB AM ras Output level of oscillator 3 e Noise ANM Output level of noise generator EXC AM sas Level of the audio external input CULOIT repasar Filter cut o
76. ni V USER S MANUAL 49 The notes played on the keyboard directly command the frequency of the oscillators Nevertheless it is possible or this frequency to move slowly from one note to the next This function called portamento is activated with the Glide switch on the left of the keyboard A EE Activation of the portamento The Glide knob sets the time taken to reach the note played Setting the portamento time The Glide switch activates or deactivates the glide It can be controlled by a foot switch pedal In this case you must click on the jack on the left The same is true for the Decay switch activating the time for the return to zero of the envelopes When none of the jacks are connected eventual pedal commands act on the notes sustain 5 6 THE PITCH BEND AND MODULATION WHEELS On the left of the keyboard we find two wheels one for modifying the oscillator frequency the other for varying the amplitude of the modulation brought by the third oscillator either on the oscillator frequency or the filter cut off frequency When the modulation wheel is at zero the window displays no modulation This means that it is not possible to modulate the value given by this wheel with the modulation matrix see underneath On the left of the bend wheel we find a BEND switch and a RANGE potentiometer The BEND switch is used to disconnect the bend wheel from
77. ntrol gt control MIN values MAX values POSITIVE SLOPE NEGATIVE SLOPE parameter_value MIN MAX MIN control_value 4 3 5 5 Multiple assigned parameter It is possible to assign and setup assignment for multiple parameters to a single control Activate Learn mode select a parameter GUI control Tweak control to assign it optionally setup minimum and maximum Select a second parameter And tweak the same control Deactivate Learn mode Y v v v v Tweaking assigned control should modify both parameters with regards to assignment setup Min Max 42 ARTURIA Mini V USER S MANUAL 4 3 5 6 Tricks gt Oscillator 2 and 3 tune control 2 parameters FINE and COARSE If Learn mode is ON clicking on control provide access to assignment of FINE parameter shift clicking on control provides access to assignment of COARSE parameter ARTURIA Mini V USER S MANUAL 43 gt THE SYNTHESIZER When it is set to Classic mode the Mini V remains very close to the original synthesizer It is composed of two parts one containing the synthesis parameters the other being the keyboard and the modulation wheels The synthesis panel is separated into several sub groups corresponding to the usual modules for subtractive synthesis Oscillators Mixer Filter and Envelopes f ee a Skin Knob Mode Panic 6 EFX JMB_Dark Pole Y Ne mai an ejrow 2 Mode High e gt gt gt e S e A v
78. odulation signal especially when strongly filtered to create random cyclic variations ARTURIA Mini V USER S MANUAL 63 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 Mini V you will find the noise generator amongst the settings in the mixer panel A switch allows you to choose between the white and the pink noise e ei EXTERNAL D E INPUT VOLUME CN DS on 4 4 pra V OVERIMAD SI e e out OM p a NOISE VOLUME LZ want ON AS wt TE E OM a H A 10 PINK The noise generator set on the mixer 6 1 3 The Mixer The audio signal generated from an oscillator is generally directed to a module filter VCF It will be first useful to individually set the volume of each oscillator external audio source or noise thanks to the Mixer The external audio signal could be for instance a recorded vocal track or a drums loop 6 1 4 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 control the sound by filtering by subtraction which explains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be considered to be a sophisticated equalizer t
79. ote is FO A supplementary key follow can be connected with the modulation matrix These two key follows combine The key follow connected by the modulation matrix has a maximum Slope of two octaves which can be set with the amount knob of the matrix When a key follow is connected the cut off frequency is equally influenced by portamento when it is active 5 4 THE OUTPUT VOLUME AND ITS ENVELOPE The output level of the Mini V is managed by a voltage controlled amplifier VCA where the setting changes are made with the Volume knob in the Output group of the synthesis panel VOLUME 4 6 Va q i Ki Setting the output level This VCA is also controlled by an envelope generator which is set in the same manner as the envelope generator associated to the filter LOUDNESS CONTOUR ATTACK TIME DECAY TIME SUSTAIN LEVEL Y SEIC M SOc stc MODIFIERS Parameters of the envelope generator associated to the VCA 48 ARTURIA Mini V USER S MANUAL This envelope generator is set with the Attack Time knobs for the attack time and the Decay Time knob for the decay time and the Sustain Level knob for the level of sustain The management of the return to zero is identical to the envelope generator associated to the filter When the decay time knob is set to the maximum the notes are held indefinitely 5 5 THE POLYPHONIC MODE THE PLAYING MODES The original minimoog w
80. ow pad presets This is a good way to simplify and to refine the preset search If you click again on the All button all the types of presets will be displayed on the map 4 2 2 4 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 Morphing View see below for more details to create new sounds by morphing feature Of course you can save any kind of type of presets on these four snap memories k Late te k 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 Select another preset anywhere on the Sound Map interface click on any of the 4 Snapshot buttons while pressing the Ctrl key 4 2 2 5 The 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 36 ARTURIA Mini V USER S MANUAL
81. r cut off frequency Now click on the Filter Modulation to activate the filter cut off frequency modulation by oscillators Finally increase the value of the modulation wheel to set the rate of modulation on the frequency of modulation By varying the force of playing on the keys of your MIDI keyboard velocity the filter cut off frequency is varied with each note The 3 examples that we have just seen will give you the basics necessary in order to delve a little deeper Try other settings The possibilities for synthesis are numerous 7 2 1 Using the arpeggiator Now let s see how to program and play the arpeggiator by using the lead sound from the previous section 8 1 2 Click on the arpeggiator Play button as ARPEGGIATOR SYNC ey 8 OS e d 1 DOWNS Zeck amgant de AS G f Of TTT ER om Jeme ome ae omms SPEED PLAPL MEM NOTES qamu 1 aun Click on the Play button Play a chord between C4 and C6 the notes will be played one after the other in the order in which you have placed them it is possible to changing the playing order by clicking on the linear mode knob If you want it is possible to keep the chord continuous by clicking on the Hold switch Two types of playing are available in this mode Hold central position lets you add notes to an existing chord and Memory low position allows the change of chord type freely
82. r 2 by the keyboard e The Osc 3 Control switch is for activating and deactivating the command of oscillator 3 by the keyboard e The Oscillator Modulation switch modulates oscillators 1 2 and 3 via oscillator 3 with an amplitude depending on the modulation wheel If we don t want to have oscillator 3 modulate itself we need to deactivate the switch 5 2 THE MIXER The section situated on the right of the Oscillator Bank sub group mixes the different Signals available before applying the filtering VOLUME EXTERNAL KH INPUT VOLUME S 4 4 Ka OVERIOAD 8 oH Ba 0 out ON ken 0 19 UA NOISE VOLUME i 4 WHITE e ON P yA 10 gt E EH LU ef ON e ma EE E There are five sound sources available the three oscillators a noise generator and external audio in The level of the three oscillators is set with each of the Volume 46 ARTURIA Mini V USER S MANUAL knobs the external signal level with the External Input Volume knob the noise level with the Noise Volume knob The five vertically aligned switches allow the quick deactivation of a given sound source while the White Pink switch selects a white or pink noise When the Overload indicator lights up this indicates an overload of the external audio in The mixer possesses two modes of functioning with or without the emulation of the overload circuit In
83. r Chorus Delay The panel of the Extended mode To access the Extended mode click on the wooden crosspiece situated above the synthesis settings or on the Open button on the right of the toolbar gt To return to the Classic mode simply click again on the wooden crosspiece or on the Close button ARTURIA Mini V USER S MANUAL 19 Panic Opening the extension panel To use the Mini V exactly like the original Minimoog you must also deactivate the chorus and delay effects on the toolbar and switch off the polyphony toggle in the output section 3 3 OVERVIEW OF THE CLASSIC MODE The Classic mode holds 50 synthesis settings which will allow you to conceive an infinite variety of sounds The knobs and switches associated to these parameters are found regrouped on the panel above the keyboard These parameters are composed of 3 oscillators VCO which deliver the base audio signal thanks to 6 wave forms triangle sawtooth 1 and 2 square rectangle 1 and 2 and manage the height of the sound the frequency The third can also be used as a modulator when its signal is directed to the filter or oscillators A Mixer allows you to mix the signals coming from the oscillators or the noise module A low pass 24dB resonant filter An ADS envelope modulating the low pass filters 1 amplifier VCA allowing the amplification of the signal coming from the filter to direct it to the stereo o
84. re you will encounter composite waveforms 62 ARTURIA Mini V USER S MANUAL One Period Oscillator 1 Oscillator 2 D m J synchronized In the above image oscillator2 is synchronized with the first and tuned to double the tonality The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering 6 1 1 6 Frequency modulation A frequency modulation FM can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator On the Mini V if you turn the modulation rate ring you will obtain a sound richer in harmonics If you introduce a square or sawtooth signal the result can be quickly distorted but interesting for inharmonic sonorities like bell sounds or special effects for example FM Amplitude Amplitude Harmonic number 1 2 3 4 5 6 7 8 Frequency Time and spectral representations of a frequency modulation 6 1 2 The noise module The noise signal spectrum has all frequencies at an equal volume level often referred to as 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 m
85. rol 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 Potentiometer 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 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 Preferences menu and is found in the General tab of the window 4 3 2 Switches The Mini V has several types of switches Simply click on these switches to change their state Switches 4 3 3 Pitch Bend wheel The pitch bend wheel is used to change the pitch of the oscillators Just click on the wheel and move the mouse up or down to change the pitch of your sound The wheel goes back at the center position when the mouse is up ARTURIA Mini V USER S MANUAL 39 The pitch wheel 4 3 4 Virtual keyboard
86. s 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 part of the purchased Product the following shall apply in addition to the EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia ARTURIA Mini V USER S MANUAL 87 under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a
87. s after the note is released The most common modules developed use 4 settings that we can vary The Attack is the sound 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 after the attack portion is complete 66 ARTURIA Mini V USER S MANUAL The Sustain hold is the maximum volume level that the sound will reach after the decay is complete The Release is the time that the sound will take to fade once the key has been released The two envelopes of the Mini V Contour contain only 3 parameters Attack Decay and Sustain You can get the Release thanks to the Decay button located on top of the modulation wheels The release time is thus identical to the decay time of the envelope ATTACK TIME 00 y 1 DECAY TIME SUSTAIN LEVEL 600 i e A d NA r L t t3 Aa d Sa PE amp BE gt J Y ata A Say ECK h o K 10 1 WE 10 Lef Se LR t TL PE 4 MN SE stc M Stc ste The Mini V ADS R envelope 6 2 3 The low frequency oscillator The LFO Low Frequency Oscillator or LFO on the Mini V 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 It will create a cyclic modulation on the setting to which it is connected For example If th
88. s even fatter click on the Unison switch which brings all of the polyphonic voices to the same note Lightly detune each of the polyphonic voices with the Voice detune knob Output section Here is how in a few seconds to transform a simple base sound into the kind of powerful lead preset that made the Minimoog so famous ARTURIA Mini V USER S MANUAL 71 Save the preset with the Save As button in the toolbar 7 1 3 A polyphonic accompaniment Unlike the original Minimoog which offered just a monophonic playing one note at a time the Mini V allows you to play chords with the Polyphonic playing mode located in the Output module on the right of the synthesizer Let s see how to create a powerful evolving accompaniment VOLUME MAIN OUTPUT 9 VOICE sed io POLYPHONIC i SZ ON e OUTPUT The Polyphonic mode This preset will be composed of e 2 oscillators s A low pass filter Filter e An output VCA Output e The envelope corresponding to the filter e The envelope corresponding to the output amplifier Loudness Contour e Oscillator3 in low frequency modulating the filter cut off frequency Take the preset Temp_2 Osc in the Templates bank This sound is already composed of 2 active oscillators which you will use as a base sound Place the Range of oscillator2 to 8 so that the 2 oscillators play in unison Slightly detune t
89. s 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 in use by the Mini V are permanently displayed in the synthesizer tool bar Display of current bank sub bank and preset To choose a preset in the current sub bank click on the D button at the right and 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 J M Blanchet JMB_Dark_Pole JMB_Hardcore MOTION RECORDER JMB_Hight_Mod JMB_Meditation JMB_Sync_Bells Choice of a preset in the same sub bank To choose a preset in the same main bank but a different sub bank click on the D middle button and a dropdown menu appears with a list of the sub banks contained in the same main bank Each sub bank listed in the menu allows you to open a sub menu containing its presets A click on a preset allows you to directly choose a preset in the new sub bank ARTURIA Mini V USER S MANUAL 2 SI i a Arpeggio MODUL
90. sound library or as a sound library for any kind of synthesizer virtual instrument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects 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 warranties on the software are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of
91. that you want to be assigned The control is automatically assigned to Cutoff frequency you can check MIDI control message value Tweak MIN and MAX sliders to adjust bounds for that control Repeat this operation for other controls Notice that you can assign multiple GUI controls to a single hardware control Click button Learn and select LEARN entry to switch off Learn mode gt Click button Learn and select Save As to save your configuration New configuration name Please enter the name of the configuration being saved Configuration name NewConfiguration Save Cancel Save As popup ARTURIA Mini V USER S MANUAL 25 gt Now you can find and quickly reload your newly created configuration in Learn menu gt im Qu 6 om LEARN Save Save As Remove Analog Experience Keyboards NewConfiguration Spark Controller Learn menu recall newly created configuration 26 ARTURIA Mini V USER S MANUAL 4 THE INTERFACE 4 1 USE OF PRESETS Presets let you memorize the sounds of the Mini V 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 sound effects etc Each sub bank contains within itself a certain number of presets The Mini V i
92. the first case the sound signals are not modified regardless of their level In the second the overload circuit limits the amplitude and thus allows a modification of the tone typical of the original Minimoog The mixer mode change is done with the Soft Clipping switch on the extreme right of the synthesis panel It should be noted that the emulation of the overload circuit is heavy on calculation power and using it should be avoided with heavy polyphony or unison SOFT CUPPING ON Activation of the overload circuit soft clipping The switch corresponding to the external signal has three positions The first disconnects this input from the mixer The second position connects the output of the Mini V to the mixer This allows thanks to the particular distortion brought by the overload circuit to obtain a typical sound The third connects the external input to the mixer 5 3 THE FILTER AND ITS ENVELOPE The result of the mixing of different sources of sound is directed towards a resonant filter with a slope of 24dB per octave KEYBOARD CONTEO Filter parameters The Cutoff frequency knob sets the cut off frequency The Emphasis knob sets the level of resonance and Amount of Contour the action of the envelope generator associated to the filter It should be noted that this filter auto oscillates which is to say that when the resonance is set to the maximum the filter generates a signal close
93. tistic methods in AP LIST m FM m Bra SS m Perc ussive m Sequence m Strings m Guitar m keyboard The Map interface The Presets list this page offers a more classical interface to classify the presets using lists and filters to find the desired sound Name Instrument Author JMB_Synth_Bells Perc J M Blanchet JMB_Tribal_drums Perc J M Blanchet PR Fat ELP Bss P Rausch PR Muted P Rausch PR_Octaver_Bass K P Rausch DH Gouare Mix lt P Rausch PR Standard P Rausch PR_Sweepbass ass K P Rausch Rausch PR Orionesk Rausch PR_Overtoner AAA PR_3 tuned_Ld P Rausch P Rausch OE m Perc usSIVE P Rausch O uence m Strings PR_Fat_Sawleaa K P Rausch m Guitar m keyboard PR_Detuned_Saw P Rausch lt PR_ Dirty _Guitarish k k k PR Noise _ Droner x k k 8 AAA k DR ELP Trilogy PR_Windy_Rpt x K P Rausch PR_Emerlist_Ld K K K lt PR_Amazing_ Lo K K k k PR_Fat_Swirl PR_Filtersweep K P Rausch lt PR_RW_White_Ld K P Raus The List interface The Morphing interface COMPASS this page allows creating new sounds in real time thanks to a morphing result between 4 presets ARTURIA Mini V USER S MANUAL 31 Snap 2 KS BssThunder Snap 1 JMB_Synti_ Bells Snap 4 NU_ShakePet m Bra SS m Perc ussive O uence O nas Snap 3 OESTE LM_Bass 14 ONE The Morphing interface Let s go more deeply into the different sound map interfaces
94. to sinusoid even in the absence of an input signal Nonetheless a weak noise signal as filter input brings us a little closer to the results obtained with the original Minimoog In fact electronics can never guarantee a perfect zero level to the filter input as is the case with a virtual reproduction ARTURIA Mini V USER S MANUAL 47 10 Q LD ATTACK TIME DECAY TIME SUSTAIN LEVEL o i 1 600 L 4 r s ta The envelope generator associated to the filter can be adjusted with the Attack Time knob for the attack time and the Decay Time knob for the decay time and the Sustain Level knob for the level of sustain Unlike other envelope generators there is no separate setting for the time to return to zero This time is the same as the decay time but can be activated or deactivated with the decay switch situated on the left of the keyboard When it is deactivated the return time to zero for the generator is practically zero The two Keyboard control switches allow the use of a key follow at the filter cut off frequency e When they are set to the OFF position no key follow is connected e When the first is ON the key follow allows the modification of the cut off frequency by a major third for an octave e When the second is ON the key follow is of a fifth for an octave and when both are ON the filter cut off frequency exactly follows the keyboard It should be noted the pivot n
95. ue of the modulation wheel You will obtain a rich accompaniment sound 7 2 THE MODULATION MATRIX We will discover a few of the many additions to the Mini V the modulation matrix the LFO and the velocity For this let s again use the preset Tp EG Ampl_Long in the Templates bank sub bank Temp_Synth This preset offers an ideal starting point for an accompaniment sound the amplitude envelope is already calibrated for this type of use It will be composed of e 2 oscillators e 1 lightly resonant low pass filter e 1 output VCA e The filter and VCA envelopes are active e Oscillator 3 modulates the 2 other oscillators for a vibrato effect brought by the action of the modulation wheel The modulation matrix will be active for e A modulation of the cut off frequency by the velocity e A modulation of the width of the oscillator2 square by the LFO To begin lower the filter cut off frequency to around 4 46 44 00 Hz This will make the different modulations easier to hear ARTURIA Mini V USER S MANUAL 73 COTA MPHASI FILTER ai EXTERNAL MODILANON A 2 4 a INPUT VOLUME eg 4 r On t M d OVERLOAD O 10 gt On the matrix start by choosing the first source of modulation by clicking on the display on the left of the first line LFO for Low Frequency Oscillator CO 3 EG YCF EG VCA Bender Wheel After Touch Foot Exp Velocity
96. utput An ADS envelope modulating the signal going through the amplifier AMOUNT RANGE OSCILLATOR 1 WAVEFORM VOLUME l OF CONTOUR VOLUME MAIN OUTPUT 1 8 FREQUENCY A 4 s 4 4 Zoey e A A gt FILTER 1 T a 4 d sa d ost a D on Lo BW e al EXTERNAL MODUL AI NM Ts UNISC t S 2 INPUT VOLUME 2 b TE H gt e 4 5 E s we WW e VW Wi 1 ATO k J T oar E g e Kai H 4 Soe e q KEYBOARD gt z cl CONTROL ur o 5 D 19 Les TE NOISE VOLUME 1 Ki WHITE ON 1 ke 3 EI y A o sort wy E LOUDNESS CONTOUR CUPPING ei MA CAY TIME pr ae 0 ATTACK TIME DECA SUSTAIN LEVEL VOICE DETUNE POLYPHONIC 609 1 y ec LU V 0 10 PINK ON j SEC LAT CONTROLLERS OSCILLATOR BANK MIXER MODIFIERS The synthesis parameters Let s see how to quickly create a progressive lead gt To correctly understand the logic in programming the Mini V let s use a very simple sound Select the preset 1_Osc in the Templates sub bank The structure of synthesis of this sound is very basic the sawtooth waveform of oscillator1 is active and the signal is routed through the low pass filter and then through the output amplifier Oscillator VCO Filter VCF Amplifier Audio output N E VCA d Audio si Envelope Envelope SE Geesse ADS ADS The routing of the sound of preset 1_Osc Start by lowering the cut off frequency of the low pass filter LPF This will make the
97. veloped 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 Mini 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 80 ARTURIA Mini V USER S MANUAL 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 Mac users don t have to bother with this because the same plug in file contains both the 32 bit and the 64 bit versions and the host automatically chooses the better one 8 7 USE IN CUBASE NUENDO VST 8 7 1 Instrument use in VST mode The opening of a Mini 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 Mini V in the rack Cubase File Edit Project Audio MIDI Scores Media Transport Devices Wind eoo Cubase 6 Project Untitled1 05 0 WER 2 ro 0 OESE e BER ES E E PRH k Add Audio Track Add Instrument Track Add MIDI Track O E Add Track Using Track Preset
98. volume of the sound increases progressively Do the same with the Decay time the volume will progressively decay when you hold the note pressed down LOUDNESS CONTOUR ATTACK TIME DECAY TIME SUSTAIN LEVEL i A vi p Fy oc 1 ADO d g gt MODIFIERS A Amplitude envelope Loudness Contour 3 4 THE EXTENDED MODE When the Mini V is at the Extended position you access an extension panel to the parameters of synthesis It is displayed in the form of a modulation matrix a Low Frequency Oscillator LFO which was brought in be substituted for oscillator 3 which was being used to this effect An arpeggiator a chorus and stereo delay complete this extension 3 4 1 The modulation matrix The modulation matrix multiplies the possibilities for editing sound when compared to the original instrument You can choose 8 sources sub osc envelopes etc to modulate 8 destinations freq Osc freq VCF etc The choice of source and destination is done via the LCD displays The matrix offers 15 sources of modulation and 35 destinations compared to 2 on the original ARTURIA Mini V USER S MANUAL 21 MODULATION MATRIX AMOUNT AMOJN SOVICI DM STINATSOP ko AT MANO tOvec Cep i now Lb Emplas ls Lb VCO3 PYM we Lb NI UCOZ FM Lb C cron on The modulation matrix 3 4 2 The LFO On the original Minimoog equivalent to the Classic mode oscillator3 can
99. wing an exponential curve e Noise tool Tool for adding noise to an existing curve e Sine tool Tool for drawing a sinusoid e Square tool Tool for drawing a Square curve The Curve Editor tools 5 7 8 2 The Curve Editor screen The Curve Editor screen allows you to edit a recorded curve or to draw a new curve from scratch To open the Motion Recorder screen editor click on the middle of A new bigger screen is now opened showing the current motion curve Two locators bars determine the input and output loop points of a recorded curve k Place the right locator gt To place a locator click on the left top arrow for the input point or on the right top arrow output point and drag it from left to right to choose the desired input or output points of the loop Click on the Loop interrupter to validate the loop mode Click on the Loop interrupter If you have chosen a quantization factor 1 8 for example the locators will move by steps thru this quantization factor 5 8 THE VOCAL FILTER The Vocal Filter is a formant filter which can be applied to the output signal of the Mini V or to an external audio signal The main interface of the Vocal filter located on the central TV style screen shows an ensemble of five vowels A E I O and U ARTURIA Mini V USER S MANUAL 55 VOCAL FILTER The main interface of the Vocal Filter The Vo
100. xpands the sub menus allowing you to reach the SUB BANK and PRESETS of a sound designer with a single click Choose the SUB BANK called Basses and finally select JMB Classici in the PRESETS 16 ARTURIA Mini V USER S MANUAL E mii a e Poly 4 Mode C Duncan VOCAL FILTER MODULATION MATRIX C Engel sour 2 C Pitman G Downes Ki A SS 7 J M Blanchet Arpeggio sync sync a K P Rausch Basses AB Classic1 K Schulze EFX b JMB_Classic2 K Ujiie Keyboards gt JMB_Distorded M Lupo Leads JMB_Resonantl M Ubukata b Pads b JMB_Resonant2 S Solida b Percussives b JMB_Reverse_k F T Perlman JMB_Saw_Acid new_V2 _J M Blanchet gt EE new_V2 _Menno Meijer EE l new_V2 _N Ubukata gt EEN new_V2 _T Koot EE new_V2 Tasmodia E Reen gt JMB_Taurusl J M Blanchet2 gt EE EE a JMB_Unisonl EE JMB_Unison2 EE a JMB_Velo_Filterl JMB_Velo_Filter2 All V Select the preset JMB_Classic1 The Mini V comes with 400 presets which will familiarize you with the sounds of the synthesizer A bank called Templates offers a selection of presets with a basic configuration or template to start programming a sound The sound 1 Osc for example comes with an oscillator directed to the low pass filter with the signal then routed to the VCA It is also possible to see all of the presets corresponding to a given type of sub bank by choosing the All option i

Download Pdf Manuals

Related Search

Related Contents

Eglo FOX  Toyano truck stage  31100662 GVC 71013NB-S  

Copyright © All rights reserved. Failed to retrieve file