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1. The Preset page enables you to select presets by various criteria in order to quickly narrow the search for the right type of sound for your music This portion of the manual will detail the selection process for programs and multis and will provide a bit of background on some of the logical and technical distinctions in the Origin s preset management structure mo dAn Delete KEY 1 Nome KY Nome PROGRAMS OB Pad Synth Piano Soft Pad Dist Reality Duet Bass Alone Mod Whi Nasty Ueloled Aciiid v te o4vos SEM Pad Home Preset Progr Edit Multi Seq FX Live on rv on On ne nn nn The Preset page Regardless of whether a Program or Multi is selected described below the general display layout is similar The left side of the display shows fields for selection criteria and a window with a range of preset numbers and names One preset in this window is always highlighted The right side of the display shows the info of the highlighted preset with the information differing slightly between Programs and Multis Both preset types display preset ID preset name designer and project Program info displays additionally synth template CPU load bank and linked sequencer preset shows none when no sequencer preset is linked Multi info shows a list of all the Programs used in the Multi The bottom of the Preset page is the same as the Home Page You can find the currently selected preset number and name
2. Mappings is correct the Origin will respond to incoming controls but the knobs as they appear on the LCD screen will not change Ae em ee ee rm rm ee rm rm ee mm rm eB mm mm rm eB mm rm rm eB mm rm rm eB em rm rm eB em rm rm rm eB rm mm rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm rm rm eB eB rm rm eB ee rm rm eB rm rm rm ee mm rm eB mm rm rm eB mm mm rm eB mm rm rm eB eB rm rm eB ee rm rm ee rm rm eB rm rm rm eB mm mm rm eB mm rm rm eB mm ee eB mm mm rm A mi Juve oer mp LFO Em JONSTE MIDI MD Mappings t Origin Default Hope Sout DS Hope ce ce CC E Hope Hate CC 7 Prog OUTPUT LEWEL CC Hope Hod Sources CC a Hone CC 10 OUTI pan l coo Pree OUTI Level in Keuboord can Be found LL ot ODUTZ pan Module W 0002 CS Hperience The MIDI edit page ARTURIA ORIGIN USER S MANUAL 114 Simply select the window that contains the list of MIDI controllers and focus the selection on one of the MIDI entries Once you enter a context menu pops up that allows you to select which parameter will be controlled by a particular MIDI control Juve osc FILTER LFO Em JONSTE MIDI MD Mappings lt Origin Default Minimoog Lier Sout As CC E Hope Hate co 7 Prog OUTPUT LEVEL CC FLT frequency Hod Sources CC a Nene CC 10 oun pon CC mn Prog OUTI Level in Keyboard cco IS OUTS pan Module Ki LW 0002 CS Hperience can Be found Loading a MIDI mapping Once
3. ARTURIA ORIGIN USER S MANUAL 22 5 2 Connecting Origin to headphones Connect your headphones to Origin s Phones output You can set the headphones output volume 5 3 Connecting Origin s analog outputs to external audio equipment r 5 3 1 Main Outputs Connect Origin s 1 4 inch output jacks MAIN Outputs to your audio equipment e g mixer or powered monitors Using these outputs you can hear the main outputs of the program using the Program mode or the main output of the multi mixer using the MULTI mode NOTE Because there is no distinction between the two Main Outputs balanced jacks you can use any of those outputs to when you are playing a mono sound 5 3 2 Auxiliary Outputs In MULTI mode the output of channel 1 of the Multi mixer is connected to the Auxiliary Outputs 1 and 2 the output of channel 2 of the Multi mixer is connected to the Auxiliary Outputs 3 and 4 the output of channel 3 of the Multi mixer is connected to the Auxiliary Outputs 5 and 6 the output of channel 4 of the Multi mixer is connected to the Auxiliary Outputs 7 and 8 In Program mode the main stereo outputs of the program are directed to the Auxiliary Outputs 1 and 2 5 4 Connecting Origin to digital audio equipment You can connect Origin s SPDIF output to your digital audio equipment e g digital mixer NOTE The digital audio input of your destination device computer audio interf
4. last JMB_07_07_08 gt New JM_betaversion_6 0 3 gt Prob bells Y e Origin Backups gt OriginUpdate_BETAPRESET_6 1 2 Release Delete JME JMB Refresh 1 items selected Rada lifa rinin Search None o Search 2 one J Stot Name Synth Project 400 House Dru Origin JMB 401 Dub Drums Origin JMB 402 EleKtROD Origin JMB 403 Accoustic Origin JMB 404 Trance Dru Origin JMB 405 303 Delight Origin JMB 406 Prob Bell Jsk Origin JMB 407 Classic 3 0sc Minimoog JMB 408 Smooth Le Minimoog JMB 409 Mini Bell Minimoog JMB 410 Mini Marim Minimoog JMB 411 A Good So Minimoog JMB 412 Goom Bass Minimoog JMB 413 K E Lucky Minimoog JMB 414 E L P Trilogy Minimoog JMB 415 Moon Chord Minimoog JMB 416 R W Artur Ld Minimoog JMB 417 R W ComeOn Minimoog JMB 418 R W Cathe Minimoog JMB 419 ElectrOngin Origin JMB 420 Psy D Vision Origin JMB 421 Trip To Goa Origin JMB 422 Monster M Origin JMB 423 Prob Bell Mw Origin JMB 424 OB Ping P Origin JMB 425 JP8 Design Origin JMB 426 2SeqLay Origin JMB Origin egen JMB JMB JMB JMB JMB JMB Jmb Jmb Jmb Jmb Jmb Jmb Jmb Jmb Jmb Jmb Jmb Jmb Jmb Test Test Test Test Test JM Blanchet laxi f i OrTMnte amp MINDAN Origin is Connected ARTURIA ORIGIN USER S MANUAL Origin Connection main panel 12 2 2 Origin panel Computer e Origin Search 1 sx E SE vs lt
5. ARTURIA ORIGIN USER S MANUAL 45 7 12 2 Delay The Delay brings a stereo echo effect that adds space to your sound It possesses independent settings for speed and the number of repetitions on the right and left channel Therefore it is possible to create a big number of rhythmic combinations between the repetitions The delay times can be synced to the MIDI tempo of your sequencer gt Set the Dry Wet knob of the Delay to balance between the original and the treated sound gt Set the Link option to Off and turn the 2 knobs TIME 1 TIME 2 to set the speed of the repetitions for the left and right side Time Left Time Right gt It is also possible to set the number of repetitions for each side Feedback1 and Feedback2 r 3 Deloy Feedback O Feedboacke O Sync OFF Link OFF Ping Pong OFF Deloy Timet G 613 1 ms i Turn the 2 knobs TIME 1 and TIME 2 of the delay times NOTE You can set the volume of the three effects directly with the Return knobs located in the effect panel on the right of the Origin interface In this area you can also directly open the desired effect slot by pressing the Edit switches and e bypass their activity by using the ON OFF switches ARTURIA ORIGIN USER S MANUAL 46 8 EDITING PAGES This chapter will introduce you to the details of Origin s editing pages You can have a direct access to these pages by
6. Filter frequency CONTROL CONTROL COHTROL Di PROG 1 FLT Pes ornonce enuelope COHTROL PROG 1 CG SRE EES OUSPDCH Woystick mode 1 PI Axis H LEOS AM PI FLT Axis d LEO AH FLT4 Q Heft e Fest e 0000 CS Hperience The Live page details This page is divided into three sections The far left and right sections show the assigned parameter of the 8 individual live encoders The top middle section of the screen shows which modules are assigned to analog section controllers The lower middle section shows the parameters that are assigned to the currently selected joystick mode 8 8 3 Macro Edit tabs Origin s macro functionality is a convenient way of controlling multiple parameters with one single controller This can come in very handy when you want to quickly control a sub selection of oscillators without changing all oscillators Each sub section of the analog section of Origin s front panel Oscillator Filter LFO and Envelope has a macro mode You can select the macro mode of a sub section for example the Oscillator section turn its Select encoder all the way to the right until the display shows Macro oscillator and press the Select encoder When you now turn the Frequency or Tune knob all oscillators affected by macro control tracks the movement of the knob The following sections of this manual will describe how to configure the macro edit modes for each area
7. Amplitude modulation input for the CV signal Again this connection can receive multiple inputs and scaling for each source as they enter the module The Output connections CV OUT This is the output connection of the CVMod Note again that you can select more than one location and scale them at the output as they are attached to each destination ARTURIA ORIGIN USER S MANUAL 146 10 THE MINIMOOG TEMPLATE 10 1 What is a template Instead of creating your own modular structure you can also use the synthesizer templates included in the Origin These are pre built modular structures recreating the sound and functionality of vintage analog synthesizers The panel of the modeled synthesizers is graphically displayed in the Edit page Templates offer a convenient tool for tweaking your favorite synths straight away without having to create it from scratch The first firmware version of Origin offers the Minimoog template 10 2 Minimoog story In the late 1960 s sound synthesis was an art that had to be performed on large modular systems which didn t really look like synthesizers as we know them today On these systems synthesizing just a single note was already quite a task and therefore synthesis was a specialist affair at that time On top of that these modular systems were quite big and by no means practical if not impossible to use for live performance Nevertheless they were capable of producing an
8. PI osc fFiter FLT frequency CONTROL FLT resonance resonance a enuelope FLT2 CONTROL PROG 1 FLT4 PI Macro i frequency frequency Joystick mode 1 pI Axis H LFO2 AM ps Axis Y LFOT AM resonance resonance i 0000 CS Hperience Home Preset Progr Edit Multi Seq FX Live The screen encoders and their assignations So aside from all of the dedicated controls for the Analog Section the step sequencer the joystick as well as FX and audio output levels the encoders allow you to access many other useful features from the front panel 8 8 6 2 Assigning Live Encoders from the front panel The primary method for assigning a Live Encoder to a parameter is to use the front panel controls directly The Live Encoders operate much like the jog dial in that it is both a rotary control and a selection control by pressing on the knob gt To assign a Live Encoder simply navigate to the Progr Edit or FX pages and choose the desired parameter select the virtual knob or slider on the screen you wish to control gt Then press down on the desired Live encoder until you feel a click underneath the knob and see the selected parameter changes color to reflect the encoder you have selected Mix oupto AdvJoy Out U g e Aen out O e CONNECTED ki OUTI AUDITO f DCS Zulu D Home Preset Progr Edit Multi Seq FX l NOTE The Live Encoder has a corresponding color within the
9. The currently selected mode is displayed in the middle section of the mixer tab Below we will describe the functioning of both modes in more detail EA I LA ee LAF e _ as T mate w ee RW e gx ag es The output and fx mixer panel ARTURIA ORIGIN USER S MANUAL 63 8 3 2 1 Parallel routing In Parallel mode Origin s FX mixer works in a send return configuration often found on mixing desks For each VCA you can control the amount of signal sent to all individual effects The outputs of all the effects are mixed with the dry output signals and then sent to the Main output In this mode the knobs function as follows FX 1 2 3 These knobs control the amount of signal sent to the corresponding effect When pre is selected on the pre post switch in the middle section see below these knobs function pre fader This means that the amount of signal sent to the effects is not influenced by the volume slider of the VCA For example if one VCA has its volume slider all the way at the bottom it can still be heard through the effects When post is selected post fader configuration the amount of signal sent to the effects is influenced by the main volume slider of the VCA This means that when a VCA has its volume slider all the way at the bottom it cannot send any signal to the effects Pan These knobs control the panoramic placement of the VCA This knob controls the Same parameter as the pan knob
10. tierce 1 8 Seventh slider two octaves plus a major third above the fundamental larigot 1 8 Eighth slider two octaves plus a fifth above the fundamental sifflote 1 8 Ninth slider three octaves above the fundamental hardness 0 100 Depending on the registration of drawbars can add a bit of edge to or sometimes even a bit of nasal quality to the overall sound Click 100 dB to 0 dB Sets the amount of key click that comes through when a new note is played Perc Off 2 7 3 Selects which harmonic is used to create the distinctive percussion sound that is the hallmark of this style of organ Note that this portion of the sound is distinct from an individual note click in that it only appears when the first note of a ARTURIA ORIGIN USER S MANUAL 129 passage is struck and is not heard again until all notes are released and a new note is pressed This often creates a unit legato like effect of the organ in the hands of a skilled player Lvl 0 000 to 1 000 Sets the level of the Perc sound Decay Slow Fast Sets the amount of decay for the Perc sound The module has straightforward input and output controls FM The FM input allows you to control the frequency of the ToneWheel The default connection is the keyboard follower output But you are not limited to traditional roles for the ToneWheel in the Origin You can connect anything from an LFO to a step sequencer output Let your
11. Alternatively you can press a selection menu of a slot which has a program loaded this replaces the program gt A screen appears that functions similar to the PRGM tab on the Preset page here you can choose the program you want to load in the selected slot see chapter 6 2 for more details on the preset page ARTURIA ORIGIN USER S MANUAL 89 Search 1 Wome Search dorne gt PROGRAMS OO84 Doncin in LA LUES Memory Voces O08 Goloxy Sec 006a HormonumssS 008659 Cousteau LOOS CSe0 Ebony OFM Brass Arturia EZ FACTORY LCE Hesse LEE Seq O08e2 Galon al Horne AIR Frog Tt 0056 C520 Brass Select a new Program on a Multi preset 8 5 7 The different uses of the Multi The MULTI page offers three possibilities to configure a group of up to four Origin Program presets for a variety of uses layering split combinations and MIDI sequencing and recording 8 5 7 1 Layering The Layering mode allows playing several Programs simultaneously This is very useful for creating some very big and complex presets For example you can put a Program having a very fast attack on the first slot and a second one adding a long sweep and several complex modulations This combination of presets provides a sound result which could be impossible to get on a single Program preset gt To create a Multi preset using a layering between several Program presets simply use the same Zone for each M
12. Audio Input output 1 headphone output 6 35 stereo jack connections Audio outputs 2 main audio outputs 6 35 balanced jacks 8 individual auxiliary outputs 6 35 balanced jacks 6 35 balanced jacks MIDE IN OUT THRU connectors USB 2 connector Dimensions W x D x H Effects Number and types of effects ARTURIA ORIGIN USER S MANUAL 183 14 2 MIDI implementation chart Basic Channel Default 1 16 1 16 Memorized Note Number 0 ER Velocity Note On Note Off Aftertouch Poly notes Mono channel Program change Modulation Wheel Breath Controller Foot Controller Data Entry Main volume Panpot Expression Damper Portamento Resonance Brilliance Foot Switch Control Changes OOOOOOOOOOOOO O O O O O O O O O O O oO MEN N N Ki EE TI LSB MSB System Common Song Position Song Select Tune System Internal Clock HL HL Aux Messages Local ON OFF All Notes Off Origin Keyboard Origin Laptop gt x lt XK XK ARTURIA ORIGIN USER S MANUAL 184
13. From the pop up menu select the Velocity control Now go to the right slot of the upper row and select Cutoff using the same method Hodulation Matrix Amount SOURCE MoOOIFIERS OUTPUT Bor eee 0409S EImpTg EMPTY Select the velocity modulation source The knob in the middle allows you to change the amount of the modulation ARTURIA ORIGIN USER S MANUAL 39 rr N J 04095 EMPTY Set the velocity modulation amount gt Set it around 3 o clock Now the filter opens up more as you play louder on your keyboard this makes your sound more dynamic and lively gt Feel free to explore the other possibilities offered by the modulation matrix to create your own unique sounds 7 9 The Multi mode The MULTI mode allows you to use up to four programs on separate keyboard zones Alternatively you can layer up to four programs or use a combination of both using a maximum of 4 programs To add some breath to our current preset Reso_Pad preset n 0050 wel use the MULTI mode to layer it with a pad gt Open the MULTI page by pressing the MULTI button under the LCD screen gt On the first mixer slot the current sound is Reso_Pad Select the second slot by using the gt button and press the value dial A pop up screen appears asking you to transform the current preset in a MULTI preset gt Press Enter to confirm the creation of
14. In this case you can also control this parameter using the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet 8 7 3 7 ParamEQ This effect is based on a classic analog EQ design It is considered semi parametric because the high and low bands are shelf controls while the mid bands are fully parametric ARTURIA ORIGIN USER S MANUAL 108 EA 1 EM EM or ornEtl FHI Parame Lol HME 1 HED HIGH O Orn OH OFF OH OH EMS Del O feo FH Mo F O 0002 CS Hperience om The ParamEQ effect This EQ is not only useful for imparting a specific tone color on a source sound it can also be used to re balance an effect such as a delay or reverb send that is processed separately from the original In order to modify the parameters for any section of the EQ it first must be switched ON at the top of each section Then the controls become active and can be navigated and modified Each control is described below ON OFF Activates each section of the EQ LOW The Frequency range is different from the other bands It only sweeps from 20Hz to 1000Hz Gain ranges from 20dB to 10dB MED 1 Frequency Freq range is from 20Hz to 20KHz Gain ranges from 20 to 10dB Width ranges from 0 700 to 4 000 MED 2 Frequency Freq range is from 20Hz to 20KHz Gain ranges from 20 to 10dB Width ranges f
15. T rigin Update DETIADRESET GI 3 Release Programs e House Drums Synth Orgu Preject IMB e Classic 3 0s Synth Minima Project JMB Smooth Lead Synth Mining Project IMB Mini Bell Synth Minin Project IMB Mini Marimba Synth Mining Project IMB t A Good Sound Synth Minin Project IME e Goom Bass Synth Minineg Project IME t K E Lucky Man Synth Minimeeg Project IMB e E L P Trilogy Synth Minimesg Project IMB Moon Chord Synth Minimes Droit IMB e R W Artur Ld Synth Mininesg Project IMB R W ComeOn Synth Minimise Project JMB RW Catherine Synth Minimesg Project IME t Drone and Ld Synth Miri Project JMB k Basic Synth Origa Project Arturia 2 Osc 1 Filtr Synth Orig Praject Arturia r Lee Linel Synth Origi Project IMB Hi Hats Synth Orig Project IMB Dubbrums synth Grigit Praject JMB Dub Bass Synth Orig Praject IME Dub Bass Seq Synth Orlgi Project IMB EleKtRO Drums Synth Org Project IMB Accoustic Drm Synth Orig Project IMB Bode Pad Synth Orig Praject JMB e D senes FA Synth Crigis Project Test Bass Lead Synth Orig Project IMB e Reso Pad Synth Orig Project IMB k Atlas Seq Synth Origi Preject JMB T Backup in the Computer navigator 12 3 3 2 Reloading Existing Backups gt To reload an existing Backup on Origin you have to click on the menu Action gt Reload Existing Backup gt Choose Backup to be able to reload all Dumps When the OK button
16. are not in tune this phase reset causes sudden jumps in the waveform which generates the typical sharp sync sound Origin oscillator This oscillator is a special low CPU cost Origin oscillator This module offers very good sound characteristics for a low CPU cost You can use it for a very big preset including lots of audio modules ARTURIA ORIGIN USER S MANUAL 125 The Pitch Oscillator 1 ees ronze REGEN Eu VE Seat our Je AH DOu Jout Out LU SYNC HOT COMHECTED Codgrs lt Fine Width HDUDIO 171 Mix Dudu HHC HOT COMHECTED Internal PWH Amount Pott m The Origin oscillator The pitch is defined by the oscillator frequency You can set the frequency with 3 controllers The Range selector determines the fundamental frequency expressed in feet 32 brings the lowest audible frequencies 2 brings the highest audible frequencies The LOW setting lets you use the oscillator as a low frequency oscillator LFO to modulate other parameters The Fine knob allows you to tune the oscillator more precisely This can be used to create detuning effects The Coarse knob adjusts the frequency of the oscillator in semi tones This knob ranges from minus 2 to 2 octaves above the fundamental frequency The waveforms The waveforms define the sonic characteristic of the oscillators sound ARTURIA The sawtooth presents the richest audio signal of the waveforms It contain
17. comprehensive MIDI control 10 3 Using the Minimoog template This chapter will introduce you to the details of the Minimoog template editing sections gt To load the Minimoog template go to the Preset page gt On the top left of the page you ll find three page tabs PGRM MULTI and NEW Press the contextual button situated directly above NEW gt On the NEW tab you can open different synthesizer templates select the Minimoog using the jog dial or the cursors then validate by pressing the jog dial or the Enter button ARTURIA ORIGIN USER S MANUAL 147 You are now redirected to the Edit page which displays a basic representation of the original Minimoog Before we dive into the features accessible though the LCD screen let s just play the template first using the dedicated hardware buttons There is already a basic sound loaded so you can start playing straight away gt To modify the sound a bit more to your personal taste try turning the Cutoff and Resonance knobs on the Filter section of the front panel gt After that you can tweak the oscillator using the dedicated Oscillator section next the Filter section Using the Waveform encoder you can browse through the different waveforms offered by the Minimoog This only influences Oscillator 1 however and we d like to be able to control the other oscillators using the hardware knobs as well gt To do this turn the Select en
18. the settings it can both change the character of the original sound as well as introduce aliasing noise to the signal Bit Crusher FHT Bit Crush On FH Bit depth Draache em Deloy O flex ES MHo F O Downs ample z 0002 CS Hperience The BitCrusher effect The resulting sound from this effect is decidedly digital in nature which makes it somewhat unique in the range of effects available on the Origin Here is a brief description of the deceptively simple controls that create its unique sound ARTURIA ORIGIN USER S MANUAL 104 Bit Depth 1 16 Changes the word length of the in coming signal 16 no effect 1 fully reduced waveform Default is 8 Downsample 0 10 Modifies the base sample rate of the signal by factors This introduces aliasing and inharmonic artifacts as the value increases Default is 2 Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting In this case you can also control this parameter using the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet 8 7 3 2 Chorus The Chorus is a stereo effect that delays and continuously modulates the pitch of the original signal in small amounts with an internally controlled LFO You can make the sound wider by modifying
19. 16 4 1 BION DANG ee EE 16 4 1 1 JUDU OET EE 16 4 1 2 Jaen ee WEE 16 4 1 3 JOVSICK SECON ER 17 4 1 4 EE SCC O eet 17 ATAT OSSEWA SCCO EE 17 ANA FESC ge NEE 17 AA ERO SOCION EE 17 414A Envelope Section ME 17 4 1 5 EE SECON ee 18 4 1 6 SOUNG Select SCCCION EE 18 4 1 7 MIKEL SCCEION s eeh 18 4 1 8 ETTECUS SECOM ere ee EEN gg 19 4 1 9 DEGUENICESECUION eebe eebe 19 4 2 Rue ie eng ee e eo a ne ico scee ke eset cee ste A A A 19 4 2 1 TAE COM E 20 4 2 2 TAS KEV MECHANISM E 20 4 2 3 Pitch and Modulation wheels sesesessssssesesesesesesesesesesesescssesececeseseseseseseo 20 4 2 4 OCLV e EE 20 4 2 5 RIDDOM RE L e EEN 20 4 3 FCAT LING Une see Meera eet lee ere eect trae ee patios ce tree ae ere ced cla Tae a ee EE 21 5 KEE EE 22 5 1 Connectine the AG DE DOWER EEN 22 5 2 Connectne Orom to NeadPhoneS erie steals a seeerenic oe E eA EEE EEE E E minster 23 59 Connecting Origin s analog outputs to external audio equipment ssssssesesesssseseeees 23 5 3 1 Mam Ae e EEN 23 5 3 2 HK AE A EI e EE 23 5 4 Connecting Origin to digital audio equipment ccc cece cence cence ceeeecceeecceeseceeees 23 5 9 Connecting pedals and Re gei EE 23 5 6 Connecting extermnatMIDreguib menta ee EE EE 24 5 6 1 Using Origin EIERE eg 24 5 6 2 Usne et EB RT eege EE 24 5 6 3 MIDI channel settings Getting ready to Day 24 ARTURIA ORIGIN USER S MANUAL D7 Bil egle ali gell ei EE 24 5 8 Connecting the audio inputs INPUT jacks aaen
20. 182 13 3 TEE 182 13 4 PURO PE EE RE cutte anu TE A dias on Ven ain E RN AE aw wut as en acne mere raat 182 14 APDERNAIX co eae ea aa EE EH 183 14 1 General Speciicatiohns anne eratecarae cn A ctine erarecur A areca erates 183 14 2 NOCH HEET 184 ARTURIA ORIGIN USER S MANUAL 1 SPECIAL MESSAGE SECTION 1 1 Generalities This device uses an external power adapter Do not connect this product to any other power supply or adapter than the one described in this manual specially recommended by ARTURIA WARNING Do not place this product in a place or position where one might walk on trip over or roll anything over the power or connecting cords The use of an extension cord is not recommended If you must use one make sure that the cord has the ability to handle maximum current needed by this product Please consult a local electrician for more information on your power requirements This product should be used only with the components supplied or recommended by ARTURIA When used with any other components please observe all safety markings and instructions that accompany the accessory products Specifications Subject to Change The information contained in this manual is believed to be correct at the time of printing However ARTURIA reserves the right to change or modify any of the specifications without notice or obligation to update existing units IMPORTANT Always follow the basic precautions listed belo
21. 25 6 WASOME EE EE EE EE 26 6 1 Overview of the global structure Of Oroimena anian EAE EE EE 26 6 2 PRSPO IDEO S EE a a E A EE E E 26 6 3 AG OSIWUUETIDS RESO cten E E A A A E E a yariac tia cuaator 28 7 CHUTE RES Cais rations feiss EE 30 7 1 Turning on the power and adjusting the volume ccc cece ccc eeccceeecceeeeceeecceeeeees 30 7 2 ene d Ee E EE 31 7 3 Demo DAVDACK A E AA E A AE E EA E A A E N o 31 7 4 Ee 32 e EE EE EE 33 7 6 DAVIN vy OUP KIELEN 34 7 7 AAG AIMOGULEXCOnV OUI PrESE E cia coaccs a eeoncue E 35 7 8 Using the le atelier ul 36 GG re EE 40 7 10 Usina ENE EEN EE 41 7 11 Adding modulation with the Galaxy module ecr erar rnanan are ERE EEE 44 LAL WMS ETI CTSS CEH ONEI i cme mae EE 45 KO Ke NR e e EE 45 Tele OCU A et ere aces ak oe nw crease ete ee wig eee oc sido ee ce oe eee ess 46 8 Sal lu PAGES yaw a E E A ars A EEN 47 8 1 PONIES EEN 47 8 1 1 Ae EE 47 8 1 2 Mal CAD WEE 48 8 1 3 Mixte ge SE 49 8 1 4 TeS eNNI e e 50 Skal ie MIDI AG Gece sar E AEE E 51 En E Der GE Kn SyStei 1 et 52 8 1t4 3 TNE System Ee E 54 8 1 4 4 Velocity Aftertouch page Origin Keyboard on 54 Gecke RESEC COMUPO ege e ee ted onednces ence dedpted eee E a ANES 55 Beic4 6 EXU DUON arenero enaa te gue ch acheter Deca ten Baden eich adnate teat tik 56 8 2 DEE EE EE 56 8 2 1 EE EE 56 8 2 2 The three types of presets Program Multi and New 57 8 2 2 1 Prooran NOSCUncartisate urea EEEE ER AIER ERROR 5 7 EE 57 ee NEW PTEO
22. A F buttons and do the same for the other points From there the only modifiable parameters are the durations of the movements of the joystick between each point labeled T1 2 to TRel Env 2D This button activates the 2D Envelope ARTURIA ORIGIN USER S MANUAL 139 Joystick OFF 1 2 3 Selects which Mode of the front panel Joystick will influence control the settings for this instance of the Joy Mixer Loop mode The LOOP mode function applies a loop between some points of the envelope OFF 1 gt 4 2 gt 4 3 gt 4 or 1 gt lt 4 2 gt lt 4 3 gt lt 4 When the key is released the loop is interrupted and goes from the last reached point to point R Repeat The REPEAT function repeats the movement cycle of the joystick from 1 to 7 or indefinitely Cyclic T1 gt 2 TRel Set the 5 values of times for automate the movements of the joystick between each point The Input connections Trig Input trigger signal connection for the 2D envelope If this is not connected then the envelope is free running When connected the envelope starts when the note is triggered and when released the envelope moves from its current point in the envelope loop process and transitions directly to point R Audio A D These are the dedicated inputs for an audio module on each of the 4 joystick directions Mod X Connect a modulation sources to automate the modulation of the X axis Mod Y Connec
23. ARTURIA ORIGIN USER S MANUAL 110 The Live page is the place where you can set macro level edits for each area of the analog section as well as configure the joystick and view the assignment of the rotary encoders placed on each side of the LCD panel The Live tab within the Live page can be particularly important while jamming but can also be a boon when manipulating a program during sequencing or recording The Live page also allows access to tabs that enable you to set the routing of MIDI controllers to various destinations within the Origin as well as a tab for setting the joystick layout for each of three modes of operation When you look at the Live page display area you can see a series of tabs along the top of the LCD screen These tabs are selected by the corresponding button along the top of the LCD screen These include The Live tab which is the default for the Live page The Macro tabs OSC FILTER LFO and ENV The Advanced Joystick JOYSTK tab The MIDI Edit MIDI tab 15 PS E 0HefeH emer Holts eee oz eae i LTR i reson Pea O o EE ee oystickr med El pos ai Las en FLTE epi SE Leon ER resonance Hame Ear Muti Sen TT The Live page 8 8 2 The Live tab The Live tab shows an overview of all the front panel assignations of the current program By itself it has no functions and is only intended to give an overview
24. Ea 2 m Drumz lil ful Sub Boss m etc SE MS SE Wintase E NIK 000 Dark Side BOs Droa 1 0000 Openings Select the demo song ARTURIA ORIGIN USER S MANUAL 31 7 4 Playing Program presets The presets allow you to choose synthesis parameters as well as the player settings monophonic polyphonic sequencer effects parameters and more with a single selection In Origin a Program contains all the parameter settings of the synthesizer the various real time controllers configuration ex velocity aftertouch pitch bend controller assignments as well as the effects and the sequencer settings necessary to reproduce the sound Origin is delivered with more than 400 factory Program presets that allow you to become acquainted with the sounds of the synthesizer You can also create a new sound from the Preset window To become more familiar with the various sounds offered in Origin we are going to select the preset 050 named Reso_Pad gt Remaining on the Home page select the number 0050 by turning the jog dial or using the 66 99 or buttons located in the Sound Select section SOFTWARE amp HARDWARE Select the preset on the Home page thanks to the jog dial gt Alternatively you can type the numbers manually using the numeric key pad in the Sound Select section were e e ee e re rm ee rm ee rm rm rm e rm rm e re re e e rm rm e rm re e
25. Enter or the jog dial or press the Assign switch in the sequencer section of the front panel Subsequence 1 Outputs ACCEHT 1 HOT COMHECTED mut 7 171 FLT FH Trig 1 HOT COMHECTED The connections and amount settings You will find three types of output connections available for each sub sequence Accent 1 3 This is the output of the accent envelope This signal depends on the configuration of the accent for the current sub sequence see below This envelope can be activated and deactivated separately for each step of the sub sequence Out 1 3 This is the main sequencer modulation output Connect this to pitch inputs in order to have melodic sequences or to the volumes in order to use the sequencer encoders to set the velocity of a drum sound You can also connect it to any other parameter to obtain complex modulation patterns This output depends on the value of each step Trig 1 3 This is the trigger signal delivered by the current sub sequence This signal turns ON when the sequencer enters a step where the Trig is activated then it turns OFF depending on the steps length Connect it to the envelopes Trig input for standard melodic or rhythmic operation The Amount knobs allows setting the modulation levels of the sub sequence outputs while the B for bipolar or U for Unipolar selector allows you to set the polarity of the selected modulation wrt rm rm
26. It can create a full range of velocity and channel aftertouch values The velocity and aftertouch response curves can be programmed through the SETTING gt Velocity Aftertouch screen available on the Home page This allows you to tailor the response of the keyboard to your playing style Details on programming velocity and aftertouch curves can be found later in this document 4 2 3 Pitch and Modulation wheels The pitch and modulation wheels are located to the left of the keyboard mechanism As is standard with most keyboards the pitch wheel is center spring loaded and the modulation wheel moves freely through its full range Aside from the usual pitch bend functions the pitch wheel can also be used as a general modulator which is accessed from the Performance tab on the Program Progr page The modulation wheel programming can also be accessed on that page These features are described later in this document 4 2 4 Octave switches The octave switches allow you to access a wider range of notes than are available on the physical key mechanism Press the Up button to shift the keyboard to a higher octave and likewise press the Down button to shift the keyboard to a lower octave The LEDs above the buttons indicate which octave the keyboard is currently playing E ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee et ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee et ee et et te et et et et te et et et et et et et et ee et et ee ee ee eee eH
27. ORIGIN USER S MANUAL 134 Origin filter This filter is a special low CPU cost Origin filter This module offers very good sound characteristics for a low CPU cost You can use it for a very big preset including lots of audio modules Filter 1 Inputs AUDIO 171 Hut AUDIO FH 178 AduJoay Out G E FH 171 AdyJoy1 Out C3 E AH HOT COHHECTED O Outputs AUDI 171 OUT AUDIO The Origin filter The Frequency knob sets the cut off frequency of the filter The Resonance knob sets the amplification amount of frequencies close to the cut off frequency The other frequencies are either unchanged below the cut off frequency or reduced above the cut off frequency When you increase the resonance the cutoff frequency is more and more amplified At very high resonance values the filter starts to self oscillate giving a sort of whistle sound The Type selection box selects the filter type It offers a wide variety of filter types 4P LP or 2P LP select a low pass filter In this mode the filter progressively attenuates frequencies above the cut off frequency 4P LP selects a 4 pole 24dB Oct slope 2P LP selects a 2 pole 12dB Oct slope 4P HP 2P HP or 1P HP select a high pass filter This filter acts as the inverse of a low pass filter It progressively attenuates frequencies below the cut off frequency 4P HP selects a 4 pole 24dB Oct slope 2P HP selects a 2 pole 12dB Oct Slope
28. PATE HODE EWIHG Connect HOT OQUAHTIZED 0001 3 Osc Tweak the knobs of the Seq 2 line gt Now let s trigger envelope 2 using sub sequence 2 Press the Trig button to enter trigger edition mode Select the steps on which you want the envelope to be triggered by pressing one of the 1 16 buttons You can hear the envelope 2 starting on these steps to bring some different rhythm motifs Pe A E ee E R O E ee ee ee E E E R E E ee ge a E R ee E E ee ee ee RA ee ae E O ee NOTE You can change the values of the Decay and or Sustain parameters on the analog panel to hear a better result within the current sequence i Now let s save the program with its sequence gt Press the Save button A dialog box appears allowing you to save your Program preset on an empty user slot At the bottom of the dialog the Save Sequence H01 is checked by default Press the Save button one again to confirm the saving action gt Another dialog box then appears allowing you to save the sequence gt Select the current K bank and the 01 sub bank for your sequence gt If you wish to save your sequence on another place select the Save as option and choose another memory bank from to P and number from 1 to 16 gt Press the Save button to confirm the saving action BESET Dot I D D g n D D D Slobale Leg Sequence Hi L k Saue Saue As fF Swoop EMPTY Press SA
29. Program Multi or Sequence folders to find presets on those categories Refresh refreshes the data showed in the panel Useful if this seems to be out of sync Search 1 2 these two buttons are key search buttons It allows users to select among keys to find presets The keys are Synth Origin Minimoog Type Ambient Arpeggio Bass Bell Project or Designer ARTURIA ORIGIN USER S MANUAL 172 Erase erases the selected program s on Origin 12 2 3 Computer panel Origin Computer Search 1 None Search 2 Refresh My presets Yla Origin Sound Banks gt JMB ze first ones 7T JMB Bank minimoog_6 0 2 Programs Classic 3 0sc Synth Minimoog Project IMB Smooth Lead Synth Mining Project IMB Mini Bell Synth Minimoog Project IMB Mini Marimba Synth Minimeag Project JMB gt A Good Sound Synth Minimoog Project JMB P Goom Bass Synth Minimeeg Project IMB K E Lucky Man Synth Minimoog Prajac JMB E L P Trilogy Synth Mimimocog Project IMB gt Moon Chord Synth Minimoog Project JMB R W Artur Ld Synth Minimoog Project IMB gt RW Come n Synth Minimoog Project JMB R W Catherine synth Minimeag Project IMB Drone and Ld Synth Minimoog Prolect JMB Memory Voices Synth Minimasg Project IMB Moog Stings Synth Minimeog Project JMB last JIMB_07_07_08 e New JM_betaversion_6 0 3 F Prob bells T Programs Prob Bell Jsk Synth Cerig
30. Refresh Slot Name Synth Project Designer 400 House Dru Origin IMB IMB be 401 Dub Drums Onigin JMB IMB 402 EleKtRO D Origin JMB JMB 403 Accoustic Origin JMB JMB 404 Trance Dru Origin IMB IMB 405 303 Delight Origin IMB JMB 406 Prob Bell Jsk Origin JMB Imb 407 Classic 3 0sc Minimoog JMB Jm 408 Smooth Le Minimoog JMB Imb 409 Mini Bell Minimoog IMB Jmb 410 Mini Marnm Minimoog IMB jmb 411 A Good So Minimoog JMB jmb 412 Goom Bass Minimoog JMB Imb 413 K E Lucky Minimoog JMB Jm 414 E L P Trilogy Minimoog JMB jmb 415 Moon Chord Minimoog JMB Jmb 416 R W Artur Ld Minimoog JMB Imb 417 R W ComeOn Minimoog JMB Jmb 418 R W Cathe Minimoog JMB imb 419 ElectrOrigin Origin JMB Test 470 Psy B Vision Origin IMB Test 421 Trip To Goa Origin IMB Test 472 Monster M Origin JMB Test 423 ProS Bell Mw Origin JMB Test 424 OB Ping P Origin IMB JM Blanchet 425 JPS Design Origin JMB JMB 476 2 Seq Lay Origin JMB lm ADF Fede lifa Ariain IMA IMA he Efase The Origin panel The Origin Panel is composed by 5 buttons and a list which is a representation of the User presets currently stored in the Origin The user can see the programs the multi or the sequences He has to select what he wants to see by clicking on the tab at the top of the panel Here is a simple description of the buttons Computer switch to a Computer or Origin Panel Program Multi Sequences these three buttons allow users to overview among
31. Reso Ge Origin IMB IMB Aa Diiira Lleliea Aran TRAA iiit Erase selected presets ims selected Erase Erase a preset eee ee a aaa ee ee ee i aa ee ee at Te TaN a ee ND ee a en a nn aa en ee WARNING You will not forget that the erased presets will not be repaired there is no trashcan or similar function in Origin so use this feature with great care wee e ee rm ee rm e ee rm e rm rm e ee rm e rm rm e e eB e e rm rm e e rm rm e re rm e e rm rm e rm rm ee eB rm e rm rm e e eB ee rm rm e e rm e e rm rm e e rm e e rm rm e e rm ee rm rm e e rm rm e rm rm e e rm e e rm rm e e rm e e rm rm e e rm e e rm rm ee rm e e rm rm ee ee e zi ARTURIA ORIGIN USER S MANUAL 178 12 5 Origin update gt To update the firmware of Origin you have to go in the menu Action gt Origin Update gt Then select the update file through a file browser Instructions are displayed on the Computers screen to be followed The firmware update generally takes about 20 minutes but it may take more time depending on the computer s performance Action a Create new Sound Bank si Get new Backup a Reload existing Backup ou Origin Update The firmware update menu 3 A WARNING Never interrupt the update process once the operation starts It could produce 3 some irremediable troubles on the Origin s DSP ARTURIA ORIGIN USER S MANUAL 179 13 ARTURIA ORIGIN SOFTWARE LEGAL INFORMATION 13 1 SOFTWARE LICENSE AGREEM
32. S MANUAL 36 Choose a template Empty Program Simple Program Stondoard Synth Organ St ereo Filt ers Cragy Fr i 0000 Opening Home Preset Progr Edit Multi Seq FX Live gt re ee eee ee eee Select a new Minimoog template preset gt Select the Minimoog using data dial or the cursors then press the data dial or the enter button gt You are now redirected to the edit page which displays a basic representation of the original Minimoog Before we dive into the features accessible though the LCD screen let s just play the template first using the dedicated hardware buttons aT AA J O4OS EMPTY The Minimoog template interface There is already a sound loaded so you can start playing straight away To modify the sound a bit more to our personal taste try turning the Cutoff and Resonance knobs on the Filter section of the Analog Section on the front panel ARTURIA ORIGIN USER S MANUAL 37 Select Turning the Cutoff and Resonance knobs on the Filter section After that you can tweak the oscillator using the dedicated Oscillator section next the Filter section gt Using the Waveform encoder you can browse through the different waveforms offered by the Minimoog gt The waveform knob only influences oscillator 1 however and we d like to be able to control the other oscillators using the hardware knobs as well To do this turn the Select encoder
33. Square Sine Random PW knob which sets the pulse width of the square signal or the phase of the triangle and the sawtooth waves Delay setting parameter for delay time setting after a keyboard Trigg Fade in setting parameter of the time constant for the increase of modulation Sync tempo internal or MIDI synchronization ON OFF The Input connections Trigg input trigger signal connection for the envelope AM this input allows you to modulate the audio output from the LFO An LFO or envelopes are the most common modulator modules for this kind of modulation FM the FM modulation allows you to modulate the frequency from the LFO The LFO or envelopes are the most common modulator module for FM The result is interesting for changing the rate of the LFO for special effects or random frequency modulations PWM this modulation changes the pulse width of the square signal or the phase of the triangle and the sawtooth waves The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the amount of modulation The Output connections Output This is the output connection of the LFO 9 1 2 5 CV Modulator The CV Modulator allows the user to adjust a modulation control voltage as it is transmitted to a new destination The user can adjust the overall gain scale and offset of the control signal as it passes through this module CUM
34. 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 The two main goals of the oscillator module are to generate the initial sound signal through a waveform generator and to give a basic fixed pitch to this resulted sound We can think of the oscillator like a violin string that once stroked or plucked vibrates to create its sound Oscilator 1 EE Range LS FM Leg Seq out 1 Qe AH Adutoy out di SYNC HOT COMHECTED Codgrse Fine Width AUDI 171 Mix Dudu HHC HOT COMHECTED Internal PWH Amount Pott om An Oscillator module on Origin The main oscillator settings are ARTURIA ORIGIN USER S MANUAL e 11 1 1 1 The Pitch The pitch is determined by the oscillation frequency You can set the frequency of the oscillator with 2 controllers The tuning parameter FREQUENCY which allows you to tune the oscillator by semi tones in a range of 5 octaves The fine tuning parameter FINE which finely tunes the oscillator upwards by a semi tone This parameter gives a bit more life to your sound when you use several oscillators simultaneously due to difference in frequencies between the oscillators 11 1 1 2 The Waveform It is the waveform which determines the harmonic richness of the audio signal On Origin 5 waveforms are available The sawtooth presents the richest a
35. Wheel This selection box determines if the current program responds to pitch bend messages The pitch wheel value will continue to be available in the Pitch Bend modulation signal Bend Range This selection box sets the range of the pitch bend wheel in semitones For example 2 means that the pitch bend range is 2 semitones TAE This knob sets the amount for the TAE circuitry applied to the oscillators and filter modules This gives your sound a more realistic analog feel ARTURIA ORIGIN USER S MANUAL 76 8 4 Edit page The Edit page is the nerve center of the Origin Program preset From here you assemble oscillators filters envelopes and other processors and modifiers along with all of the related routing in order to create the core of your sound Since the number of combinations and permutations is nearly limitless this section will focus on the primitives i e the basic functions and controls that are available within the Edit page Specific descriptions of the modules will be covered in chapter 9 of this manual Here in the upper menu bar as in all other Origin pages rounded buttons on the left are used for tab selection while rectangular buttons on the right are used as function buttons switches Understanding how each of these functions operates within the context of each view is important to getting the most out of programming presets for the Origin directly through the front
36. affect the synthesizer directly LOCAL OFF mode sends all MIDI data directly to the MIDI USB port without triggering any sound or control The latter mode is recommended for use with a sequencer or other external equipment When the Keyboard Mode is set to LOCAL ON the MIDI output of Origin Keyboard is either on the Program Mode channel if Origin is in Program mode or given by the zones configuration if Origin is in Multi mode If the Keyboard Mode is set to LOCAL OFF all MIDI data generated by Origin will be on the Program Mode channel whatever the current preset is Program Mode Channel 1 16 The Program Mode channel only concerns Program presets it determines to which MIDI channel the Program presets responds For the Multi presets the MIDI input channel is set on the per program basis within the Multi page The default value is 1 ARTURIA ORIGIN USER S MANUAL 51 Master Control Channel 1 16 The Master Control Channel is used to receive global preset changes Program Change and Bank Select MIDI messages In Multi mode sending such a message to Origin on the Master Control Channel will result in a change of the entire Multi preset instead of changing the preset on one slot Global Synchro Inter MClock The global synchronization can either be controlled internally or through MIDI Clock data from another device in most cases a host sequencer The default value is Inter Receive Control Change ON OFF
37. and so on The sound of the ARP oscillator can be very precise and sharp especially due to its precise tuning when compared to for example the Moog oscillators This is especially true for the sawtooth waveform which sounds more aggressive than the other oscillators ARTURIA ORIGIN USER S MANUAL 120 The Pitch Oscillator Osc Frequency Ed 1 1 24 Fine Tune Inputs 173 5q Gut 1 E 171 AdwJoy out di 171 AduJoy Out e E ODutputs Pulse Width 107 Fo 304 AUDIC 171 Mix Audic 1 kange 16 Waugtotrtm SOUARE The ARP 2600 oscillator The pitch is defined by the oscillator frequency You can set the frequency with 3 controllers The Osc frequency slider adjusts the frequency of the oscillator in semi tones This knob ranges from minus 2 to 2 octaves above the fundamental frequency The Fine tune slider allows you to tune the oscillator more precisely It ranges from 1 to 1 semitone The Range selector determines the fundamental frequency expressed in feet 32 brings the lowest audible frequencies 4 brings the highest audible frequencies The LOW setting lets you use the oscillator as a low frequency oscillator LFO to modulate other parameters The waveforms The waveforms define the sonic characteristic of the oscillator s sound The sawtooth presents the richest audio signal of the waveforms It contains all of the harmonics at decreasing volume levels
38. as Groove mode When the sequencer is locked in Groove mode the Trig button acts as a control that switches the loop function on and off When the LOCK is deactivated the Trig button sets the steps in a programming mode to show and modify whether each step sends a trigger as the cycle reaches that position In this mode if the light for a step is active then it will send a trigger when that step plays as part of the sequence To prevent the step from sending a trigger simply press the button at that step position and you will see the backlight dim and the position for that step in the LCD screen turn gray This indicates that the step will not send a trigger when played NOTE The Trig output of the sequencer is usually connected to an envelope which is then connected to a filter cutoff or a VCA volume control for example The Accent button also serves dual purposes When in Groove mode it is used as a multiplier for the range of steps that are active for a given loop This means it will expand the number of steps that will loop when the Trig button is activated When LOCK is deactivated the Accent button is used to activate that editing mode for the sequence It behaves very similarly to the Trig function Once selected simply activate the desired steps where the accent envelope is to be triggered for each step of the selected sub sequence The button for each step will indicate which steps will s
39. brings the highest audible frequencies The LO setting lets you use the oscillator as a low frequency oscillator LFO to modulate other parameters The Fine tune knob allows you to tune the oscillator more precisely This can be used to create detuning effects The Coarse tune knob adjusts the frequency of the oscillator in semi tones This knob ranges from minus 2 to 2 octaves above the fundamental frequency The waveforms The waveforms define the sonic characteristic of the oscillators sound The Sawtooth presents the richest audio signal of the waveforms It contains all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass sounds bass sounds or rich lead and pads The Square possesses a more hollow sound that the sawtooth It only contains odd harmonics with lower amplitudes for higher harmonics This waveform can be used for sub bass sounds that come out well in the mix the square oscillator is often set an octave below that of the sawtooth wood sounds clarinet if the square signal is a little filtered etc The Triangle can be considered as a filtered and soft square signal It contains only odd harmonics at very low amplitudes Use this waveform for example for sub basses and flute sounds The Sine is the purest available waveform It contains only one harmonic referred to as the fundamental Use it for example to reinforce the low end of a bass soun
40. contains odd harmonics with lower amplitudes for higher harmonics This waveform can be used for sub bass sounds that comes out well in the mix the square oscillator is often set an octave below that of the sawtooth wood sounds clarinet if the square signal is a little filtered etc The Wide rectangle is a rectangle waveform which has a pulse width setting at around 35 The Narrow rectangle is a rectangle waveform which has a pulse width setting at around 15 The Asymmetric triangle called saw tri is a specific waveform on the Minimoog This waveform produces a timbre between to the triangle and a sawtooth This waveform is very usable for smooth and soft lead sounds or basses for example The triangle can be considered as a filtered and soft square signal It contains only odd harmonics at very low amplitudes Use this waveform for example for sub basses and flute sounds The White noise waveform white no produces acoustic energy across a broad spectrum of frequencies with no discernible fundamental or harmonic signature For ORIGIN USER S MANUAL 119 this reason the noise module is used to create different noises like the imitation of wind or special effects E ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee te et et ee ee et et ee ee ee ee ee ee et et ee ee ee ee et et ee et et et ee et et et et et et et ee et et et er ee et ee et ee eH eH NOTE On the original Minimoog the
41. display red blue green and yellow and when you select a particular destination it changes to the color that corresponds to the control that is assigned to it Also note that when you return to the Live tab on the Live page the new assignment is now reflected in the location of the display corresponding to that Live Encoder ARTURIA ORIGIN USER S MANUAL 116 9 MODULES In this chapter you will find a description of all the modules included in the modular structure the Edit page when an Origin program preset is selected All modules offer two different panels a controllers panel and a connections panel The left panel includes all the dedicated real time parameters showing the main parameters of the module for example the oscillator s range coarse and fine tune pulse width and waveform selection parameters Oscillator 1 nonce E Cogrse Fine Width Internal PWH Amount Pott Pa O O The left panel of an oscillator module gt As a general principle to set the parameters of the modules press the lt gt or A V buttons to select the desired knob of dialog box and press the jog dial to validate the selection highlighted in red gt Then turn the dial to set the parameter e NOTE If you wish to manually edit an oscillator filter VCA LFO and envelope modules you can use the hardware dedicated knobs or encoders situated included on the analog control panel on the
42. ee ee ee rm rm rm rm rm rm em em e e e e e e e e ee ee ee rm rm rm rm rm rm ee ee rm rm rm rm rm rm rm rm em e e e e e e e ee ee ee ee rm rm rm rm rm rm ee ee rm rm rm rm rm rm rm em e e e e e e e e e ee ee eee L Zone Transpose this is a general transposition for the keyboard zone All programs assigned to the zone are transposed This control is independent from the transpose control at the Multi slot level Local Mode Origin Keyboard ONLY ON OFF If ON this zone will react both to the Origin integrated Keyboard and to external MIDI If OFF the zone will react only to external MIDI This can be useful in order to set up a multi where one zone is played using the Origin Keyboard and another zone is played using another master keyboard Note if the global MIDI settings are set to LOCAL OFF in the Home gt Settings gt MIDI page then even if a zone is set to local ON it won t react to the Origin Keyboard The global setting has higher priority meee em rm ee ee rm rm ee mm rm eB mm mm rm ee mm rm eB mm ee eB em rm rm eB ee rm rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm ee eB mm mm rm eB em mm rm ee rm rm eB ee mm eB eB mm mm rm eB mm mm rm eB mm mm rm eB em ee eB mm mm rm eB em rm rm eB eB mm mm rm eB mm mm rm ee mm rm ee mm rm eB ee rm eB mm mm A A mi Hardware controllers ON OFF these switches are used to set whether a zone and all its assigned programs should handle each controller Example let s say you make a sp
43. g preset dump software updates E e rm ee ee ee ee rm rm ee rm rm rm ee rm rm ee rm rm ee rm rm rm mm rm rm rm mm rm rm rm rm rm rm rm rm rm rm rm ee rm rm ee rm rm rm rm rm rm eB mm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm ee rm rm rm rm mm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm ee rm rm eB eB rm rm eK NOTE The USB interface provides multi port MIDI operations which are not available with a classic single MIDI connection MIDI In Out Thru Connectors used for the MIDI communication with other MIDI devices In receives MIDI data from another device Connect this to another device s MIDI Out or Thru Out sends MIDI data to another device connect this to another device s MIDI In Thru sends thru MIDI data received at the MIDI In port This allows you to chain multiple MIDI devices Footswitch Pedal input Works with any standard normally open or normally closed momentary footswitch It is usually used for a sustain pedal controller Expression Pedal input This input can be connected to a standard expression pedal Auxiliary outputs 1 8 These eight audio auxiliary balanced outputs are independent of the MAIN audio outputs This way you can process each of the program outputs in multi mode separately Master out L R Origin s main balanced stereo outputs Inputs L R These connectors are mainly used to connect external audio devices CD pla
44. have an individual frequency The Galaxy module has the following global parameters Sync This selection box allows you to sync the frequency of the Galaxy LFOs to the internal or external clock Phi This knob allows you to manually set the angle between the A B and X Y plane All three Galaxy LFOs have the following identical parameters The upper selection box directly under the LFOs name selects the waveforms of the respective LFO The galaxy LFOs offer four waveforms sawtooth saw square sine and triangle tri The middle selection box sets the frequency of the corresponding LFO The lower Amount knob sets the amplitude of the corresponding LFO Output connections Output Y The Y projection modulation output Output X The X projection modulation output gt To choose a modulation destination for the Output Y and Output X modulation slots select the desired connection box thank to the jog dial and the A Y buttons ARTURIA ORIGIN USER S MANUAL 72 PERF sala Mode Poly Peset HOT COHHECTED Ca Oscillator 1 Oscillator Filter 1 Envelope 1 Envelope Z Output 1 i Poly Leo 1 LFo A LFo E W MiniMixer 1 ZIHE SINE SIHE Mono 1 Mono Lfo 1 T 75 12 00 Totehetel Mono L o Globale Amount Amount Amount Galaxy s modulation output connections gt Set the waveforms and the frequencies of the respective LFOs using the A Y buttons and to the jog di
45. in high frequencies Its sound is ideal for brass sounds bass sounds or rich lead and pads The square possesses a more hollow sound than the sawtooth It only contains odd harmonics with lower amplitudes for higher harmonics This waveform can be used for sub bass sounds that comes out well in the mix the square oscillator is often set an octave below that of the sawtooth wood sounds clarinet if the square signal is a little filtered etc The sine is the purest available waveform It contains only one harmonic referred to as the fundamental Use it for example to reinforce the low end of a bass sound or as a modulation source in FM routings The triangle can be considered as a filtered and soft square signal It contains only odd harmonics at very low amplitudes Use this waveform for example for sub basses and flute sounds The white no white noise waveform produces acoustic energy across a broad spectrum of frequencies with no discernible fundamental or harmonic signature For this reason the noise module is used to create different noises like the imitation of wind or special effects The PW knob allows you to manually modify the waveform cycle of the square wave This setting is only available when the square waveform is selected The Input connections ARTURIA FM The FM modulation allows you to modulate the frequency of the oscillator You can connect for example a LFO for vibra
46. in the lower right corner of the display area Likewise you will see a graphic representation of the program template that is selected For individual programs you can see PGM in the lower left corner of the display area and one graphic that represents the type of synthesizer template used as the basis for the patch When a multi is selected you can see Multi in the lower left corner of the display with up to four graphics These graphics represent the four Slots within the multi and correspond to the type of template used for each program within the multi ARTURIA ORIGIN USER S MANUAL 56 8 2 2 The three types of presets Program Multi and New There are two tabs within the Preset Page Program PGRM and Multi MULTI When you select a preset within a certain numeric range the Preset page automatically jumps to the appropriate tab as needed to show the correct Program Multi data Selecting a preset number from 0000 0999 jumps to the PGRM tab if it is not already the active tab values from 1000 1255 jumps to the MULTI tab if it is not already the active tab The preset tabs 8 2 2 1 Program Preset The Program is the name used to describe the base level sound production entity within the Origin synthesizer When you are creating the next monster preset in the Edit or Progr pages you re editing on a Program level A Program contains all synthesizer modules including sound generation and real
47. is clicked the process starts The process time is approximately the same as the backup time Action Create new Sound Bank a Get new Backup al Reload existing Backup o Origin Update Reload an existing backup A WARNING It s impossible to cancel a backup reload after it starts so it is highly recommended to make a Backup of the preset currently on Origin before reloading an old one It is the surest way not to lose presets ARTURIA ORIGIN USER S MANUAL 176 12 3 4 Preset transfer There are 4 types of transfer From Origin to Computer From Computer to Origin From Origin to Origin From Computer to Computer 12 3 5 Origin to Computer transfer This type of transfer corresponds to the sending of presets from Origin into Bank and NOT into Backups it is forbidden There are two ways to do this With a drag and drop operation By clicking on the transfer buttons The selected preset s is are added in the list of the Bank presets T e Programe 465 EMPTY t Classic 30st Synth Minime Fraject IME AET Y Smooth Lead Syrth Mine Project IMB 466 EMPTY Mini Bell Synth Minimeag Project 1MB 467 EMPTY Mini Marimba Synth Minimeag Projest IME 468 EMPTY A Good Sound Synth Minimesg Praject JMB 469 EMPTY t Goom Bass Syiti Minitioag Project IMB AO EMPTY K E Lucky Man Synth Kinos Prefect IME j 471 EMPTY e Move Presets from the Left to the Right gt E L P Tri
48. left of the LCD screen L we vm e e rm em rm rm e rm em rm rm rm rm em rm rm rm rm em rm rm rm rm rm rm rm em rm rm rm rm em rm rm rm rm rm rm rm rm rm rm rm rm mm rm rm rm rm em rm rm rm rm rm rm rm mm rm rm rm rm mm rm rm rm rm em rm rm rm rm rm rm rm mm rm rm rm rm em rm rm rm rm rm rm rm rm rm rm rm rm em rm rm rm rm em rm rm rm rm rm rm rm mm rm rm rm rm mm rm rm mm vm e sl Each module has audio and modulation inputs and outputs The right panel includes all the dedicated Inputs and Outputs audio or modulation connections Inputs m 2 seq ont O AH HOT COMHECTED O PWH Lil AduJdow Out C E ZHE HOT CoOHHECTED Outputs HUDIO 171 Mix Audic 1 HHC HOT COMHECTED The right panel of an oscillator module To select the modulation input menus gt Go to the connection menu s box using the jog dial or the A Y or the lt P gt buttons gt Press the jog dial or the Enter button to open the menu and select a new modulation input ARTURIA ORIGIN USER S MANUAL 117 gt Use the jog dial to cycle through the menus When you have found the appropriate menu you can either press the jog dial the Enter button or the Exit button E ee ee ee ee ee ee ee ee ee ee et te ee ee ee ee ee ee ee ee ee ee ee ee ee et ee ee et ee ee ee ee ee et et ee ee et et ee et et et et et et et et et et et er et ee er er er ee ee ee ee eH NOTE You can make several connections on the same port The total number of conn
49. loaded The right area of the MAIN tab provides basic information on the selected preset through the PROGRAM MULTI INFO This area shows PROGRAM INFO when a PROGRAM preset is selected location 0000 0999 and shows as MULTI INFO when a MULTI preset is selected location 1000 1255 When a PROGRAM is selected the panel shows the preset ID name designer project type and synth template Program INFO Id 0 Home Opt nin Desizner JME Project rturrd Typ Ambient Synth Orizin The PROGRAM INFO area ARTURIA ORIGIN USER S MANUAL 48 When a MULTI is selected the panel shows the preset ID name designer and project In the lower portion of the MAIN tab you can also see the preset number and name in the lower right corner of the display area In the lower left corner you can see a graphic representation of the PROGRAM template that is selected For a PROGRAM you can see PGM in the lower left corner of the display area and one graphic that represents the type of synthesizer template used as the basis for the preset Likewise when a MULTI is selected you can see MULTI in the lower left corner of the display with up to four graphics representing the four slots within the multi program corresponding to the type of PROGRAM templates used within the current MULTI preset When a PROGRAM is selected the PROGRAM INFO panel contains a PREVIEW button Selecting this allows you to hear a sequenced
50. mixer in Multi mode 91 8 5 9 Editing Programs from the Multi page 92 Ee Si Wale GE WR MUU WEE 92 Sokl EI EE 93 8 6 sequencen PAGS r aAA A EE 94 8 6 1 ThS SLED SCOUCIIC CE EE 94 8 6 1 1 The sequencer s hardware real time controllers sesessesesossesessesescesesees 94 80 1 2 LEET Ee 96 80h EE 97 8 6 1 4 The Globals settings of the sequencer cece cece eee c cece cceeecceeeeceeeecees 100 S610 SaVe and SaVve as ad SECUCNCE EE 100 EENS The Swap ODON EE 102 8 6 1 7 Delete a sequence pattern AAA EEN EEN AEN 102 8 6 2 lte ee 102 8 7 EE EE EE EE EE 103 8 7 1 OVERVIEW ee g et 103 8 7 2 FX page layout navigation and general Control 104 8 7 3 EE IMOGUIES IM CECAl ee EE ee 104 EE CN WE BICES NO soere eE E srenemete E emma en ea eue pen Gaeuneee oe ume AA 104 EE CONUS cect tec cc eect cater ec ee E ee 105 BaS EE 106 Bere oa MIISLONUION ee 106 Geht Geh EES 107 8 7 30 IROLARY Speake EE 108 CeO GE e LEE 108 E ROM SUI DEE 109 Besos le el E E e e EE 110 8 8 ELE 111 8 8 1 OV ERVICW e 111 8 8 2 TMG Gap tees heen ea cena eae ae eee ee ee ene arena een ete 112 8 8 3 Macr EGIL TAD Seite acannon eee ceca ere es Ae eee ee eee arenes 112 8 8 4 Advanced JOVSUCK ee ee ee e ere 113 Eet sOVEIVICW eebe 113 EE iy NOO E 113 ARTURIA ORIGIN USER S MANUAL 6 8 8 4 3 Selecting and configuring control destinations ccc eee c ees cceeecceeeecees 114 8 8 5 lee e 114 8 8 6 ENC ele 115 EE a
51. mode of editing as it is possible to have one module open for editing while the front panel controls are selected for another module which can radically alter your sound before you discover the discrepancy and could ruin an otherwise sublime editing session ARTURIA ORIGIN USER S MANUAL 80 8 4 3 3 Change module It is possible to exchange the virtual analog oscillators and filters whether to adjust for routing sound capabilities or to compensate for relative DSP CPU consumption There are also several types of envelopes RACK OPIGIH a MIHIMOOG JUPITERS osc SS Gei es E p Ss em mm em em ee 9 Change an Oscillator module to a CS 80 When a module is selected highlighted within the view the Change button becomes active When selected the button transitions to a drop down list that includes the following choices Origin ARP oscillators and filters only CS 80 Minimoog oscillators and filters only Jupiter 8 oscillators and filters only To select an alternate choice simply navigate to the desired selection using the jog dial or A V or lt P gt buttons on the front panel and either press the jog dial or press the Enter button on the front panel to commit the change Where similar routing and settings can be preserved the new module adopts all of the settings and routing of the old module 8 4 3 4 Move The Move function is only available in the patch
52. of the analog section of the front panel of your Origin On each of the OSC FILTER LFO and ENV tabs you will find the following elements On the left there are some knobs that show the current macro value of the most important settings for the chosen module type OSC FILTER LFO or ENV To change the macro values just use the front panel controls from the OSCILLATOR FILTER LFO or ENVELOPE section after having selected the MACRO module with the Select encoder In the middle a list of the instantiated modules of the chosen type OSC FILTER LFO or ENV allows you to choose on which modules the Macro knobs should act To ARTURIA ORIGIN USER S MANUAL 112 select deselect a module select the list and press Enter or the jog dial then using the jog dial or the arrows highlight the module you wish to select deselect and press Enter or the jog dial to select deselect the module Then leave the list by pressing Exit The Control Type parameter allows to choose how the various modules parameters are affected by the Macro parameter In Absolute mode when turning a Macro knob all affected parameters will take the exact value of that knob For example this is useful for pitches in Absolute mode moving the Macro Oscillator pitch knob will change the pitches of all selected oscillators together so they will always be well tuned In Relative mode turning a Macro knob will increase or decreas
53. on the Oscillator section This way you can browse through the different oscillators to select them for editing The hardware knobs in the Oscillator section are always assigned to the selected oscillator Press the Select encoder to access more parameters L Waveform Select When the overall sound is the way you want it to be you can start shaping its amplitude and spectrum over time using the Envelope section By default the amplitude envelope is selected for editing gt To change this turn the Select encoder in the Envelope section and choose the envelope you want to edit Press the Select encoder to access more parameters ARTURIA ORIGIN USER S MANUAL 38 Now we will use some of the features included in the template which are not found on the original Minimoog We will modulate the filter frequency using the velocity so that when we strike a key hard the sound will be brighter gt To do this go to the Edit page where the Minimoog interface is displayed and browse through the different sections using the jog dial or the cursors HODULATI H A A DOS EMPTY The Filter settings gt Go to the Modulation Matrix section and press the data dial or the Enter button You will be presented with a pop up allowing you to route 8 different modulation sources to 8 different targets gt Using the jog dial move to the left slot of the upper row and press the data dial
54. only one instance of the keyboard follower module can be instantiated and it is the first module that is configured by default for any program This is an example of what happens when you have reached the maximum number of instances for an individual module that a program can support Below is a Summary listing of the modules available within the Add menu in the 1 2 5 firmware 1 KB Follow module keyboard follower The Oscillators up to 9 oscillator modules simultaneously Origin ARP 2600 CS 80 Minimoog Jupiter 8 WaveTableOsc up to 4 wavetable oscillator modules simultaneously ToneWheel up to 2 simultaneously The Filters up to 4 Filters modules simultaneously Origin ARP 2600 CS 80 Minimoog ARTURIA ORIGIN USER S MANUAL t9 Jupiter 8 The Envelopes up to 8 envelope modules simultaneously Origin ADSR envelope CS 80 IL AL A D R envelope The VCAs up to 4 VCA modules simultaneously The LFOs up to 4 LFO modules simultaneously The MiniMixer up to 4 minimixer modules simultaneously 1 RingMod 1 BodShift 1 JoyMixer 8 CV Modulators 8 4 3 2 Open Edit Close a module In order to perform detailed editing on a specific module in a view you can open a module in order to access all of the available parameters and routing capabilities gt Simply navigate to the desired module using the front panel A Y or lt gt buttons or jog dial and then either press Enter or the jog dial to bring up the full view of
55. oscillators or any other audio sources The Minimixer doesn t have a modulation input so the settings are done manually ARTURIA ORIGIN USER S MANUAL 161 Inputs Audio 1 171 DSCT AUDIO Audio 171 OSCE AUDIO Audio 3 HOT COHHECTED Audios 4 HOT COHHECTED Audio E HOT COHHECTED AH HOT COHHECTED Outputs AUDIO 171 FLT AUDIO The Minimixer on Origin The JoyMixer this mixer sets the volume of the four oscillators outputs or any other audio sources The mix is done with a joystick which moves between four points within a diamond shape Each point A B C or D corresponds to the maximum volume of each oscillator The Joymixer can also be automated by a four parameter envelope or by other modulation sources which can be connected in the modulation matrix JoyMaer 1 Inputs 20 Emu oy Joystick 71 TRIG COMHECTED Audit osCd AUDIO DS AUDI A Audio E ODSC3 AUDIO Audio C D Audio DSC AUDIO Mod n COHHECTED Mod 4 COHHECTED Repeat Es EEE AUDIO 172 FLT AUDI The JoyMixer on Origin 11 1 3 The filter or VCF The audio signal generated by an oscillator the waveform is next generally directed to a filter module or VCF Voltage Controlled Filter It is this module that we use to control the sound by filtering by removing or subtracting certain frequencies which explains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be considere
56. panel controls 8 4 1 Rack View The Rack View is the default view when you open the Edit page It should be familiar to those of you that have ever seen an original analog modular system or a virtualized rack in any of a broad range of desktop audio applications There are three rows of eight module slots making a total of 24 positions where modules can be instantiated However it should be noted that you are limited to population of 20 modules per program 0100 Fusion Ep l The Edit page the Rack view As modules are added and deleted in the program the view automatically re positions certain modules in the virtual rack This includes re grouping the analog oscillators filters VCAs envelopes and LFOs for clarity within the view All other modules are appended to the next available empty slot within the view When you add a module to an open slot in the rack view it either shuffles into the correct position or it snaps to the first available open slot in the rack view The virtual analog modules that are based on the classic synthesizer emulations of ARTURIA s world class plug ins Minimoog V CS 80 V ARP 2600 V Jupiter 8V and Prophet V VS are labeled and have the general look and feel of the classic synths they emulate This helps not only with the organization of the preset but the visible rack controls also provide an indication of the modules configuration All rack view parameters visually trac
57. pass filter In this mode the filter progressively attenuates frequencies above the cut off frequency 4P LP selects a 4 pole 24dB Oct slope 2P LP selects a 2 pole 12dB Oct slope HPF High pass filter This filter acts as the inverse of a low pass filter It progressively attenuates frequencies below the cut off frequency This filter has a 1 pole 6dB Oct slope NOTE The original Jupiter 8 synthesizer lines use a special serial 1 pole HPF and a 2p 4p LPF connection You can emulate this configuration by connecting two Jupiter 8 filter modules in series Choose a high pass filter on the first and a low pass filter on the second filter The Input connections Audio This is the audio input of the filter You can connect it to the output of an oscillator or a mixer if you use several oscillators or other audio modules FM This input allows you to connect sources to modulate the cut off frequency of the filter The envelope or LFO are the most common modules to modulate the cutoff frequency The result is interesting for filter sweeps or wah wah like sonorities The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the filter It can be connected to another filter for a serial filter connection or directly to a VCA input ARTURIA
58. performance that demonstrates the selected preset If the PROGRAM uses a step sequencer preset the PREVIEW trigs the sequenced pattern To listen to a PREVIEW simply load a preset as described above and press the jog dial or the Enter button The PREVIEW plays until it completes or it can be manually stopped by again pressing the jog dial or the Enter button on the front panel This is a very good way to gain a quick first impression of the sound characteristics of Program presets that are provided with your Origin synthesizer T ipez Pod Synth Orizin The Program Preview The DEMO tab is a great place to quickly become acquainted with your Origin synthesizer 8 1 3 Demo tab gt To access the demo page directly either select the Demo tab on the Home page or press the Demo button on the front panel from any page on the Origin mer DEMO Demos ERED Miss Long New Orteos New Demo Electro Bock In Time Hame Hiss Long H Style Boosie Multi Hiss Long Lake amp Forest dE Demo Trance Leauing Origin ml dintas E Ea 2 im Drums lil ful Sub Boss E el el Ou Ou w of dJintgze E 0000 Opening The Demo page gt Press the Demo front panel button to play the first demo in the list of available songs gt The Demo button can be used to stop songs as well When a demo is playing the back light behind the Demo button is active and the selected demo h
59. pressing one of the 8 buttons placed under the LCD screen From left to right you can find The Home page The Preset page The Program page The Edit page The Multi page The Sequencer Arpeggio page The Effects page The Live page To navigate within the selected page you can press the lt gt or A F buttons to select the desired location and press the Enter button to select activate the field for editing Likewise you can use the jog dial cycle through fields on the screen and press the dial to select the desired location to edit The field when selected will highlight with a red border to show that it is the active location for editing Once selected a quick turn of the jog dial will change the parameter And pressing the dial or the ENTER button will commit the new value in that location The Home page is the starting point for navigating through Origin s pages Here you can browse select and preview any of the available presets In the Demo tab you can find factory demo songs that make extensive use of the multi mode You can also view and edit various system parameters through the SETTINGS tab This section of the manual describes all of these features and functions in detail Mutt INFO ball oan Hogg Dark Sie Soe Dseoapner 2blp Drpesect Arturia PREVIEW GR D Py 1 000 Dark Side 80s Drog 10000 Opening The home page ARTURIA ORIGIN USER S MANUAL 47 This secti
60. rm eB em rm rm eB em rm rm rm ee mm rm eB rm mm rm eB mm mm rm eB em mm rm eB mm mm rm Be rm rm eB em rm rm rm eB rm mm rm ee mm rm eB mm mm rm eB mm mm rm eB em rm rm eB em mm rm eB em rm rm rm eB rm mm rm eB rm mm rm eB mm mm rm eB mm mm rm eB ee rm em mm mm vm vm el PWM This input allows you to modulate the pulse width of the square signal This input is only active when the square waveform is selected It allows you to modify the waveform cycle with for example an envelope or LFO The pulse width modulation creates spectrum modifications comparable to a chorus effect if you use an LFO The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections This is the Audio output of the oscillator You can for example connect this output to a mixer module to mix the oscillator with other audio modules Alternatively you can connect it directly to a filter or output module ARP 2600 oscillator This oscillator is an emulated version of the oscillator module found on the ARP 2600 Unlike most other synths in the 70 s the ARP 2600 had semi modular design This offered a great tweakability and through the ARP technology a great sound Some of ARP 2600s famous players include Herbie Hancock listen to his famous Chameleon bass Underworld Steve Porcaro Mike Oldfield Joe Zawinul using two one for each hand
61. rm mm mm rm mm rm mm mm rm mm rm rm mm rm mm mm rm mm rm mm mm rm mm rm ee rm mm rm rm mm rm mm mm rm mm rm ee rm mm ee mm rm mm mm ee rm mm gt A pop up displaying Remove Module appears To confirm removing the module select OK selected by default and press the jog dial or the Enter button ARTURIA ORIGIN USER S MANUAL 82 gt Likewise if you have changed your mind or have pressed the remove button by mistake simply select the Exit button on the front panel or you can navigate to the Cancel button on the confirmation pop up and select it with the jog dial or Enter button 8 4 3 6 View The View function only available in the Patch view If the default setting View is selected the Patch view graphically displays all the connections in the current program If View is selected only the connections concerning the currently highlighted module are displayed All the connections are visible Connections concerning the highlighted module 8 4 4 Save a Program preset Once you have edited a Program preset to your satisfaction and wish to save it for later recall use the Save button on the front panel to commit the changes to the Origin s User memory Note that the Memory Protect value in the SYSTEM SETTINGS page can have an effect on whether and in what memory location you can save your changes If this setting is OFF then saving a change to a User preset will automatic
62. several parameters that increase the difference in the effect between the right and left channels There are six virtual knob controls and two field selections switches that provide a substantial range of sonic control Remember that you can also assign Live front panel encoders to any of these virtual knobs for real time control of the effect during performance Depth Date Spread Delay FeedBack Sync OFF Shape Sinus The chorus effect Depth This parameters sets the amount of LFO modulation The higher this parameter is the more audible the effect will be Rate This parameter sets the base rate of LFO modulation for both channels Spread This parameter varies the delay between channels Large value settings for this slightly increase the gap between Delay time in the right and left channel creating a wider effect Delay This parameter sets the amount of time before the modulated signal is introduced back into the sound path Feedback This parameter takes a portion of the modulated signal and returns it to the beginning of the delay line which creates a comb filtering or flanged effect Higher settings increase the amount of returned signal and therefore increase the amount of comb filtering Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting In this case you can also control this parameter u
63. sought after because of it s unique and fat sound Some of MiniMoog s famous players include Herbie Hancock Kraftwerk Chick Corea Rick Wakeman Keith Emerson and Apollo 440 ARTURIA ORIGIN USER S MANUAL 130 The Minimoog filter offers a very particular sound thanks to its ladder structure The resonance response is also sounding more smooth than an ARP s one for example Without any resonance the sound is one of the fattest ever Filter 1 ores Fre quence q DUDIO Mix AUDIO a FH AduJoyl Out E d Dh AdvJoy Gut E AM CONNECTED O K Emphasis Outputs E DUDIO 171 OUT AUDIO The Minimoog filter The Frequency knob sets the cut off frequency of the filter The Emphasis knob also called resonance or Q sets the amplification amount of frequencies close to the cut off frequency The other frequencies are either unchanged below the cut off frequency or reduced above the cut off frequency When you increase the emphasis the cutoff frequency is more and more amplified At very high emphasis values the filter starts to self oscillate giving a sort of whistle sound The Input connections Audio This is the audio input of the filter You can connect it to the output of an oscillator or a mixer if you use several oscillators or other audio modules FM This input allows you to connect sources to modulate the cut off frequency of the filter The envelope or LFO are
64. tab has been selected These include the MIDI SYSTEM 1 SYSTEM 2 and RESET screens as well as a RESET control and the aforementioned HOME tab in the upper right of the LCD screen In the case of the Origin Keyboard there is also a VELOCITY AFTERTOUCH screen which allows definition of sensitivity of the keyboard velocity and aftertouch as well as defines the global behavior of the Duophonic Aftertouch mode Each of these functions will be described below ARTURIA ORIGIN USER S MANUAL 50 Velocity The SETTING tabs 8 1 4 1 The MIDI page The global Origin s MIDI settings include the global MIDI channels response to controllers and program change activity as well as assignment of data to various ports For the Origin Keyboard there is also a control the sets whether LOCAL ON is active allowing your keyboard to be used with a sequencer or other external equipment Settings MIDI Global Synchro Program Mode Channel o Keyboard Mode LOCAL OH Master Control Channel EOS Peceive control chanze opr MIDI In to USE Out OFF SO rae OFF Ce ee OFF Deceiue Program NEIE OFF MIDI In to MIDI Gut OFF D E p 4 000 Dark Side Cie o om Yop 1 0000 Openings The global MIDI settings Keyboard Mode only on Origin Keyboard LOCAL ON LOCAL OFF The LOCAL ON mode sets the keyboard and all controls such as pitch bend modulation ribbon foot switch and expression pedal to
65. the Prophet VS _ up to 2 tone wheel oscillators additive synthesis emulated from vintage organs _ up to 4 filters switchable multimode filters including analog emulations from the Minimoog ARP 2600 CS 80 and JP8 1 2 and 4 poles LP HP BP and Notch modes _ up to 4 output VCAs up to 5 mixers 4 Minimixer and 1 Joystick mixer Sound Structure _ 1 Ring Modulator _ 1 Bode Shifter analog emulation from the Moog Modular _ up to 4 poly LFO and 2 mono LFO _ up to 8 ADSR Envelopes modules or CS 80 IL AL A D R envelopes _ 1 Galaxy module _ 12D envelope _ 8 CV Modulators e Minimoog template _ up to 3 oscillators one 4 poles LP resonant filter one mixer _ 2 envelopes one LFO and one modulation matrix 9 effects including chorus delay stereo amp ping pong reverb distortion 3 different types dual phaser ring modulator analog emulation from the CS 80 parametric EQ bit crusher rotary speaker emulation of a Leslie speaker Programs 1 synth modular or template Minimoog structure Program structure 3 effect slots 1 sequence Number of Multis 256 100 Factory and 156 User multis TE Ge 4 Programs slots with Layering split and MIDI multi Keyboard Origin Keyboard only 61 notes with after touch and velocity Controllers Laptop Rack version 21 potentiometers 33 encoders 1 joystick 21 potentiometers 33 encoders 1 joystick 1 pitch bend wheel 1 modulation wheel 1 ribbon controller
66. the jog dial or the Enter button ARTURIA ORIGIN USER S MANUAL 32 NOTE You can also use the A W buttons situated above the wheel to go through the different presets and lt 4 to scroll faster Ae em eee rm ee ee rm rm ee rm rm eB mm mm rm eB mm rm rm rm mm rm rm eB em rm rm eB eB rm rm rm ee rm rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm rm rm eB mm rm rm ee rm rm rm eB rm rm rm eB mm mm rm eB mm mm rm eB mm mm rm eB em rm rm ee mm rm eB ee rm rm eB rm mm rm ee mm rm eB mm mm rm eB mm mm rm eB mm mm rm rm mm mm rm vm mi SS 1 2 3 4 5 6 7 8 9 of Select the preset on the Preset page thanks to the key pad 7 5 Editing the preset To edit a preset we are going to start with a basic example gt Edit the brightness of the Reso_Pad sound with the Cutoff knob of the filter To do this turn the knob located in the Filter slot on the Analog section to the right or the left The timbre of the sound becomes more or less bright Change the knob to your liking yy 7 d Resonance Change the cutoff of the sound gt In the same way you can increase or decrease the frequency of oscillator 1 by turning Frequency knob on the Oscillator panel To adjust the frequency of oscillator 2 turn the Select encoder on the same section so that the screen pop up displays Osc 2 Coarse Tune Press the ARTURIA ORIGIN USER S MANUAL 33 encoder to validate your c
67. the most common modules to modulate the cutoff frequency The result is interesting for filter sweeps or wah wah like sonorities The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the filter It can be connected to another filter for a serial filter connection or directly to a VCA input ARP 2600 filter This filter is an emulated version of the filter found used by ARP in the 70 s Unlike most other synths in the 70 s the ARP 2600 had semi modular design This offered a great tweakability and due to the ARP technology a great sound Some of ARP 2600s famous players include Herbie Hancock listen to his famous Chameleon bass Underworld Steve Porcaro Mike Oldfield and Joe Zawinul using two one for each hand The 12 dB octave filter was produced on the early Odyssey synthesizers the white version This filter has a very smooth behavior and unlike most 4 pole filters does not attenuate the low end with increased resonance settings It is very suitable for bass and lead sounds The original 4 pole low pass filter was based around a cascade of integrators It was the standard ARP filter in 1976 1977 appearing in the Mk3 Odyssey the ARP 2600 orange version Axe Omni Avatar Quadra etc The ARP filter can be very selecti
68. the other oscillator completes one period the Jupiter oscillator is reset to its starting phase When the two oscillators are not in tune this phase reset causes sudden jumps in the waveform which generates the typical sharp sync sound The Amount knobs allow you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the oscillator You can for example connect this output to a mixer module to mix the oscillator signal with other audio modules Alternatively you can connect it directly to a filter or VCA module Sync This is the sync output of the oscillator It can be connected to another oscillator to establish a sync connection When the oscillator completes one period the oscillator selected at this input is reset to its starting phase When the two oscillators are not in tune this phase reset causes sudden jumps in the waveform which generates the typical sharp sync sound Wavetable Oscillator The Wavetable Oscillator is an emulated version of the wavetable oscillators used in the Sequential Circuits Prophet VS This oscillator has 96 different waveforms and is therefore capable of producing sounds not possible with conventional VCO s The original Prophet VS used four of these oscillators which could be mixed by a joystick This configuration was capable of creating interesting and high
69. the translations possible negative and positive the other for a mix of the two the mix is set with the Mix button The translation rate which is to say the difference in frequencies is set with the frequency button Following the selected scale scale selector the button gives a different gap The scale also influences the amplitude and type of modulation In the exponential position the translation goes from 2Hz to 1 024Hz the modulation being exponential In the other positions 5 50 500 5k the translation will be of a maximum of 5Hz 50Hz 500Hz or 5 000 Hz in positive or negative Inputs Scale So lei Ofte AUDIO oF Outputs shitt HIH Lei FLT4 FM TERT 11 Mix Audio ESET A Tens MOT CONNECTED EN The Bode shifter ARTURIA ORIGIN USER S MANUAL 138 Scale setting parameter for the basic scale frequency Amount of Shift setting parameter for the frequency transition Mixture Mix between the positive and negative translations The Input connections AUDIO This is the dedicated input for an audio module FM The FM modulation allows you to modulate the frequency from the Bode frequency shifter The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the amount of modulation The Output connections MIX Mix of negative and positive translations outp
70. you have saved your MIDI Mapping configuration you can use the Save or Save As dialog to use it with other Program Presets Note There is a bit of distinction in how incoming MIDI controller messages are handled in Program versus Multi mode In Program mode the Program Mode Channel on the Home gt Settings gt MIDI page dictates on which channel the control is sent and received When in Multi mode the Control MIDI Channel of the focused program controls which MIDI channel is sent when a MIDI mapped front panel control is changed Moreover all programs can receive incoming Controller Change messages at the same time each on its own Control MIDI Channel One of the advantages of this type of setup is the ability to create independent MIDI Mappings for each Program that is slotted in a Multi With independent MIDI Channel assignments each Program preset receives and responds to MIDI control independently in real time This is particularly useful when recording the front panel changes from the Origin into a host sequence for later editing and playback 8 8 6 1 Overview The Origin includes 8 rotary encoders located in each side of the main screen which can be assigned to control a wide variety of parameters within a Program This is a very powerful feature of the Origin that allows you to modify elements deep within the synthesis architecture for real time control ARTURIA ORIGIN USER S MANUAL 115
71. 0 CS Hperience Home Preset Progr Edit Multi Seq FX Live eee es es Tee D D 000D0E The FX page Up to three effects can be employed per program which are routed through a combination of serial parallel and even independent assignments from the four VCA outputs of the program to the physical outputs of the Origin The routing scheme is controlled within the PROGRAM page Because the routing of the effect can have a profound impact on the end result of the sound it would be worthwhile to try different routings with some of the presets by adjusting the virtual sends on the MIXER tab of the PROGRAM page You can also gain insight into how a particular effect impacts the sound by turning it off or reducing the return level from the EFFECTS section of the front panel From that you can gain a sense of the sometimes subtle and other times dramatic role that the effects can play in any given scenario ARTURIA ORIGIN USER S MANUAL 103 8 7 2 FX page layout navigation and general control The FX page display is divided into two areas The left side of the display shows details of the selected FX tab The right side of the display shows summary information on the selected effect for FX 1 3 Use the top left buttons above the display to access specific tabs for FX 1 3 respectively As on all other pages the bottom of the display area shows the standard preset information preset name and number and in the case of a mu
72. 1 OUTI AUDIO The CS 80 filter The green Frequency slider sets the cut off frequency of the filter The red slider sets the resonance RES amount of the filter The Type the selection box under the Frequency slider selects the type of filter It offers you 2 types both have a 12dB Oct slope LPF Low pass filter This filter progressively attenuates frequencies above the cut off frequency HPF High pass filter This filter acts as the inverse of a low pass filter It progressively attenuates frequencies below the cut off frequency The Input connections Audio This is the audio input of the filter You can connect the output of an oscillator or a mixer if you use several oscillators or other audio modules FM The FM modulation allows you to modulate the cutoff frequency of the filter The envelope or LFO are the most common modules to modulate the cutoff frequency The result is interesting for filter sweeps or wah wah like sonorities The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the filter It can be connected to another filter for a serial filter connection or directly to a VCA input Jupiter 8 filter This oscillator is an emulation of the filter used in Roland s Jupiter 8 synthesizer With 8 note polyphony and an exten
73. B mm mm rm eB mm mm rm eB mm mm rm eB em rm rm eB mm eB rm eB ee rm eB eB mm mm rm ee mm rm eB mm mm rm eB mm ee ee mm rm eB mm mm vm A mi ARTURIA ORIGIN USER S MANUAL 101 8 6 1 6 The Swap option The Swap option allows you to exchange two sequences together to reorganize your bank of Sequences 8 6 1 7 Delete a sequence pattern You can erase the current sequence pattern This option will re initialize all the saved settings of the selected pattern gt Select the Delete button on the bottom of the Global section using the jog dial or using the lt buttons This action opens the Delete dialog box Then press again on the jog dial or the Enter button to erase the pattern and close the Delete box 8 6 2 The Arpeggiator This page is accessible with the ARPEG tab and shows the Arpeggiator settings The Arpeggiator allows to turn played chords into an arpeggio made of the same notes of the chord played in the same order ARPEGGCIATOR FATE 1718 HODE OCTAWE BAHDOM UP DOWM DOWH on OFF up Di 0022 OrumThing Seq The Arpeggio page The ON OFF switch allows to turn ON and OFF the Arpeggiator The Mode selection controls play order of notes within the arpeggio UP plays the arpeggio from lowest to highest DOWN plays the arpeggio from highest to lowest UP DOWN plays the arpeggio up and down RANDOM plays the arpeggio randomly The Range selector allows c
74. Be rm rm eB eB BP rm rm rm eB Be rm rm rm eB Be rm rm rm eB Be rm rm rm Be rm rm rm rm HK Note the modulation polarity and amount is not available in this page but you can change them by opening the connection s destination module and finding the other end of the connection i Add Connection je Bi oscilator 1 Oscillator Filter 1 Envelope 1 Envelope Output 7 Foly La 7 Lhe Minihixer 1 Te Bad hitt TE d HOT COMHECTED HOT COMHECTED Hono Lfo 1 Hono Lro Loop Lab Triz Input 171 Kiboi TRIG 0155 T ColGtr Seq Choose a modulation destination Each axis of the 2D envelope can be assigned to a destination or group of destinations Likewise each stage of the envelope can be placed anywhere within range of those four axis points using the joystick to set each location The 2D envelope is composed of five editable points numbered 1 2 3 4 and 5 gt To position the five points select the diagram component at the center of the page the selected points becomes red Use the jog dial to select the point you want to move then use the joystick to choose a position for the point e Emu HOT COHHECTED HOT COMHECTED JOYSTICK m HOT COMHECTED T HOT COHHECTED T4465 TSE Lop Lab TE VSG Triz Input 171 ETEGI TRIG 1 000 m a L a Ti 4 756 0 ms a a m Slide the joystick to choose a position for the points ARTURIA OR
75. Bruno Pillet Cristian Kreindler Kevin Molcard Laurent Baret Frank Ruffel Ruffel Morgan Perrier Menno Meijer Kevin Lamb Ruff amp Jam Katsunori Ujiie Francesco d Abramo Asteel Flash Gerard Buracchini Thomas Koot Antoine Back Charles Malka Carl Conrad Francis Martin OSEO ANVAR Philippe Girard Buttoz Gilles Benhamou Asteel Flash C dric Veslot AVNET Christian Faure Jessica Denis Labrecque Analog Devices Frank Orlich Athan Billias Yamaha Benoit Widemann Christophe Martin de Montagu Pierre Cossard Gavin Burke Mickael Le Goff Emilie de Fouchecour Am lie Serpolet Dapeng Hou Guillaume Piolat Guillaume Tonck Nicolas Bronnec Bruno Minatchy Julian McDole Damien Vandenbeyvanghe Olivier Mary Raphael Loyet Florent Balestrieri Joffrey Saboukoulou Thierry Duquesnes Benjamin Gross Jean Philippe Rykiel Celmar Engel Bryan Borcherds ARTURIA ORIGIN USER S MANUAL Oo TABLE OF CONTENTS 1 SPEEIALMESS ASC SCC LIOR EE 9 1 1 STASI A EE 9 1 2 Precautions E 9 2 Jeng gas Lee E 11 2 1 BTE RRON IEA AA E E EE 11 22 CHECK ENE MALES UDC AUC EE 11 2 3 EA EE 12 2 3 1 E Ee ge ge EE 12 2 3 2 A better reproduction of analog oscillator waveforms cecceeeccceeccceececeeeecees 12 2 3 3 Direct TILE circuit modelo EE 14 3 Sta gg E 15 3 1 How to put the Origin synthesizer in a rack ANEN EEN ENEE EEN 15 3 2 Howto set the screemornientatioN mie ernn aeaa Ee 15 4 OSINS DEER EE E EE EEN
76. D OV EE 115 8 8 6 2 Assigning Live Encoders from the front pDanel 116 9 leie IR 117 9 1 Moamar synthesis Modules arera a ma eces eles e tanec ech mea e Aek EEA EI 118 9 1 1 Toe sound e ie EU 118 CN WEN EC WE A lg ee 118 FEZ GA EE 130 LRE GE e deet E ie lei TT E 136 FTA ah nun EE 137 n ten el 137 LRG Bode Frequency lee EE 138 De a Ve JOVO tuahevaiton nce A center ke dagosraveubeavasdwaceenedoeteoaniweneenecentenarcaaade 139 9 1 2 THE MOGULATION Bue Tel EE 140 CNS Ca DW Zeie Te e Ge EE 140 LELA EE E Ee e E ieee tice Claw e aw E 142 CS E EI ee 143 a Fa Or e VE 144 n fr ONE e e e 145 10 RV A nl ne e Leg Cel len E 147 10 1 a aida Fat Wal rags LS Wl ai 147 10 2 MINOO S EOV EE EE 147 10 3 Using the MNIMooo template o n aa E EE E E AA EE E E EEs 147 10 3 1 Minimoog structure EE 148 AIS Gr THE INCONA EE 149 10 3 2 1 Ose Waor E 150 10 3 2 2 EE EN 10 3 2 3 Filter Modifiers ENVElOPeS ccccescccncccceecccenscceeeccceescceseccesescees 152 10 3 2 4 Output Kn Vie lg BEE 153 10 3 2 5 Bail e 153 10 3 2 6 EE 154 10 3 2 7 deele ein AMA Ie EE 154 10 3 2 8 Be 155 11 THe DASIES Ol SUDTFACEIVE SVINERGSIS s2e cts ace E e 157 11 1 The three main elements Of the sound ENEE EEN AEN AEN 157 DEEN DNR KR a UE ge ie Or VCO EE 157 11 1 1 1 TG PICC M Aere 158 11 1 1 2 THe WaAVET ON EE 158 11 1 1 3 SVMCNPONIZACION aesir nens EE EEEE atawartes adaware ieadevauetaterer encase 160 11 1 1 4 Frequency MOGULATION D 161 Na er RN
77. DI channel settings Getting ready to play If you re using Origin as a sound module you ll need to set Origin s global MIDI channel to match the MIDI channel of the external MIDI device that you ve connected to To set Origin s global MIDI channel gt Go to the HOME page and press the SETTINGS contextual menu button gt Select the MIDI page by pressing the data dial or the ENTER button on the front panel gt Set the Program Mode Channel to the desired value using the cursors or the data dial Confirm by pressing the Enter button Note that the Program Mode Channel setting only applies to programs Multis have their own MIDI channel assignment through the zones configuration covered later in this manual If you are using a Multi to control several presets on their own MIDI channel you should note that you can set that value in either of two places You can change the value directly on the SLOTS screen in the Multi view or navigate to the ZONES screen and adjust the MIDI channel assignment for each ZONE Note If you have more than one Multi slot assigned to the same zone reassigning the channel will affect all slots assigned to that ZONE Ae em rm ee rm ee ee rm rm ee mm rm eB mm mm rm eB mm mm rm eB mm rm rm EB em rm rm eB ee rm eB ee mm rm ee mm rm eB mm mm rm eB mm mm rm eB mm rm rm eB mm rm rm eB em rm rm rm eB rm rm rm ee mm rm eB mm mm rm eB mm mm rm eB em rm rm eB em rm rm ee rm rm rm eB r
78. E 1716 HODE Flo SIUIHD dees SE 1 1 FLTI FM 3 E NOT QUANTIZED GOOO Gee GOOO GOOG ee ee ee WEEEEE ER ZAME HOT COHHECTEC O HOT QUANTIZED 0001 3 Osc A blank sequence page gt Press the Edit gt Seq1 Seq2 Seq3 gt pattern switch on the Sequencer panel to select Seq 1 By moving one of the 16 knobs at the bottom of the Sequencer section you can set an integer value for the corresponding step of sub sequence 1 This value is the amount of semitones added or subtracted from the note played on the keyboard at that particular step This way you can use the sequencer to create melodies SEQUENCER Seq3 Pattern Seq2 J x Seq 1Act Seq ZA Sq 3Ad Set the pitch values for each steps gt Following the steps above select Seq 2 This sequence is connected to the filter cutoff frequency As above you can tweak the knobs to your liking Note that when changing a value instead of an integer a decimal number between 1 and 1 appears When modulating the filter ARTURIA ORIGIN USER S MANUAL 42 cutoff the modulation doesn t need to be quantized to produce a tuned note However if you want quantized filter modulation or unquantized oscillator modulation you can activate or deactivate this function for each sequence separately SEQ SEE SEQ ARPEG FPE ET Pot I l l I I il l I l glob alz a 8 ez Seg 8 I EGHK vr D D D D D D D D D D D DOTTEDRH STEPS Edit Steps ee SYNC
79. ENT Grant of License In consideration of payment of the Licensee fee which is a portion of the price you paid ARTURIA as Licensor grants to you the Licensee a nonexclusive right to use this copy of the ORIGIN Software application hereinafter the SOFTWARE on a single computer at a time All rights not expressly granted to Licensee are reserved to ARTURIA Software Ownership As the Licensee you own the disks on which the SOFTWARE is recorded or fixed ARTURIA shall retain full and complete title to the SOFTWARE recorded on the enclosed disks and all subsequent copies of the SOFTWARE regardless of the media or form on or in which the original disks or copies may exist This License is not a sale of the original SOFTWARE Copyright Restrictions This SOFTWARE and the accompanying printed or written materials are copyrighted Unauthorized copying of the SOFTWARE including those instances where the SOFTWARE has been modified merged or included with other Software or of the printed or written materials for any reason is expressly forbidden Licensee may be held liable for copyright infringement which results from such unauthorized copying Restrictions on Use Licensee may physically transfer the SOFTWARE from one computer to another provided that the SOFTWARE is used on only one computer at any one time Licensee may not electronically transfer the SOFTWARE to multiple computers over a network system Licensee may not distribu
80. G EE 161 Eeer WMG een ET 162 11 1 3 1 Bag Ugen 163 11 1 3 2 RESONANCO EE 164 TrA TE amptner EE 165 11 2 OLHERIMOGUINCS 2 Ae orto EE EE E 166 kl Ze M ller Kat Te WEE 166 er EN Ru ee e WEE 166 11 2 3 The low frequency OSCILACOMr cece eee e cece cence cence ceeeeceeeeeeeeeeeeeeeceeseeeeeeees 167 11 3 Complements to Wavetable Synthesis ae AEN ENEE EEN AEN AA 168 12 Ofigin Connection User S manual ccc crassa E 170 12 1 Wa hel gore ft cy o 5 pgm monet tran rere Segoe ureteral AA E S Re ory ee tee oy eae 170 12 1 1 Preset storage ANd management ANNE EEN ENEE AEN EEN 170 NI ARTURIA ORIGIN USER S MANUAL AZZ ONC I lee EE 171 12 2 Interiace Re dl E 171 TZ Mahn DaN etei a E E E E E EEE EOE EE 171 RE OANA e E E E EE 172 e EES DANG ee 173 12 3 UISESEGASES a e Dn TEE 174 T2320 Eelere Ee 174 P2232 New sound e it EE 174 Eelere nea E Cane OOA 174 12 3 3 1 creatino MEW BAC KU Dis EE 174 127 3 3 2 Dale re lte EXIStING Ba KU PS EE 176 123 4 Preset tranor Eer ae E eg 177 123 5 Origi to Computer transfel 2icccatieadosessiectateeadesesuetneratseadoaweusseesabseneecesusane 177 123 0 EEGENEN 177 A37 Onam ORIGIN Tans Cl eei a cut EEE T ANAE 177 1253 8 COMPU TO Oraih CLAS TCM eea EEE E E E wr at A EOE OEE 178 12 4 EE EE 178 12 5 EIERE 179 13 ARTURIA ORIGIN SOFTWARE LEGAL INFORMATION 180 1 SORIWARE EICENSE AGREEMEINM aaccurnc ut prac E west vant E E Aa E ere yar Creer 180 13 2 F CGlINRORMATIOIN USA E
81. HH Note The octave switches have a unique behavior in Multi mode When engaged the octave of each Zone is shifted but the split point stays in place This is a feature of the Origin Keyboard that allows the split to remain in the physical key range while shifting the Program presets assigned to each slot It prevents a split from being shifted out of range during performance 4 2 5 Ribbon Control The ribbon control is the most unique feature of the Origin Keyboard It is located above the key mechanism and below the front panel display It is labeled with indicators to show the center or zero point as well as the range where contact with the ribbon will generate a value The ribbon registers a single point of contact so it takes an average of the outermost points where contact is made The most recognized use of the ribbon control is for pitch tracking However there are many modulation options available through the Performance gt Ribbon Ctrl area of the Program Progr tab Each mode is described in detail later in this document ARTURIA ORIGIN USER S MANUAL 20 4 3 Rear panel On this panel you can find all the power audio and MIDI connections From right to left you can see The Power button turns the power on off DC IN Connection to the included AC DC 6 5V power adaptor USB Input for connection with a computer It can be used for MIDI IN and OUT communications or for data transfer e
82. IGIN USER S MANUAL 70 The other parameters are used to control how the envelope goes from one point to another Tx y The T values set the duration of the transition between each point The values can range from 0 to 13600 ms X The X setting is a multiplier parameter The default value is 1 which means that the actual times are those given by the Ty parameters If the value is different from 1 all the actual Env2D times will be given by the T y value multiplied by the X parameter Tite 736 0 m Tete 736 0 ms Te44 736 0 ms T4465 736 0 ms To 736 0 Mz GE The time settings Loop The Loop parameter controls the order of the points The value 1 gt 5 means that the envelope will start at point 1 then go to point 2 3 4 5 then loop back to point 1 and so on The value 1 gt lt 5 means that the envelope starts at point 1 then goes to point 2 3 4 5 then goes backwards to point 4 then 3 2 1 and so on Loop Lab Triz Input 171 Kkiboi TRIG The Loop mode Trig input In the case where this input is not connected the envelope is free running like an LFO In this case it will never stop looping If the input is connected then the envelope will start looping when the trigger signal is ON and will go to a release stage when the trigger signal is OFF In the release stage the 2D Envelope goes to the point 5 using the time T45 whatever the current point or segment is 8 3 5 Galaxy t
83. L T Boanks Lead ouad Em Nose a il Dep SpoceBango Delete a Program 8 3 Program page The Program Progr page contains a range of functions settings and values that have overall impact on the selected preset Some of the controls available on this page are duplicates of hardware controls that are on the front panel of the Origin such as the audio and Fx MIXER sections ARTURIA ORIGIN USER S MANUAL 62 PERF ep omg GALAHY LFO 1 LFO 2 et ea Se e a wl SE amp Mode Pook Circ gt t Le amp E DE wl Polyphony EZE ET EK O PRE Fortamento OFF f l Port time C Fitch Wheel OH End Panes 0004 Reedy P The program page Five tabs are available along the top left of the LCD screen the MIXER PERF 2D ENV GALAXY LFO1 and LFO2 The following section describes all these tabs in detail The Program page s tabs 8 3 2 Audio and FX Mixer The Mixer tab allows you to adjust the volume panning and FX routing of all output VCAs Out 1 2 3 and 4 The left part of the mixer tab is composed of four identical columns representing the settings for each VCA On the top you can find the FX 1 2 and 3 knobs in the middle the pan knob and at the bottom the volume slider The functioning of these knobs differs slightly depending on the current mode of the mixer Origin s effect mixer offers two modes to route the VCAs to the effects Parallel and Serial
84. Minimoog oscillator also offers a very unique waveform the Asymmetric triangle called saw tri This waveform produces a timbre between the triangle and the sawtooth especially suitable for smooth lead sounds The pitch Inputs FH L 2q Gut 1 167 i AH 171 AduJoy out Cogrse Tune PWH 171 AaduJoy out Q Outputs Fine Ture DUDIO 171 Mix Audic 1 Shape SOUARE The Minimoog oscillator The pitch defines the oscillator frequency You can set this frequency with 3 controllers The Range selector determines the fundamental frequency expressed in feet 32 brings the lowest audible frequencies 2 brings the highest audible frequencies The LOW setting lets you use the oscillator as a low frequency oscillator LFO to modulate other parameters The Fine tune knob allows you to tune the oscillator more precisely This can be used to create detuning effects The Coarse tune knob adjusts the frequency of the oscillator in semi tones This knob ranges from minus 2 to 2 octaves above the fundamental frequency The waveforms The Waveforms define the sonic characteristic of the oscillators sound ARTURIA The sawtooth presents the richest audio signal of the waveforms It contains all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass sounds bass sounds or rich lead and pads The square possesses a more hollow sound that the sawtooth It only
85. N SCREEN SWICHES SELECTION or a Rakh eT sree ae coo GO Volume oo oo Frequeny INPUT 8 kl t CH Lij VOLUME we 2 LI LU een P oar VCA OUTPUTS Lem are gs PANEL Oo Ge MAIN OUTPUT D br a e SE D VOLUME g 3 Maser Lave e a a Select eiam Edit On HEADPHONES Ay VOLUME Q wae EFX OUTPUT J 8 PANEL D Him Edit si JOYSTICK W T n D nm SECTION Se gn Return Drei LEJ e Sen LA Seq 3A Edit Q5 Assign DI hil SEQUENCER MAIN PAGES PANEL The complete view of Origin s front panel The ORIGIN synthesizer contains several demo songs numerous programs and a wide range of advanced features and functions For a quick introduction to all this fun follow along with this Quick Start guide 7 1 Turning on the power and adjusting the volume After connecting the AC DC power adaptor set the rear panel Power ON OFF switch to On The start up screen appears in the display when the machine is ready the Home page is displayed Each time you turn the power on ORIGIN will be in the Multi Play mode gt Turn on the other audio equipment that s connected to ORIGIN Turn the power On ARTURIA ORIGIN USER S MANUAL 30 NOTE When you re ready to turn the power off first decrease the main volume of the connected equipment to O e g an external audio mixer then press the ON OFF switch on the ORIGIN s rear panel to turn off the power m
86. ODUCTION Congratulations and thank you for your purchase of the ARTURIA ORIGIN synthesizer You now own what is perhaps the best sounding most versatile and most powerful synthesizer on the planet We strove to put virtually all our synthesizer and TAE technology making know how into one instrument The new ARTURIA ORIGIN synthesizer not only gives you the latest and greatest sounds and sequences it gives you powerful easy to use tools for playing combining and controlling these dynamic sounds sequences in real time as you perform Before you explore and play the ARTURIA ORIGIN instrument take time to read through this manual carefully it s packed with important information on how to get the most from this amazing instrument Dive in now and enjoy 2 1 Origin overview Origin is a digital analog emulation hardware synthesizer Equipped with 53 knobs 81 buttons 1 joystick a value knob and an informative backlit color LCD display Origin makes it easy to modify the sound as you perform and to enjoy a versatile range of real time editing possibilities Origin contains 400 factory program presets and 600 user editable program presets Each program consists of a set of modules oscillators filters mixers envelopes LFOs etc and connections routed to one or more of the up to four VCAs This structure allows you to create incredibly rich sounds Each program can be played by the step sequencer or the Arpeggiator and connect
87. RIGIN USER S MANUAL 14 A HARDWARE SETTINGS 3 1 How to put the Origin synthesizer in a rack The Origin synthesizer has been imagined to be used as a desktop unit but you can also put it ina rack if you wish This requires 6 empty rack units gt To do this unscrew the two wood sides and the hand rest of the instrument then screw the Origin s ears into a rack cabinet Unscrew the two wood sides and the hand rest 3 2 How to set the screen orientation As the Origin synthesizer can be used in various work conditions on stage on a rack on a table etc you can change the optimal viewing angle of the screen for a more convenient visualization and use To do this unscrew the right wood side and use a small flathead screwdriver to adjust the following controls gt The left screw sets the exposure which is the viewing angle at which colors are best seen Change it slowly as it takes some time to stabilize gt The right screw adjusts the refresh rate This has a very subtle effect but is important for the general feeling of the screen we recommend not to change it unless you encounter some specific problem ARTURIA ORIGIN USER S MANUAL 15 4 ORIGIN S USER INTERFACE This chapter explains all of the sections of Origin s user interface as follows The Front panel section explains the knobs and buttons of the front panel The Rear panel section explains the input output jacks a
88. S MANUAL 44 7 12 The effects section A section of 3 effects slots allows you to add up to 3 master effects to a preset They are accessed by pressing the Effect page button situated below the LCD screen The available effects are BitCrusher creates a type of distortion based on reduction of digital resolution Chorus capable of a producing a shimmering chorus to a harsh flanging effect Delay a stereo delay effect with various feedback and sync controls Distortion three distinct types from analog styled saturation to hard clipping Dual Phaser all pass filter mod affect that can operate in parallel or serial mode Rotary Speaker a classic revolving speaker effect with slow fast control ParamEQ vintage styled EQ to shape the overall sound of your preset RingMod a ring modulator effect with its own A R envelope Reverb adds ambiance to the sound For our sound we ll choose the Chorus for the Effect 1 slot and Delay for the Effect 2 slot 7 12 1 Chorus The Chorus allows doubling and slight detuning of sounds with some cyclic movement in order to make the sound deeper and livelier gt Adjust the knob Dry Wet of the Chorus to balance between the original sound and the treated sound gt Next turn the knob Rate of the Chorus to set the speed of the oscillations gt Finally set the Depth of the Chorus by turning the Depth knob o Sync OFF Shape Sinus Set the Depth of the Chorus
89. SO ee 58 8 2 2 Factory and User Presets eege ee 59 8 2 3 LOAGING E 60 8 2 4 Program and MULLC hal CHE 61 8AA Prora TLEOTIN reoi EE T N EO EE 61 E ER AE et d ele EE 61 O 224 5 DOETE EE eege eege 62 8 3 Beigl et 62 8 3 1 OV GIR OW satin eae EE 62 8 3 2 Anaid ANG PX MIM GM E 63 8 32 te ege 64 E e e a E E ele EE 64 8 3 3 EEGEN 66 8 3 3 1 Ribbon Control Origin Keyboard on 66 E E E E ee e NEE 69 8 3 4 2D ENCODE LAD EE 69 8 3 5 Galaxy DE 71 8 3 6 MONO AN O CaS ene n E siesta siete E EEE ientslasie E N 73 ell ARTURIA ORIGIN USER S MANUAL 8 3 7 COMMONS gen SE 75 S 3 7 1 Mode Performance MOde ege eege ege ee ee ee e 75 e COMMON PA EE SE 76 8 4 EENHEETEN 77 8 4 1 RACK EE 7 8 4 2 PACCA VICW ee ee 78 8 4 3 EIGNE g Inte giel 79 SAk e NEE 79 8 4 3 2 Open Edit Close a module E 80 8 4 n Een ele EEN 81 kreeg 81 E E ROMOVE EE 82 OAs d AT SE 8 4 4 avea Prooram Bee 83 8 4 4 1 Save as name a new Program preset ee AEN EE AE EE EEN EE AE AEN 84 8 5 NEIE EE E 85 8 5 1 TNE Config context En UE 85 8 5 2 SUPINE de EE 86 8 5 3 GPL OMS ee 87 8 5 4 LONS e n TE EE 88 8 5 5 Cheating a MULT EE Eeer Ee EE 88 8 5 6 Adding programs presets 0000 0999 to a multi cece cece eee ee eee eeeeeees 89 8 5 7 IR e EE USES Ol tne MUM ME 90 8 5 7 1 ole e 90 E ay ee Ee E 90 893A MDIFMUTIUMOr a mod Ga a5 Soden decea cots wien eececleiues dedonceedadeicetcedacawedadeas 90 8 5 8 Volume and front panel
90. Seq The Groove page ARTURIA ORIGIN USER S MANUAL 96 The All tab gives you an overview of the sub Seq 1 2 and 3 screens TEE E U ve osar Ar aen 52 171 FLT FM JE nor QUANTIZED SS Lei ELIS FH JE nor QUANTIZED The All sequences page The Seq 1 3 tabs select the corresponding sub sequence 1 3 for editing On the left part of the screen you can see the parameters of the selected sub sequence SEO L D C The Seq 1 tab page 8 6 1 3 Edit a sub sequence The sub sequence edition screens allow you to go deeply and precisely into the sequencer settings To edit a particular sub sequence press the Seq 1 gt 3 tabs to select the corresponding sub sequence 1 3 You can also press the sequencer Edit button several times to catch the desired sub sequence 1 3 Select a sequence ARTURIA ORIGIN USER S MANUAL 97 The center of the screen shows graphical bars corresponding to the steps 1 32 settings values for the three sub sequences They reflect the settings coming from the 1 16 17 32 encoders EE EE Setting the step 2 parameter NOTE The corresponding step value is displayed on a popup which appears on the Program title bar on the bottom of the screen when an encoder is touched The Connect button allows you to display the sequencer connections dialog box To open it either navigate to the Connect button and press
91. This setting determines whether MIDI controller data influences parameters of Origin presets When set to OFF this setting overrides any configuration in the MIDI EDIT settings tab of the Live page The default value is ON Send Control Change ON OFF This setting determines whether the Origin sends Control Change MIDI data from its front panel and in the case of the Origin Keyboard any real time control data from the physical controls to the MIDI USB output When set to OFF this setting overrides any configuration in the MIDI EDIT settings tab of the Live page The default value is ON Receive Program Change ON OFF This setting determines whether the Origin responds to MIDI program change commands The default value is ON Global program change commands must be sent to the Master Control Channel but if the current mode is Program mode Program Changes are also accepted on the Program Mode Channel In Multi mode Program Changes can also be sent on the Control Channels of each of the 4 Multi slots in order to change a sound inside a Multi MIDI In to USB out ON OFF This setting controls whether data present at the MIDI input is echoed to the USB output This is useful in the case where an external MIDI device is connected to the Origin and needs to be sent to the USB input for situations such as recording by a DAW application The default setting is OFF USB In to MIDI Out ON OFF This setting controls whether dat
92. USER S MANUAL ORIGIN True Analog Emulation SOFTWARE amp HARDWARE ARTURIA ORIGIN USER S MANUAL ch Information contained in this manual is subject to change without notice and does not represent a commitment on the part of ARTURIA The hardware unit and the software product described in this manual are provided under the terms of a license agreement or non disclosure agreement The license agreement specifies the terms and conditions for its lawful use No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser s personal use without the explicit written permission of ARTURIA S A All other products logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners ARTURIA SA 1999 2008 All rights reserved 4 Chemin de Malacher 38240 Meylan FRANCE http www ARTURIA com ARTURIA ORIGIN USER S MANUAL N PRODUCT AND PROJECT MANAGEMENT Frederic Brun PROGRAMMING Philippe Wicker Lead Developer Vincent Travaglini Fabrice Bourgeois Niccolo Comin ELECTRONICS J r me Dumas Wave Idea DESIGN Axel Hartmann Design Box Klaus Weber SOUND DESIGN Jean Michel Blanchet Lead 1 Thomas Koot Lead 2 Glen Darcey Tasmodia Richard Devine INDUSTRIALIZATION Antoine Back Loic Biarez AV Trade MANUAL Jean Michel Blanchet Houston Haynes Niccolo Comin SPECIAL THANKS TO
93. Use it for example to reinforce the low end of a bass sound or as a modulation source in FM routings The white no white noise waveform produces acoustic energy across a broad spectrum of frequencies with no discernible fundamental or harmonic signature For this reason the noise module is used to create different noises like the imitation of wind or special effects The PW slider allows you to manually modify the waveform cycle of the square wave This feature is only available when the square waveform is selected The Input connections FM The FM modulation allows you to modulate the frequency of the oscillator You can connect for example a LFO for vibrato effects of use another oscillator for FM sounds This can yield interesting results for inharmonic sonorities like bell sounds but it can also be quickly distorted if you introduce a square or sawtooth signal PWM This input allows you to modulate the pulse width of the square signal This input is only active when the square waveform is selected It allows you to modify the waveform cycle with for example an envelope or LFO The pulse width modulation creates spectrum modifications comparable to a chorus effect if you use an LFO The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the
94. WE or EXIT to cancel Connect O Save sequence as ARTURIA ORIGIN USER S MANUAL 43 Galaxy is capable of creating very complex modulations by using the interaction of 3 LFOs For this example let s take again the program nr 050 Reso_Pad 171 OSCI FM SINE 0 000Hz The GALAXY module gt Open the Progr page and press on the GALAXY contextual menu button on the top of the LCD screen to show its interface gt The interface shows two connection menus Choose the lower one to assign parameters to be modulated by LFO X For our example wel use Filter 1 FM Frequency modulation Turn the amount knob of LFO X to its right most position and adjust the waveform and speed to your liking Mode Poly Reset Folyphony E Wl Poly Oscillator 1 Oscillator Epnue lope 1 Envelope Output 1 Poly Lfe 1 LFO A LFO bd MinikMizer 1 SIME SINE Mono Mona Lto 1 o Q 07E 12 00 GE Connect Filter 1 FM on Galaxy gt Following the steps above select a parameter for LFO Y for example Oscillator 1 FM and adjust the LFO to your liking gt LFO X and LFO Y now act as two independent LFOs When you now dial in the amount of LFO Phi and set its frequency all three LFOs start to interact which generates an interesting modulation pattern Play around with different waveforms and different speeds to hear the results that can be obtained ARTURIA ORIGIN USER
95. When deactivated the sequencer is fully editable Lock irig De Cent Shige The Trig Accent Slide and Lock buttons The 1 16 encoders set the value of step 1 16 or 17 32 They contain bi directional values positive or negative The 1 16 buttons have two functions in Edit Seq1 3 they select step 1 16 or 17 32 In Pattern selection mode these buttons select a pattern preset 1 16 GK KKKKKKKKKKKKKK D cllk ch ech schlech ll l The step sequencer buttons and encoders 8 6 1 2 Edit a sequence The editable parts of the sequencer are located on the Sequencer page and its sub tabs These can be reached by pressing the Seq button under the LCD screen The settings on the sequencer page allow you to edit several advanced parameters that cannot be accessed from the front panel Five tabs are available for editing the sequencer You can find them above the main screen The Groove tab displays some information that is useful for live situations the currently selected bank and pattern as well as the status of the Loop features GROOVE ALL sm ze sees anes Lean ani SR fae ic OMB a H Factory 1 k IL RAO e user Global DEE BEEBE DDEELEE PATTERN 4 STEPS 16 Loop ZHE OH In pattern mode tht buttons Trig Accent PATE 1716 and Slide control the loop tunctions HOCE FWD Triz Accent Slide ZAME Din Factor L ei Loop STEPS o022 BrumThing
96. a dial to select each node and use the joystick to set the value for that segment of the scale The range of each node is limited by the settings of the adjacent nodes and or the boundaries of the grid Note that you can also navigate to the Recall menu and select any of the pre defined curves Duophonic Aftertouch OFF LOW HIGH LAST This setting allows you to tailor the behavior of aftertouch to affect only one note This provides a semi polyphonic aspect to aftertouch that can add a great deal of dynamics to a passage OFF sets the entire range of played held notes to be affected by the aftertouch modulation settings LOW means that only the lowest note is affected by aftertouch control HIGH means the opposite where the highest played held note is affected by the overall aftertouch value LAST sets the most recently played note to be modulated by aftertouch HIGH is the default 8 1 4 5 Reset control The Reset control is not a screen but a button to return all of the SYSTEM settings to factory settings with a single action Settings mio Reset Settings The Reset control ARTURIA ORIGIN USER S MANUAL 55 8 1 4 6 Exit button This is a context sensitive button that allows you to navigate out of an individual Settings page back to the main screen Simply press the right most context button at the top of the LCD to return to the previous screen 8 2 Preset page 8 2 1 Overview
97. a present at the USB input is echoed to the MIDI output This is useful in the case where an external MIDI device is connected to the Origin and needs to be controlled by MIDI data from the USB input for situations such as playback from a DAW application The default setting is OFF MIDI In to MIDI Out ON OFF This setting controls whether MIDI data at the input is echoed to the MIDI output This is useful in the case where an MIDI device is connected to the Origin and is set to receive MIDI data in the manner of a MIDI THRU port Care should be taken to not create a MIDI loop in this case The default setting is OFF 8 1 4 2 The System 1 page The global SYSTEM 1 page includes a place to enter the Owner Name as well as eight fields that control various aspects of Origin s operation All of the fields and their respective values are described below ARTURIA ORIGIN USER S MANUAL 52 Settings System page T Owner Name Break Mods Global Transpose Global Tune Firmware t Last Preset on ai al ee a ed Do EL Screen Brightness Memory Protect Auto Connect 0001 3 Osc The SYSTEM 1 page Owner Name In this location you can enter your name or any other string of characters and numbers It is used as the default name for designer in the presets you create To enter a name highlight the owner name field using the cursor buttons or jog dial and press Enter You can use the nu
98. ab The Galaxy module is able to create very complex and interesting modulation signals by using the interaction of three LFOs The three Galaxy LFOs are named LFO A LFO B and LFO Phi The output of LFO A can be thought of as a point moving on the A axis of an A B plane Likewise the LFO B output can be thought of as a point moving on the B axis in the same plane When we combine these two points we can construct a point floating through the plane which has its A coordinate described by LFO A and its B coordinate described by LFO B ARTURIA ORIGIN USER S MANUAL I PERF 2D EMM GALAHY Loi Mode Mono Last Output H 171 FLTI FM E Legato OFF Output H Bortamenta OFF 171 oun AM KL Port time C OFF Bitch Wheel OH LEO A LEO E LEO Du Phi SIHE IHE IHE O 07E HZ 12 00 HS 1 000 HZ i RB AN Amount Amount Amount ff TAE C C sc 0003 TS Seq Bend Fange The Galaxy tab The Galaxy Output X is the projection of this point on the X axis of an X Y plane Output Y is the projection of this point on the Y axis of the X Y plane If the phi knob is set to zero A B and X Y are identical By changing phi we can rotate the A B plane with respect to the X Y plane However when phi is static not modulated the outputs of the Galaxy is still quite simple waveforms Using LFO Phi we can automate the phi parameter which can give interesting and complex modulation signals especially when all LFOs
99. ace D A converter etc may require that you set the SPDIF input as the master clock source in order to hear the sound coming from the Origin Consult your interface device user s manual of for more information L 5 5 Connecting pedals and switches Two jacks EXPRESSION and FOOT SWITCH are provided so that you can connect both a foot switch and an expression pedal both sold separately to Origin for additional control ARTURIA ORIGIN USER S MANUAL 23 5 6 Connecting external MIDI equipment Origin can be used as a multitimbral MIDI sound module or as a controller for other MIDI equipment 5 6 1 Using Origin as a sound module If you are using Origin as a sound module use a MIDI cable to connect Origin s MIDI IN connector to the MIDI OUT connector of your external MIDI device In the case of Origin Keyboard you should also check that SETTINGS gt MIDI Keyboard Mode is set to LOCAL OFF so that the physical controls do not directly interfere with the incoming MIDI data 5 6 2 Using Origin as a MIDI controller If you want to control an external MIDI device from Origin s front panel use a MIDI cable to connect Origin s MIDI OUT connector to the MIDI IN connector of your external MIDI device In the case of Origin Keyboard you should also check that SETTINGS gt MIDI Keyboard Mode is set to LOCAL OFF so that the physical controls are sent to the MIDI output directly 5 6 3 MI
100. active the last time the unit was turned off If this is set to the default OFF condition Origin always loads the multi preset 1000 at Startup The default value is OFF Screen Brightness O to 6 This setting controls the level of back light behind the LCD screen The default value is 6 Memory Protect ON OFF When this setting is set to on the memory cannot be written anymore The SAVE button is disabled This can be useful to ensure that some presets are not overwritten by mistake The default value is OFF Auto Connect ON OFF When this setting is set to on Origin automatically makes the most vital connections necessary when creating your own programs For example the oscillator and filter frequencies are connected to the keyboard follow the envelope trigger inputs are connected to the keyboard trigger etc When this setting is turned off no automatic connections are made The default value is ON ARTURIA ORIGIN USER S MANUAL 53 There are some additional information fields in the lower right area of the display Software ID and Serial Numbers are provided for reference when updating software It can also be useful for troubleshooting when requesting support from and providing information to ARTURIA 8 1 4 3 The System 2 page The System 2 page allows control over global time synchronization default internal tempo global sequencer controls and audio input default settings All of the fields and their re
101. aftertouch modulation on the Origin Keyboard will depend on the Duophonic Aftertouch settings For the Origin Desktop unit however these settings will affect all voices equally when aftertouch messages are sent to the Program MIDI channel 8 3 4 2D Envelope tab The advanced 2D Envelope provides a sophisticated loop able multistage modulator that can shape 4 modulation destinations within a preset on the Program level nes PERF ZD ENW Galan LFO 1 es e Emu Mode Poly Peset 171 LEO AH Polyphony 171 OUT AM Portamenta OFF Port time C Moce Cee tore C Tite 736 0 m Fitch Wheel OH Tete 525 0 m z HOT COMHECTED End Fange Lei LEOS AM L ck 106d mz T4445 Sg E me oh L Loop LE TE 736 0 ms JAE a CG Trig Input 171 KIDS TRIG O Wi o700 EMPTY The advanced 2D Envelope ARTURIA ORIGIN USER S MANUAL 69 gt To choose a modulation destination for the four modulation slots select the desired connection box thank to the jog dial and the A Y buttons Press on the jog dial again or on the Enter button to open the destination menu Choose a destination VCF1 FM for example using the jog dial and press on it again to validate this choice wr rm rm rm eee eee Be rm rm rm Be Be rm rm rm eB Be rm rm rm eB eB rm rm rm eB Be rm rm rm eB Be rm rm rm eB Be rm rm rm eB Be rm rm rm eB Be rm rm rm rm BP rm rm Be eB Be rm rm rm eB eB rm rm Be eB BP rm rm rm eB Be rm rm rm eB rm rm rm Be eB
102. al LEO E LEO Phi IHE SINE UeUSEHZ Te OO0H l 000Hz Amount Amount Amount Set the waveforms and the frequencies of the respective LFOs gt Set the initial position of the Phi angle using the A Y buttons and to the jog dial Set the initial position of the Phi angle 8 3 6 Mono LFO tabs Origin offers two program mono LFOs that can be used to modulate many parameters in a program On top of that the LFO itself can be modulated for example by the modulation wheel or the joystick ARTURIA ORIGIN USER S MANUAL 73 nes PERF ZD EN gala ue Mono LFo 1 Mode Poly circ TRIG IHPUT Polyphony EES Son 171 KTR TRIG Leni Portamento OFF AJ AM IHDUT Delay Fade In 171 Adutoyl out ex port time J FH IHPLT Moce Cee ture 171 Addo Out G E PWH INPUT Bitch Wheel OH SD OFF HOT COMHECTED O Bend kange Z OUTPUT ne 173 OSC FM T E JAE 0010 Stadiumoog The Program LFO interface Both the LFO 1 and LFO 2 tab offer the same controls so we ll describe only LFO 1 here Freq This knob sets the frequency or rate of the LFO When the sync selection box is switched to ON the frequency is synced to the internal or external clock Width This knob changes the width or symmetry of the Square and Tri waveforms When another waveform is selected this knob has no effect Delay This knob determines the delay time between a trigger at th
103. ally commit to the same memory location Regardless of the Memory Protect setting you cannot save to Factory preset locations You can save load presets in locations 0400 0999 for Programs and 1100 1255 for Multis when Memory Protect is set to OFF Settings System page T delt Global Transpos Arturia Global Tune Firmware Mergan Last Preset on aldi le ee OLB eos Screen Brightness Memory Protect Auto Connect 0100 Fusion Ep The Memory protect setting ARTURIA ORIGIN USER S MANUAL 83 gt To save a program press the Save button under the main screen The Save screen appears showing the selected Save box The save button gt Press the Save button again to save the current Program Program OVeS5 Soue gaue As Fress SAVE or ERxIT to cancel Save a program 8 4 4 1 Save as name a new Program preset Press the Save button you are automatically directed to the Save Program Multi As screen to commit your changes to a new User preset memory location Any existing User Preset location cannot be overwritten gt You can select the preset memory slot by activating the Save as box using the lt gt cursors gt Confirm this selection by pressing the Enter button gt This directs you to the location number of the new preset Turn the jog dial to select a new location number or use the key pads Then press the Enter button to validate the number se
104. an internally generated sinusoid signal for which the frequency can be set with the Rate slider The modulation amplitude and subsequently the effect amplitude obtained can be set with the Depth button Once connected the MULT input becomes the source of the multiplicative signal and the Rate slider is not useful anymore ARTURIA ORIGIN USER S MANUAL 137 Ring Mod 1 Inputs HUDIO 171 OSCe AUDIO Depth Dote MULT 171 FLT AUDIO Outputs AIDIC 171 Mix Audis 4 The ring modulator Depth Controls the cross fade between the modulated signals and the dry signal Rate Controls the frequency of the internal sine wave generator in case the MULT input is not connected The Input connections AUDIO This is the dedicated input for an audio module MULTI This is the dedicated input for a Multiplicative signal connection The Output connections AUDIO This is the output connection of the Ring modulator 9 1 1 6 Bode Frequency shifter The Bode Frequency Shifter is one of the most wanted and famous modules from Moog modular systems It has been produced at a very small number of units in the early 70 s This module is used for a linear translation of the frequencies contained in the input signal Because of this linearity the initial harmonic relations are totally modified It is easy with this module to produce metallic sounds There are three available outputs two for each of
105. and 1P HP selects a 1 pole 6dB Oct slope 2P BP or 4P BP select a band pass filter A band pass filter is a combination of a high pass and low pass filter attenuating frequencies above and below the cutoff frequency You can for example use it to make a sound more pinched 2P BP selects a 2 pole 12db Oct slope 4P BP selects a 4 pole 24dB Oct slope The Notch filter is the opposite of the band pass filter It eliminates the frequencies inside a band of frequencies The resonance allows you to accentuate the sag of a band of frequencies The Input connections Audio This is the audio input of the filter You can connect it to the output of an oscillator or a mixer if you use several oscillators or other audio modules FM This input allows you to connect sources to modulate the cut off frequency of the filter The envelope or LFO are the most common modules to modulate the cutoff frequency The result is interesting for filter sweeps or wah wah like sonorities RM This input allows you to connect sources to modulate the resonance of the filter The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation ARTURIA ORIGIN USER S MANUAL 135 The Output connections Audio This is the audio output of the filter It can be connected to another filter for a serial filter connection or direc
106. and Level envelope knobs See the Modules Description Chapter 10 for more details i ARTURIA ORIGIN USER S MANUAL 17 4 1 5 Screen section In this area you can find the LCD screen and its dedicated pages buttons and features The LCD screen shows you all of the edit features included in the Origin synthesizer All features are organized on eight main pages for a more convenient access to functions and parameters Directly below the LCD screen you can find the main pages buttons These buttons take you directly to the corresponding page labeled directly above for direct access to Origin s parameters The eight buttons are labeled Home Preset Progr Edit MULTI Seq FX and Live Directly above the LCD screen you can find the contextual buttons The function of these buttons depends on the selected main page For their exact function within a specific page please refer to the page reference in this manual The Demo button takes you directly to the Demo page to listen to Origin s demo songs The Panic button stops all currently playing notes in case of a critical problem or malfunction The Fine button toggles between normal off and fine tune mode on In fine tune mode the data dial and the screen encoders have a more precise scale to allow very precise fine tuning of parameters The Save button opens the Save Save as page The Exit button exits f
107. ardware Multi mixer gt The Main Out correlates with the Master Level knob on the front panel of the Origin Simply set the desired overall level the ratio balance of audio levels for the Program presets within the Multi is preserved and save the Multi preset This volume level can be recalled when the Multi is reloaded The Main Out correlates with the Master Level knob ARTURIA ORIGIN USER S MANUAL 91 8 5 9 Editing Programs from the Multi page The Multi mode allows you to navigate into program level settings However with the added sophistication of the Multi mode comes a slightly different approach to accessing and editing those individual programs The Edit button in the MIXER section of the Origin front panel provides access to each individual Program such as the step sequencer JOYSTICK the Advanced 2D Envelope Galaxy module and Program level LFOs as well as FX and individual program parameters Likewise when switching between slots in the Multi the context of the active screen in the LCD display is preserved For instance if you are looking at the Galaxy settings for PGM 1 and then select the Edit button for the PGM 2 on the Origin front panel the focus of the Origin front panel shifts to the settings that correspond to the second slot and the Galaxy tab of the PROGRAM page for PGM 2 are displayed in the LCD This can be helpful in comparing the same areas of presets across the Progra
108. as a red square at the far right of its name ARTURIA ORIGIN USER S MANUAL 49 A green triangle denotes that the demo is ready to play and the red square denotes that the demo is playing miss Long New 9 The red square denotes that the demo is playing If the demo concludes without being stopped manually the icon to the right of the name automatically switches from a red square to a green triangle gt You can choose a demo manually by using the A Y keys or the jog dial on the front panel and then select the Enter button press the jog dial or press the Demo button on the front panel to start the selected Miss Long demo song gt To stop the currently playing demo song select the Enter button press the jog dial or press the Demo button on the front panel The right side of the Demo tab contains Song INFO data This includes the song name style selected multi preset ID as well as the Program presets used within the multi This can be helpful in identifying individual sounds that may spark your interest or provide you with inspiration to create your own sounds Song INFO Hame Miss Long CH SEE Bees Multi Hiss Long 1032 wl Wintase E Boao S Druma lil full Sub Boss oo WE OO eet etc E dintgze E The song info 8 1 4 The Settings tabs The SETTING tab contains several sub tabs of its own which are shown at the top of the LCD screen when the SETTING
109. at some of these controls have additional function when the sequencer is in GROOVE mode to aid real time play SEQUENCER Play Sop N The hardware controllers of the sequencer The Play Stop button toggles the sequencer on or off When set to on the sequencer starts running when a note is pressed and stopped when the last note is released ARTURIA ORIGIN USER S MANUAL 94 The Hold button toggles hold on or off When hold is on the current playing sequence loops until the Hold button is pressed again When the sequencer is not running the Hold button acts much like changing the state of a sustain pedal The Frequency encoder sets the speed of the sequencer if the Origin is set to internal clock mode If the Origin is in external clock MCLOCK mode the encoder has no effect on the step sequencer tempo Play Sbp DI m Fegueng The Play Stop Hold buttons and the Frequency encoder The Seq1 3 Act buttons activate or deactivate sub sequence 1 3 The Edit gt Seq1 Seq3 Pattern button selects the corresponding sequence for editing or when Pattern is selected activates pattern selection mode The Assign button opens the assign pop up of the selected sub sequence Assign The Seq1 3 Act Edit and Assign buttons The Trig button behaves differently depending on whether the LOCK button is active also known
110. ate see chapter 7 for more information on the filters Emphasis This knob also called resonance or Q sets the amplification amount of frequencies close to the cut off frequency The other frequencies are either unchanged below the cut off frequency or reduced above the cut off frequency Amount amount of contour This knob sets the amount of filter modulation by the filter envelope Attack This knob sets the attack time of the filter envelope Decay This knob sets the decay time of the filter envelope ARTURIA ORIGIN USER S MANUAL 152 Sustain This knob sets the decay time of the filter envelope The lower section contains the ADS type amplifier envelop which includes Attack This knob sets the attack time of the amplitude envelope Decay This knob sets the decay time of the amplitude envelope Sustain This knob sets the decay time of the amplitude envelope 10 3 2 4 Output VCA amplifier This section contains settings for overall volume and voice structure of the Minimoog template C Poly Circ The output It contains the following parameters Volume This knob sets the overall volume of the Minimoog template Unison This knob sets the number of unison voices At values higher than 1 multiple voices are assigned to the same keyboard pitch which can create a bigger sound Note however that the maximum polyphony decreases as the number of unison voices
111. ave a release time which is equivalent to their decay time When set to off the envelopes have no release Legato This switch turns the legato mode On or Off this settings has no effect if a polyphonic mode is selected in the Output section In legato mode playing a note while another note is still held doesn t retrigger the envelopes If this setting is set to Off each new note retriggers the envelopes Bend This switch determines whether the Minimoog template responds to pitch bend commands Range This knob sets the pitch bend range for the Minimoog template has no effect if the Bend switch is set to OFF Pedal glide This switch activates or inhibits the glide action for the pedal Pedal release This switch activates or inhibits the release action for the pedal 10 3 2 7 Modulation matrix The modulation matrix allows you to route up to 8 different modulation sources to up to 8 different destinations within the Minimoog template It is organized in 8 rows each row contains a source selector a modulation amount knob and a destination selector By default all selectors are set to OFF and all modulation amounts knobs are set to zero position ARTURIA ORIGIN USER S MANUAL 154 Modulation Matrix Amount SOURCE Destination The modulation matrix The left Source selectors are drop down menu s that allows you to select a source to modulate the aligned destination The central Amount kn
112. ce The Accent button triggers the accent envelope on the current step of the selected sub sequence The Slide button activates the slide function on the current step of the selected sub sequence It changes smoothly from the current value to the value of the next step in the sequence The 1 16 encoders set the values of steps 1 16 or 17 32 The 1 16 buttons have two functions in Edit S eq1 3 they select steps 1 16 or 17 32 In Pattern selection mode these buttons select a pattern preset 1 16 4 2 The Origin Keyboard For Origin Keyboard users besides the obvious physical attributes of keyboard pitch and modulation wheels octave and ribbon controls there are some unique features which are detailed below ARTURIA ORIGIN USER S MANUAL 19 4 2 1 The Control Panel The control panel for the Origin Keyboard is the same in function as the top panel of the Origin Desktop unit It differs in that it connects to the keyboard through a sturdy hinge at the back edge of the keyboard housing The two protrusions at the top corners allow for the control panel to be rotated down and rest on the rubber footings at the lower front edge of the keyboard This provides clearance for the control panel above the ribbon control and key mechanism within a closed position It also makes the keyboard more compact for packing and transport 4 2 2 The Key Mechanism The keyboard is a semi weighted 61 key mechanism
113. clock Otherwise the sequencer can have a independent rate Rate Sets the subdivision of the steps length from the internal or MIDI tempo if Sync is ON If Sync is OFF this parameter sets the sequencer speed in BPM Mode This parameter allows to select the playing mode of the sequence FWD The sequence plays forward BWD The sequence plays backward FWD BWD The sequence plays forward and backward FWD BWD 2 The sequence plays forward and backward the first and last steps are played twice so the period of the sequence is twice the period of a FWD sequence The Swing setting shifts in time the even steps of the sequence steps 2 4 6 8 etc This parameter is very useful to add groove to a sequence for house music for example 8 6 1 5 Save and Save as a sequence 256 pattern memories are available on the Origin sequencer They are divided in 128 Factory patterns and 128 User patterns ARTURIA ORIGIN USER S MANUAL 100 They are placed on sixteen banks from A to H for the Factories banks and from I to P for the User s banks composed of sixteen patterns each gt To save the current edited pattern select the Save button on the bottom of the Global section using the jog dial or using the A Y buttons Then press on the jog dial or on the Enter button to open the Save box gt The Save option allows to save directly the current pattern on its own m
114. coder on the Oscillator section This way you can browse through the different oscillators to select them for editing gt When the LCD screen displays the oscillator you wish to edit press the Select encoder Now the hardware knobs in the Oscillator section are assigned to the oscillator you ve just selected gt When the overall sound is the way you want it to be you can start shaping its amplitude and spectrum over time using the Envelope section By default the amplitude envelope is selected for editing gt To change this turn the Select encoder in the Envelope section When the LCD screen displays the envelope you want to edit press the Select encoder Now we will use some of the features included in the template which are not found on the original Minimoog Well modulate the filter frequency using the velocity so that when we strike a key hard the sound will be brighter gt To do this go to the Edit page were the Minimoog interface is displayed You can browse through the different sections using the jog dial or the cursors Go to the Modulation Matrix section and press the data dial or the Enter button You will be presented with a pop up allowing you to route 8 different modulation sources to 8 different targets gt Using the jog dial move to the left slot of the upper row and press the jog dial From the pop up menu we ll select Velocity gt Now go to the right slot of the upper row a
115. created a multi yet gt Navigate to the second slot of the multi mixer and press the Enter button or the data dial A pop up appears Create a new multi pgm 1 0001 3 Osc Create a Multi preset gt When pressing Ok a new multi is created in the first available empty multi preset location You are also directly redirected to a page similar to the preset page were you can select a program to add to your multi The program you select is loaded into slot 2 You can now add more programs to your multi or tweak it using the functions of the multi mixer ef e E ee ee ee e I I I NOTE If all user Multi presets are still written you can overwrite an existing Multi preset Otherwise you have to dump your MULTI preset on your computer using the Origin software wee e e ee e rm rm e e rm rm e rm rm e e ee e re rm e e eB e e rm rm e e rm rm e re rm e e eB rm e rm rm e e rm rm e rm rm ee rm e e rm rm e e rm e e rm rm e e rm e e rm rm e e rm e e rm rm ee rm ee rm rm e e rm ee rm rm e e rm e e rm rm e e rm e e rm rm ee rm ee rm rm ee rm e e zi 8 5 6 Adding programs presets 0000 0999 to a multi gt To add a program to your current Multi go the MULTI page On the top of each of four slots in the multi mixer the name and number of the program used in that slot is displayed shows none if no program is loaded gt Navigate to the slot of interest and press the selection menu displaying None
116. d Sustain ON OFF determines whether the envelope will hold sustained notes between the end of the Decay D and beginning of the release R If this is set to OFF then the envelope runs its course without regard to manually held notes or notes held by use of foot switch MIDI CC64 The Input connections TRIG Input trigger signal connection for the envelope ATT Modulation Input connection for the attack time of the envelope DEC Modulation Input connection for the Decay time of the envelope REL Modulation Input connection for the Release time of the envelope AM Amplitude modulation input for the envelope The Output connections Output This is the output connection of the Envelope 9 1 2 4 LFO The low frequency oscillator LFO is one of the most used as a modulation source It allows you to create variations in a sound parameter in a cyclical way to generate effects such as a vibrato effect when the LFO modulates the frequency of an oscillator a wah wah effect when it modulates the cut off frequency of a filter a tremolo effect when it modulates the volume of a VCA etc Inputs TRIG ERED TRIG AduJowl Out U EEDI KF 1 e E HOT CONNECTED D Outputs OUTPUT 171 FLT FH E The poly phonic LEO Rate setting parameter for the LFO frequency Shape This is the selection for the audio output of the three wave forms Saw tooth Triangle ARTURIA ORIGIN USER S MANUAL 144
117. d or as a modulation source in FM routings The White no white noise waveform produces acoustic energy across a broad spectrum of frequencies with no discernible fundamental or harmonic signature For this reason the noise module is used to create different noises like the imitation of wind or special effects The PW slider allows you to manually modify the waveform cycle of the square wave This feature is only available when the square waveform is selected The Input connections ARTURIA FM The FM modulation allows you to modulate the frequency of the oscillator You can connect for example an LFO for vibrato effects or use another oscillator for FM ORIGIN USER S MANUAL 124 sounds This can yield interesting results for inharmonic sonorities like bell sounds but it can also be quickly distorted if you introduce a square or sawtooth signal AM This input allows you to modulate the level of the audio output of the oscillator You can use for example a LFO to create tremolo effects or an envelope to control the output level over time NOTE This is referred to as a multiplying input In this case it is often better to use a Unipolar modulation sources when attached to this input When in doubt give it a try and see what works for you ALSO NOTE The high frequency modules outputs such as oscillators are not available at the AM Input If you wish to generate non harmonic
118. d to be a sophisticated equalizer that reduces depending on the filter type the high or low frequencies of a sound 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 Origin gives you access to several types of filtering 6 12 and 24 dB Oct slopes ARTURIA ORIGIN USER S MANUAL 162 amplitude amplitude CF amplitude frequency frequency rough signal low pass filter filtred signal CF Cutoff Frequency The removal of undesirable frequencies at the cut off frequency 11 1 3 1 The filter types Let s have a look at some of these filters properties The low pass filter LP 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 can hear the sound becoming more or less brilliant more or less dampened This is the type of filtering that you can mostly find on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synthesizers 40 00 s0 00 160 0 320 0 640 0 1280 2560 S120 610240 Low Pass Filter The high pass HP filter acts symmetrically to that of the low pass filter It eliminates f
119. depending on Whether a polyphonic or monophonic mode is selected 8 3 7 2 Common parameters Legato Polyphony When a poly mode is selected see above this selection box is named polyphony and sets the maximum amount of voices that can play simultaneously When a mono mode is selected this selection box is named legato and toggles legato mode on or off When legato is on the kbd keyboard module sends no trigger when a new notes is played while another is held If legato is off the kbd module always sends a trigger when a new note is played Porta Gliss This selection box turns the portamento glissando On or Off These features are emulated from the Yamaha CS 80 analog synthesizer If the feature is on each newly struck voice glides from its previous pitch to its new pitch in the time specified by Port Time If the feature is set to glissando then the glide from note to note will be on a by semi tone basis Portamento creates a smooth continuous transition between notes Port Time This knob sets the portamento glissando time see above This is the duration of the slide from the starting note to the ending note The speed of the slide will depend on the size of the interval between the starting note and the ending note Voice Detune This knob sets the range of detune of each voice This parameter is very interesting when it s used with a polyphonic mode It sets a random detune setting for each note Pitch
120. described below 8 5 1 The Config context menu gt The CONFIG context menu allows you to select from a common set of configurations allowing quick set up of your Multi Also you can also start with one of the preset CONFIG selections and edit settings in the following screen to customize the Multi to your specific needs ARTURIA ORIGIN USER S MANUAL 85 Layer 1 zone Zone A only all active slots are assigned to the same Zone and MIDI channel Split 2 zones This creates a low and high split at C3 and assigns each slot to a zone Zones A and B active only both assigned to MIDI channel 1 Split 3 zones Zones A B and C with the same MIDI channel split at C2 and C4 with slots assigned to each zone Split 4 zones Splits at C2 C3 and C4 with each slot assigned to its own zone all assigned to MIDI channel 1 Multitimbral All four zones are fully active across their entire range with each their own MIDI channel assignment 1 4 Sots Zones Le eg Split LS zones 15 Split zones z6 Split dh zones Opennz Multitimbral E With fore chan Trans Ctich Trans Ctich Trans Ctich Chan Trans CHICH Droa 1 0000 Openings The Config context menu 8 5 2 The Slots tab The Slots tab of the Multi page is the default tab that appears when you first select a Multi It contains all of the top level information about each sote assignments Each field is describ
121. e Trig input see below and the beginning of the LFO action This does not restart the LFO phase Fade in This knob sets the transition time between the end of the delay and the point where the LFO reaches its normal amplitude When this knob is set to zero the LFO directly applies full modulation when delay time is over The fade in can be used to introduce a transition period between null and the defined level Sync This selection box allows you to sync the LFO to the internal or external clock When sync is on turning the Freq knob chooses only frequencies that are integer multiples or divisions of the master tempo When sync is set to off the Freq knob has its own logarithmic scale Shape This selection box allows you to select the shape or waveform of the LFO Origin s LFOs offer 5 waveforms sine triangle tri sawtooth saw square and random The Program LFO settings Set the waveforms and the frequencies of the Program LFO using the A W buttons or the jog dial gt Set the input connections Trig input This input allows you to trigger the delay period of the LFO When a trigger signal is received here the LFO will start beginning with an possible delay or fade in period ARTURIA ORIGIN USER S MANUAL 74 AM input This input modulates the amplitude of the LFO You can for example connect it to the mod wheel so the LFO will have no effect when the mod wheel is down and
122. e a note is played even when the same key is played successively In certain circumstances this has the effect of allowing decaying notes to complete their envelope cycle with newly struck notes starting from the initial envelope point ARTURIA ORIGIN USER S MANUAL 75 Poly Reset Polyphonic reset This mode takes the first available voice that is not being held open by a NOTE ON event or the sustain pedal This means that a note in mid release can be opened again by a new note Poly circular and poly reset have their own impact on the sound of the program depending on the performer s approach and the amount of polyphony as it affects voice stealing Mono Low Mono mode with priority to the lowest note This means that if two notes are presented at the same time it is the lowest note that is played Mono High Mono mode with priority to the higher note This means that if two notes are presented at the same time it is the higher note that is played Mono Last Mono mode with priority to the last note This means that if two notes are presented at the same time it is the last note that is played Ia Se eg pa EE See A git ee eS AU Gord cae got dg Sot Se Ag Sp dy et Ae ded tae gS day do A wag yh Oy ay AY Smeg E SIG Sgt age dla FA de Sepia st Spt Shak dh eh Deh Ue EE EE ded Sop det ee Sod SM Pd SAO a ae So oy a EE ag Soh ie Sy NOTE The field underneath Mode changes context from Polyphony to Legato
123. e first analog synthesizers Moog Sequential Circuits the Prophet Series ARP EMS Oberheim Roland Jupiter or SH series Yamaha CS series and Korg MS and PS series During the 1980 s the purely analog subtractive synthesis model of the first keyboards was progressively replaced by wave table oscillators Prophet VS or sample based instruments As an owner of the Origin synthesizer you now have access to an immense sonic generation possibilities where subtractive synthesis is coupled with the analog oscillators and the wave table generators THE BASICS Of all the forms of audio synthesis subtractive is one of the oldest and to this day the most frequently employed by sound designers and musicians alike This is due to the simplicity with which complex sounds can be created over the more unwieldy forms of synthesis techniques such as additive or granular to name but two As a basic overview to subtractive synthesis one may consider any sound created either in nature or on your synthesizer of choice as consisting of a number of sine waves or harmonics grouped together In subtractive synthesis we start with a harmonically rich sound such as a saw wave and through filtering we remove the sine waves or harmonics that we do not want This as you can imagine is a great deal more complex than simply turning a filter control knob 11 1 The three main elements of the sound 11 1 1 The Oscillator or VCO The oscillator or VCO
124. e noise generator volume White Pink This selection selects the noise type produced by the noise generator White selects white noise Pink selects pink noise ON OFF As expected the five ON OFF switches turn their corresponding sound source On or Off From top to bottom they control Osc1 External input Osc2 Noise generator and Osc3 10 3 2 3 Filter Modifiers envelopes The upper section above the black line contains the settings for the filter and the filter envelope The lower section contains the settings for the amplitude envelope ky O O on 2 G O0 The filter and Modifiers envelopes Here are the parameters for the upper section Filter Modulation This switch activates or deactivates the modulation of the filter cutoff by oscillator 3 Filter Control These two switches control the modulation of the filter cutoff by the keyboard follow There are four different settings for the keyboard follow When both switches are set to off the filter is not modulated by the keyboard follow If only the upper switch is set to on the filter cutoff tracks the keyboard frequency by 33 If only the lower switch is set to on the filter cutoff tracks the keyboard frequency by 66 If both switches are set to on the filter cutoff tracks the keyboard frequency by 100 Cutoff This knob controls the cutoff frequency of the filter i e the frequency at which the filter starts to attenu
125. e position where it might accidentally fall over 6 Do not place heavy objects on the instrument Do not block sinks or holes of the instrument these locations are used for air circulation to prevent the instrument from overheating Do not place the instrument near a heat sink or any place of poor air circulation 7 Only use the recommended specified AC DC adaptor 8 Make sure the line voltage in your location matches the input voltage specified on the AC DC power adaptor 9 Do not open and insert anything on the instrument which may cause fire or electrical shock 10 Do not splash any kind of liquid onto the instrument 11 Always take the instrument to a qualified service center You will invalidate your warranty if you open and remove the cover and improper assembly may cause electrical shock or other malfunction 12 Do not use the instrument during a thunder and lightning storm otherwise it may cause long distance electrical shock 13 Do not expose the instrument to hot sunlight 14 Do not use the instrument when there is a gas leak nearby 15 ARTURIA is not responsible for any damage or data loss caused by improper operation of the instrument Handling CD ROMs Avoid touching or scratching the shiny underside encoded surface of the disc Damaged or dirty CD ROM disc may not be read properly Keep your CD ROMs clean using a commercially available CD cleaner ARTURIA ORIGIN USER S MANUAL 10 2 INTR
126. e rm rm e re rm e e rm rm e rm rm rm e rm rm e rm rm e e rm rm e rm re e e rm rm e rm rm e e rm rm e rm rm e e rm rm e rm rm rm e rm rm e rm rm ee rm rm e rm rm rm e rm rm e rm rm rm e rm rm e rm rm rm e rm rm e rm rm ee rm rm KK NOTE For listening to the current preset before loading you can use the Preview option To do this press the jog dial to start the preview When you press the Preset button the Preset page displays It displays a list of all the presets and details of the currently selected preset Above the preset list there are two drop down menus labeled Key 1 and Key 2 Here you can select search criteria to filter out sounds that do not match your criteria This way you can quickly find the sounds you need We ll select the Reso_Pad using the search criteria gt Press exit to navigate through the preset page and use the jog dial or cursors to scroll to Key 1 Press the jog dial or the Enter button to select it gt On Key 1 choose the criteria Sound Designer Upon selecting a sound designer only his her sounds is displayed We ll choose JMB gt Following the above steps select Key 2 and choose Type Here you can select which types of sounds are displayed We re looking for a pad so well scroll down to choose Pad gt The Reso_Pad among others displays in the preset list as matching the criteria Highlight it using the jog dial or cursors and select it by pressing
127. e the affected parameters according to their current value without changing the difference of value between each module 8 8 4 Advanced Joystick 8 8 4 1 Overview The Joystick tab is the place where the destination of the X and Y axis of each joystick mode is selected and edited You can jump to this tab directly by selecting the Assign button in the JOYSTICK area of the front panel of the Origin o ADU JOYSTICH J AHIS a jc aen JE H Aes 171 LEO AH U 0000 CS Hperience The Advanced Joystick page 8 8 4 2 Modes Each Mode of the joystick is simply a distinct layer of two dimensional control that can be directed to nearly any destination within the Program preset The hardware Mode button located in the Joystick section is used to select the Modes 1 2 3 for the joystick that is the target of your edit O CO 1 2 3 Mode The Mode button ARTURIA ORIGIN USER S MANUAL 113 Likewise each axis can be directed to more than one destination each with their own polarity RI for Bipolar or U for Unipolar and scaling factor to tune the range of modulation to your creative needs From a performance perspective this provides an astonishing variety of real time control options with the joystick alone 8 8 4 3 Selecting and configuring control destinations The process for selecting output for the joystick is similar to the method used to set input and output de
128. ections within One program is limited Anyway the limit should be high enough so to to never disturb you gt To set the value of the modulation amount use the jog dial to cycle through the values of the appropriate amount Changing values takes immediate effect Press again the jog dial or the Enter button to commit the value 9 1 Modular synthesis modules Here is a description of the synthesis modules available in the modular structure You can find them by pressing the Edit page There are classified in two categories gt The sound modules including the oscillators filters mixers ring modulators and the output VCAs Voltage Controlled Amplifiers gt The modulator modules including the LFOs envelopes CV modulators etc gt Some of these synthesis modules emulate filters and oscillators from some of best synthesizers in history such as the Minimoog ARP 2600 Jupiter 8 and the CS 80 By using them you can create your own new hybrid synthesizer or emulate a classic synth in your own unique way 9 1 1 The sound modules 9 1 1 1 Oscillators The oscillator module is the starting point for the creation of a sound on a synthesizer The VCO for Voltage Controlled Oscillator is the generic word used for the oscillator module in subtractive synthesis The oscillator generates a sound signal that is characterized by its waveform We can think of the oscillator s waveforms as a violin string that always reso
129. ed below Program 0000 0999 The first field in the slot is where the preset is assigned Highlight and select the field to be taken to a program selection screen There you can navigate through the patches to make your choice and once chosen you are taken back to the Multi Slots tab where you will see the preset number loaded in the slot Zone None A B C D This is the keyboard zone assigned to the program All notes coming through that keyboard zone i e notes are between the zones low note and high note will be played by this program as well as all controllers Pitch wheel pedals aftertouch coming through that zone i e are enabled on the zone with the corresponding on off switch in the zone configuration page Note When more than one program is assigned to the same zone they are always played together so they are in a layering configuration To make a split you can assign programs to different zones with non overlapping ranges low and high notes ee e re rm e ee rm e rm rm e ee rm e rm rm e e rm e e rm rm e e rm rm e re rm e e rm rm e rm rm e e rm rm e rm rm ee rm ee rm rm e e rm e e rm rm e e rm e e rm rm ee rm e e rm rm e e rm rm e rm rm e e rm e e rm rm ee rm e e rm rm e e rm e e rm rm ee rm e e ee ee zm e sm HI MIDI Channel 1 16 This control is the MIDI channel of the current selected zone It is the most important MIDI channel when in Multi mode It is a shortcut for the Zone MIDI channel fo
130. ed to up to three effect slots Additionally a Multi mode allows you to stack up to four programs for layering sounds as well as assign a specific MIDI channel for up to four part multitimbral operation 2 2 Check the latest update You have in your hands a fully functional product tested and validated by different quality control procedures Never the less ARTURIA will keep on making it even better New modules new instrument templates new features potential bug fixes ARTURIA has a team of people working on Origin and will provide upgrades to the Origin Update file and the Origin Connection computer application We urge you to check the latest update version available on http www arturia com evolution en downloads updates html Even if you ve just purchased your brand new Origin unit we may have posted a free improved version of the firmware software since it was shipped from the factory ARTURIA ORIGIN USER S MANUAL sf 2 3 TAE TAE is ARTURIA s outstanding technology dedicated to the digital reproduction of analog circuits used in vintage synthesizers When implemented in software code TAE algorithms guarantee authentic emulation of hardware specifications This is why the Origin hardware synthesizer and all of ARTURIA s software synthesizers offer an unparalleled sound quality TAE combines four major advances in the synthesis domain 2 3 1 Aliasing free oscillators Standard digital synth
131. eee ee ee ee mm rm ee mm rm eB mm mm rm eB mm mm rm ee mm rm eB em rm rm eB eB rm rm eB eB rm mm rm eB mm mm rm eB mm mm rm ee mm rm eB ee rm eB mm rm rm eB ee rm eB ee mm rm eB mm mm rm ee mm rm eB mm mm rm eB em rm rm eB mm mm rm eB mm rm rm eB eB mm mm rm eB mm mm rm eB mm mm rm eB mm mm rm ee ee eB mm mm A A mi 7 2 Adjusting the volume gt Begin with the Main Level knob fully rotated to the left most position Play a few notes on the keyboard and gradually raise the volume to an appropriate level gt If you are using headphones connect them on the Headphones jack on the rear panel and adjust the Headphones Level knob Maser Lea Set the volume to an appropriate level 7 3 Demo playback ORIGIN contains several demo songs that take advantage of its rich sounds and expressive potential gt On the Home page press the Demo contextual button located in the top of the central screen to go to the Demo page Use the jog dial to select the first demo song Demo Electro and press this dial or press the Enter button to start the song gt To stop the song press the jog dial or press the Exit button gt You can select another song using the jog dial or the cursor buttons To listen to it follow the steps above i m E l a Home Miss Long CH Or tseos New Demo Electro Bock In Time 1 t Miss Long Loke amp Forest d DEE Demo Trance Leauing Origin Style Boose ml Wintase E
132. el and Daft Punk The Pitch Oscillator 1 eee mm wa lE z S FM WS Seat Gut 1 E fa SC Wf o AH Let AduJoyl out T aie Dun Le AduJoyl Out e E feet tune pw Outputs Wha form DUDIO 171 Mix Audic 7 SQUARE PWH speed The CS 80 oscillator The pitch is defined by the oscillator frequency You can set the frequency with 2 controllers The feet slider sets the range frequency of the oscillator expressed in feet 16 brings the lowest frequencies 2 brings the highest audible frequencies The tune slider allows you to tune the oscillator more precisely It ranges from minus 1 to 1 semitone The waveforms The waveforms define the sonic characteristic of the oscillators sound ARTURIA The sawtooth presents the richest audio signal of the waveforms It contains all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass sounds bass sounds or rich lead and pads The square possesses a more hollow sound that the sawtooth It only contains odd harmonics with lower amplitudes for higher harmonics This waveform can be used for ORIGIN USER S MANUAL 122 sub bass sounds that comes out well in the mix the square oscillator is often set an octave below that of the sawtooth wood sounds clarinet if the square signal is a little filtered etc The sine is the purest available waveform It contains only one harmonic referred to as the fundamental
133. emory Sequence Lt Saue As Dress SANE or EXIT to cancel The Save option ee e re re e e rm rm e ee rm rm e re re rm e rm rm rm re re rm e rm rm e re re e e rm rm e rm rm rm e rm rm rm rm rm rm e rm rm e rm re rm e rm rm e rm rm e e rm rm e rm rm rm e rm rm e rm rm rm e rm rm rm rm rm rm e rm rm e rm re rm e rm rm e rm rm rm e rm rm e rm rm rm e rm ee ee ee rm zm sm HI Sequence Lt Soaue J oe As Swoop Eank UO Pattern U EMPTY Press SAWE or EXIT to cancel Connect SETENE 11 02 Speed OF Darr Droa d oss I Hope Fo The Save as option gt The Save as option allows to save the current pattern on another memory space By default the Bank used for the last pattern save is selected gt Choose a new bank letter using the jog dial and press the jog dial again or the Enter button to validate the choice Then choose a memory number from 1 to 16 using the jog dial and press the jog dial again or the Enter button to validate the choice oe ee ee ee ee ee ee ee ee ee ee a ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee ee a ee et ee ee ee et et er et er er et ee ee er ee eH HH WARNING You have to save your current Program to validate its sequence link with the current pattern meee ee ee ee mm rm ee ee ee mm rm eB mm mm rm eB mm rm rm eB em rm rm eB eB mm rm eB eB rm mm rm eB mm mm rm ee mm rm eB mm mm rm ee mm rm eB mm rm rm eB ee rm eB eB ee rm e
134. end the value and a red dot will display on the LCD screen to indicate which step will send the accent wrt t gg ee ee ee BP rm rm BP Be Be rm rm rm rm Be rm rm rm eB BP rm rm rm eB Be rm rm eB eB Be rm rm rm eB BP rm rm rm eB eB rm rm rm Be Be rm rm rm rm BP rm rm rm eB Be rm rm rm Be Be rm rm rm eB Be rm rm rm eB BP rm rm rm eB Be rm rm rm Be BP rm rm rm Be Be rm rm rm eB Be rm rm rm rm BP rm rm rm eB Be rm rm rm Be Be rm rm rm HK NOTE Connect the accent input to a filter cutoff frequency FM output to get the famous TB303 s accent effect The Slide button also performs double duty When the sequencer is locked in Groove mode the Slide button acts as a divider for the loop function Each time it is pressed the division reduces the number of sequence positions that are looped when the function is active When unlocked the Slide button performs its primary function which is to select and modify which steps along the sequence pattern will slide from ARTURIA ORIGIN USER S MANUAL 95 one position to the next It gives an effect of portamento between the selected step and the following step which is most obvious when assigned to pitch but can also be assigned to other parameters to create other effects The Lock button effectively switches the sequencer between Groove and edit modes When active it also prevents any encoder from changing the values of their respective step sequencer position
135. equency of the oscillator You can connect for example a LFO for vibrato effects of use another oscillator for FM sounds This can yield interesting results for inharmonic sonorities like bell sounds but it can also be quickly distorted if you introduce a square or sawtooth signal AM This input allows you to modulate the level of the audio output of the oscillator You can use for example a LFO to create tremolo effects or an envelope to control the output level over time NOTE This is referred to as a multiplying input The output volume changes logarithmically with a linear change to the input So in this case it is often better to use a Unipolar modulation sources when attached to this input When in doubt give it a try and see what works for you ALSO NOTE The high frequency modules outputs such as oscillators are not available at the AM Input If you wish to generate non harmonic frequency components like metallic sounds you can use the dedicated Ring modulator module PWM This input allows you to modulate the pulse width of the square signal This input is only active when the square waveform is selected It allows you to modify the waveform cycle with for example an envelope or LFO The pulse width modulation creates spectrum modifications comparable to a chorus effect if you use an LFO Sync At this input you can establish a sync connection between the Origin oscillator and any other one When
136. ery damped sound It can be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that don t exist in the original waveforms ARTURIA ORIGIN USER S MANUAL 159 sine amplitude amplitude The sinusoid waveform frequency 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 The audio output of noise can also be used as a modulation signal especially when strongly filtered to create random cyclic variations On hard wired 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 Oscillator 1 SE Range e EM Seq out 1 eg AH Addo out eeo rA wiatn E Fane HOT COHHECTED AUDI 171 Mix Dudu HHC HOT COMHECTED Internal PWH Amount Fate om Waveforms on Origin s Oscillator 11 1 1 3 Synchronization The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillator1 oscillator2 restarts a
137. esizers produce aliasing in high frequencies especially when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM without extra processing costs Aliasing 20627 Linear frequency spectrum of the ORIGIN oscillator made with TAE 2 3 2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a capacitor in the circuits The discharge of the capacitor results in a light bend in the original waveform notably on sawtooth triangular and square waveforms TAE allows the reproduction of this capacitor discharge Below is the analysis of a waveform from one of the original instruments that ARTURIA s software emulates and that of the Origin Both are equally deformed by the distortion caused by the capacitor discharge ARTURIA ORIGIN USER S MANUAL 12 1000 1500 2000 2500 3000 Temporal representation of a sawtooth waveform of an analog synthesizer 1000 1500 2000 2500 S000 Temporal representation of a sawtooth waveform reproduced by TAE What s more the hardware analog oscillators were unstable In fact their waveform varies slightly from one period to another If we add to this the fact that the starting point for each period in Trigger mode can vary with the
138. et allows you to assign up to four Programs in a new Zones configuration You can assign a specific key range and MIDI channel to each Program for up to four parts of multitimbral operation This is also useful for a variety of split and layering functions for live play 7 EXTERNAL AUDIO INPUT l Sequencer Arpeggio Env2D Galaxy Mono LFOs Ee Program 1 Modular Structure polyphonic INDIV OUTPUT L R Sequencer Arpeggio Env2D Galaxy Mono LFOs Modular Structure polyphonic FX 1 2 3 Programa polyphonic INDIV OUTPUT L R INDIV OUTPUT L R Sequencer Arpeggio Env2D Galaxy Mono LFOs FX 1 2 Program 4 Modular Structure polyphonic Puz E Output Mixer L MONO R The global Origin architecture Sequencer Arpeggio Env2D Galaxy Mono LFOs FX 1 2 Program 3 Modular Structure polyphonic INDIV OUTPUT L R 6 2 The Program preset The Program preset includes the modular synthesis structure which is the main part of the Origin instrument You can access this area by pressing the EDIT button just below the LCD screen The modular synthesis structure allows you to venture into one of the most powerful technologies for sound creation ARTURIA ORIGIN USER S MANUAL 26 First you can choose the basic audio modules Up to 9 oscillators based on the Minimoog ARP 2600 CS 80 Jupiter 8 and Prophet VS synthesizers plus a special Origin oscillator A ne
139. f an amplifier the sound increases in volume then disappear in a varying manner following the speed the frequency of this LFO This produces a tremolo effect sine waveform from 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 lightly resonant low pass filter you can obtain a wah wah effect ARTURIA ORIGIN USER S MANUAL 167 amplitude AAA ANTE sound signal amplitude time modulator signal LFO amplitude time modulated signal The LFO used as a tremolo effect Inputs TRIG KEDT TRIG AH Hdu Jout Out di EEO KF 1 E COHHECTED O Outputs OUTPUT 171 FLT FH E The LFO module on Origin 11 3 Complements to Wavetable Synthesis The Origin synthesizer uses the wave table synthesis technology on the same principles as subtractive synthesis The difference resides in the type of oscillators used the Wavetable oscillator based on the original Prophet VS synthesizer uses sonic samples saved and stocked in memory and the older synthesizers using generators of the sawtooth sine and square waved form These samples were recorded from different acoustic instruments voice or electronic noise atonal sounds basic wave forms sources and allow you to enrich the sonic pallet offered in the analog oscillators while remaining complementary ARTURIA ORIGIN USER S MANUAL 168 Inpu
140. ff IL stands for Initial Level and AL stands for Attack Level These two levels are centered on the baseline filter cutoff frequency It can be thought of as though the envelope moves the filter cutoff around the base frequency setting Enuelope 1 TE TRIG 171 KEDI TRIG HOT COHHECTED HOT COHHECTED IL AL A D Gi HOT COHHECTED HOT COHHECTED outputs OUTPUT 171 OUT EMM The CS 80 IL AL A D R envelope 9 AL R note ON note OFF The behavior of the CS 80 envelope Of course with the modular architecture of the Origin you are not limited to using this envelope as a simple filter control It can be useful in a variety of situations but for the purposes of this document we will stick with a basic description of each parameter and control point IL Initial Level the starting point of the envelope usually starting below the center point of the nominal control voltage ARTURIA ORIGIN USER S MANUAL 143 AL Attack Level The secondary point of the initial attack running from the center point to the maximum level for the envelope A Attack sets the length of time that it takes to move the envelope from the beginning of the IL segment to the end of the AL segment D Decay sets the length of time from the peak of the attack to center point for the envelope R Release sets the length of time from the center point to the IL level after the note is release
141. found on the corresponding VCA module in the Edit page Pre Post If this switch is set to pre the FX 1 2 and 3 knobs are configured pre fader This means that the volume slider has no effect on the amount of signal sent to the effects If set to post the FX 1 2 and 3 knobs are configured post fader This means that adjusting the volume of the VCA also adjust the amount of signal sent to the effects Ret 1 2 3 returns These knobs set the amount of effect signal sent to Origin s main outputs for each of the three available effects HIER GDL pd LEO e Ser bor PERF ep mu anon LFG 1 os Ser Par SEL EH ET EH Parallel Mode Poly circa ee LL 7 CF er ere Don Pan Don Fan Polyphony Pre Post H Portomepnto OFF Fort time Moce Cee tore E Pitch Whesi OH d T fae F OUT 1 OUT OUT 3 OUT d Hop MNolume 01295 Orama Strings L Bi L Di L RIL D Fx Fxe Fxe The Parallel mode 8 3 2 2 Serial routing In series mode the outputs of all VCAs are mixed to one stereo signal This signal is then sent to FX 1 The output of FX 1 is sent to FX 2 the output of FX 2 is sent to FX 3 The output of FX 3 is sent to the Main output In this mode the FX 1 2 3 knobs and the pre post switch are grayed out since they have no effect and the Ret knobs change to D W see below Pan These knobs control the panoramic placement of the VCA This knob controls the Same paramete
142. frequency components like metallic sounds you can use the dedicated Ring modulator module i PWM This input allows you to modulate the pulse width of the square signal This input is only active when the square waveform is selected It allows you to modify the waveform cycle with for example an envelope or LFO The pulse width modulation creates spectrum modifications comparable to a chorus effect if you use an LFO Sync At this input you can establish a sync connection between the Jupiter oscillator and any other one When the other oscillator completes one period the Jupiter oscillator is reset to its starting phase When the two oscillators are not in tune this phase reset causes sudden jumps in the waveform which generates the typical sharp sync sound The Amount knobs allow you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the oscillator You can for example connect this output to a mixer module to mix the oscillator signal with other audio modules Alternatively you can connect it directly to a filter or VCA module Sync This is the sync output of the oscillator It can be connected to another oscillator to establish a sync connection When the oscillator completes one period the oscillator selected at this input is reset to its starting phase When the two oscillators
143. full effect when the mod wheel is up FM input This input modulates the frequency of the LFO You can for example connect it to a Galaxy output to create very complex modulation signals PWM input This input modulates the pulse width or symmetry of the LFO This input is only active when the square or triangle waveform is selected gt Set the output connections Output This is the output of the LFO you can connect it to the modules you want to be modulated by the LFO TRIG INPUT 171 KTRG1 TRIG AM INPUT NOT CONNECTED O FM INPUT LI Envedl Out E O E PWM INPUT NOT CONNECTED OUTPUT 171 Oosce PWM E The Program LFOs connections 8 3 7 Common section The common area is located on the right side of the display and contains the same information regardless of which tab is selected within the Program page Below is a listing and general description of its parameters and value ranges gt To go on the common area interface navigate to the right using the arrows or the jog dial Mode Poly Peset polyphony CS _ Portamentc PORTA Port time doie Ot ture C Dutch Wheel OH Bend Fange Z The Global settings of the program 8 3 7 1 Mode Performance mode This selection box sets the play mode used for the current program Each mode responds in its own way to performance input Poly Circ Polyphonic circular This mode selects a new voice in the polyphony range every tim
144. ge eee ee BP rm rm rm Be Be rm rm rm Be Be rm rm eB eB BP rm rm rm eB BP rm rm rm rm Be rm rm rm eB eB rm rm rm rm Be rm rm rm eB eB rm rm rm eB BP rm rm rm eB BP rm rm rm eB eB rm rm rm eB BP rm rm eB eB Be rm rm rm eB BP rm rm rm eB BP rm rm Be eB Be rm rm rm eB Be rm rm Be eB BP rm rm rm eB rm rm rm Be em rm rm rm rm HK NOTE You can make several connections on the same sub sequence output However the total number of possible connections within a program is limited ARTURIA ORIGIN USER S MANUAL 98 Oscillator 1 oscillator Oscillator Filter 1 Filter Enuelope Epuelope Epu elope i E a a fe ie x i Add Connection Envelope ie ie ie i i Demoue Connection Epuelobe Beplace Connection Output 1 171 FLT FM Output e e mm Poly Lo 1 Minikdixer 1 Wouetoble ec 1 CYModulator 1 al connect ey 1102 Speed OF Dork Droa d Ode I Hope fo Add a connection for the Accent the Filter 1 FM input The parameters found on the main sub sequence edition page will allow you to adjust the behavior of the accent envelope and the slide and other general properties of the sub sequence Accent Steps Attack Decoy Lugli Slide Len2th QO OY The modulation settings of the sub sequence The Accent settings bring an additional modulation to the selected step using a simple Attack Decay AR envelope The accent envelope can be connected to any modulatio
145. gt Note if you have System Page 1 Auto Connect gt ON then the key follower connection will be made for you by default gt In the same way go to the Outputs slot and choose the Minimixer 1 gt Audio 1 option The audio output of the oscillator will be connected to the mixer gt You can set the range and the pitch of the oscillator by selecting the Range Coarse or Fine parameters with the dedicated knobs on the Oscillator panel of the Analog area gt You can set the audio input mix of the three oscillators by opening the Minimixer 1 module To do this select the desired Gain 1 2 or 3 knob by using the A Y arrows or turn the jog dial to set the dedicated volume Finally open the PATCH interface the following synopsis displays our example sound creation for this preset EHW Szi e el te e The PATCH interface 7 8 Using the Minimoog template Instead of making your own modular structure you can also use the synthesizers templates included in the machine This way you can start playing and tweaking straight away gt To load the Minimoog template go to the Preset page On the top left of the page you can find three page tabs PGRM MULTI and NEW gt Press the contextual button situated directly above NEW gt On the NEW tab you can open different synthesizer templates for this quick start we will use the Minimoog template ARTURIA ORIGIN USER
146. hall be at ARTURIA s option either a return of the purchase price or b replacement of the disk that does not meet the Limited Warranty and which is returned to ARTURIA with a copy of your receipt This limited Warranty is void if failure of the SOFTWARE has resulted from accident abuse modification or misapplication Any replacement software will be warranted for the remainder of the original warranty period or thirty 30 days whichever is longer No other Warranties The above warranties are in lieu of all other warranties expressed or implied including but not limited to the implied warranties of merchantability and fitness for a particular purpose No oral or written information or advice given by ARTURIA its dealers distributors agents or employees shall create a warranty or in any way increase the scope of this limited warranty No Liability for Consequential Damages Neither ARTURIA nor anyone else involved in the creation production or delivery of this product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this product including without limitation damages for loss of business profits business interruption loss of business information and the like even if ARTURIA was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or conse
147. he Sound Banks and Backups are stored in the application preset folder Typically for Windows users C Program Files ARTURIA Origin Connection Presets for Mac OS X users User Documents Origin Connection Presets There are two subfolders Sound Banks for the sound banks and Backup for the dumps You can directly open the Origin Connection Preset folder by selecting the File gt Open the preset folder menu Fie Action Open the preset folder Quit Open the Origin Connection Preset folder ARTURIA ORIGIN USER S MANUAL 170 12 1 2 Origin Update This function gives the possibility to update the firmware inside Origin The principle is that you can download update file from our website and send it through this application 12 2 Interface Description 12 2 1 Main panel This figure shows the Origin Connection s main panel It is composed of two sub panels Each panel can be a description of the computer data Computer panel or the Origin data Origin panel When the user launches the application a Computer panel is showed on the left and an Origin panel on the right There is a status bar at the bottom which gives some info to the user Origin Connection File Action Search 1 Cc nimood J i ib Search 2 25 J XZ My presets Y Origin Sound Banks Y JMB ze first ones Y JMB_Bank minimoog_6 0 2 Y Programs gt Goom Bass Synth Minimeog Project Drone and Ld Synth Minimoog Project
148. hoice Now the Frequency knob actually the entire Oscillator section is assigned to oscillator 2 OSCILLATOR Frequency ul S SS let f d Tune Setting the frequency of oscillator 1 NOTE You can set the volume of the four VCAs directly with the Volume knobs located in the Mixer panel on the right of the Origin interface In this area you can also directly mute their activity by using the ON OFF switches meee ee ee ee ee ee mm rm eB mm mm rm eB mm mm rm eB mm mm rm eB em rm rm eB ee rm rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm mm rm ee mm rm eB mm mm rm eB ee rm rm ee mm rm eB mm mm rm eB mm mm rm eB mm mm rm eB em rm rm eB mm mm rm eB em mm rm rm eB mm mm rm ee mm rm ee mm rm eB mm mm rm eB ee rm eB mm mm A A mi 7 6 Saving your Program By making just a few modifications you have already edited the Program Reso_Pad You can now save the sound you ve just created Origin allows you to create up to 600 User Programs Their numbers begin at 400 and proceed to 999 gt To choose another destination number for the sound simply click the Save button This button is located in the bottom of the central screen under the Pages buttons Press the Save button gt Then choose its location For example select the number 600 The name EMPTY appears on the screen gt Press on the jog dial and select the rename area gt Press the key pads them as you wish in the three secti
149. hoosing the range of 1 5 octaves for the Arpeggiator 1 plays the sequence in the octave where the original notes are held 2 transposes the arpeggio across two octaves 3 transposes the arpeggio across three octaves 4 transposes the arpeggio across four octaves 5 transpose the arpeggio across five octaves ARTURIA ORIGIN USER S MANUAL 102 8 7 Effects page 8 7 1 Overview The Effects FX section of Origin is as integral to its sound as any of its other features and capabilities Aside from the exceptional quality of these effects there s the added benefit of synchronizing time based parameters to the same internal or MIDI clock as the general synthesizer You can have direct hands on control over the effects using the knobs and buttons in the hardware EFFECTS section of the front panel as well as the ability to assign parameters to the front panel LIVE encoders see section 9 8 of this manual for more information Beyond the additional dimension of control and finish that the effects offer to internal sounds also remember that the physical audio inputs on the Origin allow you to use it as a standalone hardware effects unit as well as route external sources through the synthesis modules This not only establishes the Origin as a complete solution for the road warrior but also makes it even more useful and interesting in a studio environment as well LLL Q FeedBack Sync OFF Shape Sinus 040
150. i Ribbon Control PITCH BEND Mode ARTURIA ORIGIN USER S MANUAL 66 Modulation Zero Position ABSOLUTE RELATIVE When the value is set to ABSOLUTE the position of your finger along the ribbon is taken as an absolute value from the zero point at the center of the strip and the keys you re playing holding on the keyboard That along with the Ribbon Range value determines the offset from the played note s When the value is set to RELATIVE then the start value is taken as the zero point regardless of where you first placed your finger on the ribbon control strip From that position movement along the ribbon is then adjusted in ratio to the range set with the Ribbon Range feature Return to zero INSTANT FAST SLOW NONE INSTANT means that the pitch value returns to zero as soon as the ribbon is released FAST creates a quick smooth transition back to the zero point when the ribbon is released The SLOW setting creates a more sloped portamento back to the zero point NONE means that the pitch change is held in place even after the ribbon is released Quantize ON OFF An OFF setting means that the pitch bend has a portamento smooth response to the ribbon while ON means that a glissando semi tone stepped effect is achieved in the pitch of the Program preset Default is OFF Ribbon range 1 48 This value sets the plus minus range of the ribbon In MODULATION mode the ribbon behaves as ano
151. imagination be your guide AM This input allows you to modulate the level of the audio output of the ToneWheel You can use for example a LFO to create tremolo effects or an envelope to control the output level over time Audio Output This is the output control point for the ToneWheel The default configuration is connected the VCA output of the program preset Again you can use your own creativity and choose to craft your own sonic creation by routing the module into others within the Program preset 9 1 1 2 Filters The audio output signal generated by an oscillator is generally directed to a filter module or VCF Voltage Controlled Filter It is this module that we use to control the sound by filtering attenuating certain harmonics from the raw oscillator signal It can be considered as a sophisticated equalizer that attenuates depending on the filter type a range of frequencies specified by the cutoff frequency A low pass filter attenuates frequencies above the cutoff frequency High pass filter attenuate frequencies below the cutoff frequency A band pass filter is a combination of a high pass and low pass filter attenuating frequencies above and below the cutoff frequency The notch filter is the inverse of a band pass filter it attenuates frequencies around the cutoff frequency The removal of frequencies is not absolute but progressive and depends on the filtering slope This filtering slope is expressed in decibels per octa
152. in Project IMB vla Origin Backups OriginUpdate_BETAPRESET_6 1 2_ Release Programs Multis e Sequences 0 items selected Dekete Computer panel The Computer Panel is composed by 5 buttons and a tree style navigator The navigator allows the user to find presets among his Banks and Dumps Here is a simple description of the buttons Origin Computer switch to an Origin or Computer panel Search 1 2 key search buttons idem than this type of button in Origin panel Refresh refreshes the content of the panel Delete deletes the selected items ARTURIA ORIGIN USER S MANUAL 173 The list of dumps and banks in the Computer panel corresponds to the file in the directory Backups and Sound Banks in the user preset folder On each one you will find all your Programs Multi and Sequence presets 12 3 Uses cases and menus 12 3 1 Introduction In this section we will see how to use the application The first step is the connection The best way to do this is to connect Origin to the computer with the USB cable before launching the application When the application starts up it downloads information about the presets It can take a little time As long as loading is processing the Origin panel is disabled After that the Origin panel is enabled and it shows all the user presets If for any reason the connection is broken for instance the USB cable is disconnected or if you launch Origin Connection with
153. increases Voice Detune This knob sets the amount of detuning of multiple unison voices By detuning multiple unison voices you can obtain a bigger and fatter sound Polyphonic This selection box chooses between different voice assign modes 10 3 2 5 Controllers These parameters control the main tune glide time and modulation output mix 9 The controllers Tune This knob adjusts the main tune of the Minimoog template In the default center setting the Minimoog template is tuned to 440Hz which is the most common tuning in modern music ARTURIA ORIGIN USER S MANUAL 153 Glide This knob controls the glide or portamento time If the glide switch in the keyboard section in set to ON see below Keyboard section this knob determines the time a voice takes to glide from its previous pitch to a newly struck pitch Mod Mix modulation mix This knob determines which signal is used for the filter or oscillator modulation It sets a mix between oscillator 3 at the fully left position and a low frequency noise signal at the fully right position 10 3 2 6 Keyboard section This section contains all the settings concerning the interaction between your MIDI keyboard and the Minimoog template OFF OFF Or OFF OFF The keyboard control section Glide This switch toggles the glide or portamento On or Off Decay If this switch is set to on the filter and loudness envelopes each h
154. infinite variety of sounds yet to be heard up to this day For this reason bands like the Beatles and Tangerine Dream were known to use the possibilities of analog synthesis To make analog synthesis a more practical and understandable for a wider range of musicians Dr Bob Moog and his company Moog Music developed the Minimoog synthesizer This synthesizer was a small 44 notes portable keyboard with a pre wired synthesis structure Though it didn t offer as many possibilities as the modular systems it did offer the great and warm sound Moog was already famous for Due to the fact that it was practical affordable relatively simple and most of all sounded very good it became it great success and was played by the likes of Pink Floyd Herbie Hancock Chemical Brothers and Kraftwerk In 1981 the production of the Minimoog stopped and due to the introduction of the digital synthesizers its popularity decreased in the late 80s However in the second half of the 90 s the warm sound associated with analog synthesizers began to attract musicians again The old MiniMoog then became highly sought and still is nowadays considered as one of the best synthesizers ever Within Origin s Minimoog template you can find the same functionality layout and most important the same fat sound as the original Minimoog On top of that Origin offers additional features compared to the original design for example a modulation matrix polyphony and of course
155. ion ARTURIA ORIGIN USER S MANUAL Iara L Hope me Cheam EE a Ctich a Droa od O d27 I Hope Fo 8 6 Sequencer page The Sequencer Seq page gives access to 2 important program level modules the Step Sequencer and the Arpeggiator The Step Sequencer is configured through the Groove All Seq1 Seq2 and Seq3 tabs while the Arpeggiator is configured in the Arpeg tab 8 6 1 The Step Sequencer The step sequencer uses up to 32 steps It allows the creation of several melodic lines when one of the three available modulations is affecting the frequencies of the VCO as well as creation of dynamic modulations of other parameters such as the cutoff frequency of a VCF or on the square waveform width of a VCO The interface of the sequencer consists of three main parts ALL Seq sp pes aere eank BANK Globals SI i osc FM J E QUANTIZED EAHK et PATTERH TEP mmm me ee ete D s e 8 e sw se 8 YH SE 1 1 FLTZ FM oe E nor quantizer UI MODE ere in KP 171 FLT3 FH HOT QUANTIZED LW 0022 OrumThing Seq The sequencer page 8 6 1 1 The sequencer s hardware real time controllers All of the real time controls concerning the sequencer are based on the hardware SEQUENCER section located in the bottom of the front Origin panel These controllers allow you to set all the most important parameters of the step sequencer Also note th
156. ion Fitch Whetl OH Pitch Eend HOT COMHECTED O Eend Fange Z Hod Whezl 171 LEO AM oC U Expres Fedal HOT CoOHHECTED aoe tl O TEN After touch HOT CoHHECTED O By D 0004 Reedy Ei The Perf tab for the Origin Keyboard 8 3 3 1 Ribbon Control Origin Keyboard only The Ribbon Control feature is specific to the Origin Keyboard instrument This portion of the Performance tab will not appear on an Origin Desktop unit This feature area allows the Origin Keyboard owner to set the specific behavior of the ribbon on a Program preset Because the Mode setting has an effect on the range of parameters that are available each mode will be described and the parameters that correspond to that Mode will follow Below is a detailed description of each setting Pitch Bend In this mode the ribbon controls the pitch of the Program preset It directs the control of pitch through the keyboard follower module so any program that is not attached to the keyboard follower output will ignore the ribbon control in this mode PERF ED mu GALAHY LFO 1 LFO 2 A Performance Mode Poly circ Ribbon Ctrl Polyphony Mode PITCH BEND Zero position ABSOLUTE Gertanente OFF Beturn to 22FO BIGHT OFF Bort time C Wantize Drbbop ranas 2 OFF i z ed doie Cee tore C Tied doten Ritch Wheel OH Dutch Eend HOT COMHECTED O Bend Fange Z Hod Wheel 171 LEO AH C U Expr Pedal HOT COMHECTED O Attertouch HOT COMHECTED O Zi o004 Reedy E
157. ior of a traditional instrument The options are numerous from this common Starting point Each of the keyboard follows can generate a trigger signal Two displays allow the choice of a low and high note When the keyboard detects a note between these 2 limits the trigger signal is active as long as the note remains active When the note is outside of the limits the trigger signal remains inactive If the notes selected for the upper and lower limits are set such that the lower note is ARTURIA ORIGIN USER S MANUAL 140 higher than the upper then the note detected by the keyboard must be outside of the limits to activate the trigger signal Each Keyboard Follow tab has a mode as well as a slope setting The slope controls change depending on the mode settings and the axis control that sets the zero crossing point of the key follower scale Outputs EF 1 L OSC FH EF HOT COMNHECTED KF HOT COHHECTED KF d HOT COHHECTED WELOCITS 172 FLT FH TRIG 171 EW TRIG Triz 1 HOT COMHECTED Tra HOT COMNHECTED o 0 eee Tris HOT CONNECTED ETA TT AM g ie Trig 4 HOT COMHECTED The Keyboard Follower 1 output in mode Reybd Follow Outputs EES OR KF 1 L OSC FH Kc oc EF HOT COMNHECTED De KF HOT COHHECTED KF d HOT COHHECTED VELOCITA 172 FLT FM TRIG 171 EH TRIG Trig 1 NOT CONNECTED TriZ HOT COMNHECTED o 0 ee Tris HOT CONNECTED TTA TT AM g ie Trig 4 HOT COMHECTED The Keyboard Fol
158. is the time that the sound takes to diminish once the key has been released Sustain t ken Ee A time p Attack Decay time tim key off The ADSR Envelope Both envelopes of the Joymixer and 2D envelop contain 5 points numbered O to 4 The O0 corresponds to the initial level of the parameter associated to the envelope The Release ARTURIA ORIGIN USER S MANUAL 166 corresponds to point 4 Points 1 through 4 contain two parameters filter envelope only the LEVEL and the RATE Point 0 only has the LEVEL parameter Envelope 1 ee Delay Attack Decay TRIG Lei KEDI TRIG Can HOT CONNECTED Sustain D l oze HoT COHHECTED ER CT HOT CONNECTED Dr decour HOT COMHECTED time leugli Outputs C OUTPUT jet OUTI EHM Slope OO The ADSR envelope on Origin 171 pn FM 171 FLT BH Tite 225 59 m 171 ELIZ PH Te s FEO m z T44 0 000 ms T4445 720 6 ms Loop 1 5 TS 796 0 m Triz Input 171 ETAGI TRIG w l 000 171 FLT FH The 2D envelope on Origin 11 2 3 The low frequency oscillator The LFO Low Frequency Oscillator 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 directly It creates a cyclic modulation on the setting to which it is connected For example If the sine waveform from an LFO modulates the volume o
159. its own dedicated envelope After the filter the signal is amplified in the VCA module again with its dedicated envelope The mix of oscillator 3 and the noise generator can also be used as a modulation signal The mix between these two signals can be set with the Mod Mix knob and the amount of modulation is controlled by the modulation wheel The modulation of the filter and oscillators can be independently switched On and Off The external LFO which is added to the original Minimoog structure can be routed to virtually any destination within the Minimoog template using the modulation matrix The modulation matrix also allows using other sources as modulators for example the filter envelope or the aftertouch The FX mixer on the Program page and the FX page work with the Minimoog template in the Same way as any other program This means that you can freely use Origin s built in effect in combination with the Minimoog template The Minimoog template uses VCA 1 10 3 2 The interface To view the interface of the Minimoog template go to the Edit page The Edit page shows the main interface which is a graphic representation of the original Minimoog This main interface shows the following screen sections Modulation matrix LFO Controls Oscillator bank Mixer ARTURIA ORIGIN USER S MANUAL 149 Filter and Modifiers Output Keyboard control next to the keyboard COHTROL OSCILLATOR EAH MODIFIERS OUTPUT ia
160. ixer slot In this way all Programs play simultaneously This can be done easily by choosing the Layer entry in the Config context menu 8 5 7 2 Split The Split mode allows playing several Programs on different parts of the keyboard For example you can put a bass Program preset on the 2 first octaves and a lead Program preset on the upper range of your keyboard This is a very useful mode for live performance Creating a Multi preset using a split between 2 Program presets is very simple Press the Config context menu and select the Split 2 zones entry then go into the Zones tab and adjust the split point of the zones if the default one does not match your needs gt You can also assign manually each slot to different zones and configure the zones range to your liking for example from C 2 to B2 for the zone A and from C3 to C8 for the zone B gt Set the same MIDI channel for both mixer slots for example set them to 1 8 5 7 3 MIDI multitimbral mode The MIDI multitimbral mode allows playing several Programs on different MIDI channels This mode is useful for creating arrangements using an external MIDI host sequencer gt Assign different zones with different MIDI channels to each mixer slot for example assign the first one to the zone A with channel 1 the second one to the zone B with channel 2 and so on This can be done in a faster way by choosing the Multi timbral en
161. k the movement of the hardware controllers that relate to them ARTURIA ORIGIN USER S MANUAL I This can be very helpful in providing a quick snapshot view of a program s relative settings for rapid selection and detailed editing of various modules Aside from using the rack view to understand the general organization of your program you can also use it as a means to view the Live knob assignments to some of the main synthesizer controls that are displayed on a module When a Live knob is assigned to a virtual control that is visible in the rack view you can see the targeted virtual control take on the color of the assigned Live knob The patch tab accessible with the second button in the upper left corner of the LCD screen allows you to switch to the patch view Switching between views has no effect on the sound or functioning of your patch it is just another way to display the current preset The Edit page the Patch view The patch view differs from the rack view in the following points The patch view shows all the connections between the modules Each type of connection has its own color Audio connections are red Modulation connections except keyboard follow connections are green Trigger connections are yellow Sync connections are white Keyboard follow connections are modulation connections but since they are quite common they have their own color light blue It has mo
162. lection Program OES Soue oe AS 0465 Juno What Tipe Pra pect Arpeggio rigin 1 1 Fress SAVE or ERxIT to cancel Saving a Program as Then go to the change the name press the different key pads to enter the characters you wish letters or numbers and press the Enter button to validate the name entry gt Then select the Type of sound and Project name for later sorting within the Preset s filters browser gt If you select NEW then you can create a new project entry that can then be selected in the future and available as a search value while browsing for presets gt Use the Sound Select key pad or jog dial or even lt P buttons to select the name of your new project and commit the value by either pressing the jog dial or selecting the Enter button on the front panel then continue to commit the new preset to the selected memory location ARTURIA ORIGIN USER S MANUAL 84 NOTE The Designer value for this preset is saved automatically from the Owner Name field of the SYSTEMS SETTINGS page Ae em eee ee rm ee rm rm eB rm mm rm eB mm mm rm eB mm rm rm rm mm rm rm eB mm rm rm eB eB mm rm rm eB rm eB rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm rm rm eB mm rm rm eB ee rm rm eB rm rm rm eB mm mm rm eB mm mm rm eB mm mm rm eB em rm rm eB ee rm eB ee rm rm eB rm rm rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm ee eB mm mm rm vm mi 8 5 Multi page The MULTI page a
163. lit with 2 zones with a bass on the left hand and a lead on right hand You have mono aftertouch on your keyboard and a hold pedal connected You can use these switches so to have the aftertouch act only on the lead and the hold pedal act only on the bass meee eee ee rm rm em pm eee mm rm rm rm ee rm rm eee rm rm em mm rm rm ee rm rm rm eB pm rm rm rm ee rm rm eB mm rm rm rm eB rm rm rm eB pm rm rm rm ee rm rm eB mm rm rm rm em pm rm rm eB pm rm rm rm eB pm rm rm eB mm rm rm rm eB pm rm rm eB mm rm rm rm eB pm rm rm eB mm rm rm rm eB pm rm rm eB mm rm rm rm mm zm vm vm I 8 5 5 Creating a Multi preset gt There are two ways to create a new Multi preset you can start with an empty multi or create a new multi from a program Both methods are described in more detail below ARTURIA ORIGIN USER S MANUAL 88 gt To create a new empty multi preset navigate to the Preset page and press the MULTI tab The left section of the preset page now displays all multi presets on your Origin To create your own simply navigate to an Empty preset and load it You can now start adding programs to this new multi in the program page see below gt To create a new multi from a Program preset first load the Program preset you want to use for your new multi When this program is loaded navigate to the Multi page On this page you can see the multi mixer with your current program loaded in the first slot At this point you haven t
164. ll 0 HAMM The main interface of the Minimoog template gt To navigate to a certain screen section in order to modify the containing parameters highlight it on the main interface using the jog dial or the cursor keys gt To open the highlighted screen section press the jog dial or the Enter button This opens a pop up on top of the Minimoog interface which allows you to modify its containing parameters MODIFIERS OUTPUT Mirr E 3 O00F 3 Osc Open the oscillator bank gt You can press the exit button anytime to return to the main interface of the Minimoog template only works on the Edit page Below is a detailed description of each screen section of Origin s Minimoog template 10 3 2 1 Oscillator Bank This section contains all the parameters of the three independent oscillators of the Minimoog template ARTURIA ORIGIN USER S MANUAL 150 SOUOPE Sr o bat Hop FECT OO OH CFF The oscillator bank The oscillator bank is organized into three rows each row corresponding to one oscillator From top to bottom you can find oscillator 1 2 and 3 Below is a listing of the available parameters Range The three selection boxes in the column below range at the far left set the range of each oscillator It is specified in feet and runs from 32 lowest possible range to 2 highest possible range Oscillator 3 also offers a Lo position as set oscillator 3 can be used a
165. llows you to configure a group of up to four Origin Program presets for a variety of uses for example live performance using several programs in layering or split combinations as well as MIDI sequencing and recording Each program can have its own zone setting for transposition key range volume and MIDI channel Origin comes with 100 multi presets and has another 156 user locations to store your own multis Like Program presets you can export and import banks of multis using the Dump function see section 9 1 of this manual for more information You can get a sense of the power of Origin multis through experimenting with the Factory presets Try using them with your host sequencer or recording application or try some as splits and layers on your keyboard or other MIDI controller in a live performance context os a rs Fa 5 6 Ae CA ID Eat DuUtoboss cnari Erie ihan Gel ey RL TFOn CHCh Taia CTER Trans GHEN i a e Electro Demo o oD EEEREN 1 095 Bos Ji p00 openine Home Preset Progr Tih Multi d ome ois 0 g rg The Multi Page gt To quickly select a Factory MULTI preset simply choose any preset location between 1000 and 1099 from any page using the Sound Select numeric keypad Alternatively you can navigate to the Preset page for a more detailed search gt There are two main tabs in the Multi page the SLOTS tab and the ZONES tab There is also a CONFIG context switch
166. logy Synth Miningeg Project IM ii 473 EMPTY k Moon Chord Synth Minimeng Preject JMB K 473 EMPTY RW Artur Ld Synth Minimaag Project IMB l 47d EMPTY H R W Comen Synth Minimeog Prefect JMB vb 475 EMPTY t RW Catherine Syhth Miniinaag Project IMB Se Drone and Ld Synth Minimesg Preisch IMB 476 EMPTY Memory Voices Syrth Minimoog Project IMB 477 EMPTY Moog Stings Synth Minimoog Project MB 478 EMPTY Transfer by clicking on the transfer button The sequence level is different from the other ones This is because the sequences are just identified by their slot Consequently the sequence number in a Bank is limited to 128 from 11 to P16 In the same way a Bank can not contain two sequences from the same slot For instance if you are trying to send the sequence K2 to a Bank which already has a K2 sequence a pop up will appear and ask him if you want to overwrite it 12 3 6 Computer to Computer transfer This type of transfer is useful for you to sort your preset in the Banks The principle is the same than in the Origin to Computer transfer You can drag and drop or use the transfer button to add the preset into his Bank 12 3 7 Origin to Origin transfer This type of transfer is useful to move programs on Origin ARTURIA ORIGIN USER S MANUAL 177 If you drag a preset on another on the application swaps them If you have selected a program linked to a multi the application adverts yo
167. lower 1 output in mode II How the keyboard follower works Mode Selects one of two modes Mode is a traditional low to high scale while Mode Il can be biased into a U shaped curve or a reverse high to low scale for situations where that type of programming is required Bend Activates sensitivity to the pitch bend Low Selects the low note of the generator for the trigger of the keyboard follow High Selects the high note of the generator for the trigger of the keyboard Axis This is present only in Mode l Selects the axis note of the keyboard follow Slope Sets the slope of the keyboard follow In Mode a single Slope control is used to select the angle of the keyboard scale In Mode Il there are two Slope controls one for each end of the keyboard follower curve This can be used to set a U shaped curve positive or negative or the user can also set an inverted scale by setting Slope 1 to the highest value and Slope 2 to the lowest value ARTURIA ORIGIN USER S MANUAL esses gg KF 1 4 Main key level output for tabs KF1 4 This can be thought of as the main note level control voltage output for each note as it s played within each KF tab s range TRIG main trigger output that produces a result regardless of the settings of tabs KF1 KF4 Trig 1 4 Main key trigger output for tabs KF1 4 This can be thought of as the main note level gate output for each note as it s played
168. lti an arrangement of thumbnail images for the occupied slots with the active program highlighted On each FX tab you can choose one of the following effects Chorus Delay Reverb Distortion Dual Phaser Bit Crusher Rotary Speaker Parametric EQ Ring Modulator You can use the Chorus Delay Reverb and Rotary Speaker only on one tab at a time However you can use the Distortion Dual Phaser Bit Crusher Ring Modulator and Parametric EQ in as many FX instances as you like If you plan to arrange your effects in a serial routing i e FX 1 into FX 2 etc then you should plan the ordering of your effects to take advantage of their cumulative effect For quickly setting return or dry wet levels as well as activating or bypassing effects the easiest method is to use the EFFECTS front panel controls Simply adjust the correct return knob to adjust the effects returns or press the ON OFF button to deactivate the effect completely When you select the front panel Edit button for an FX slot the corresponding FX page and tab is immediately displayed regardless of the page tab was previously selected When you press the Edit button while the corresponding tab is already open a drop down menu appears that allows you to select the effect 8 7 3 Effects modules in detail Each effect and its related controls are described below 8 7 3 1 BitCrusher The BitCrusher effect uses a data reduction technique in order to modify the sound Depending on
169. ly controllable sonic spectra Using Origin s Joymixer you can emulate the same configuration ARTURIA ORIGIN USER S MANUAL 127 WT Osc 1 Inputs Pange di ER L q Gut 1 E AH 171 AduJoy Out e di Outputs AUDIO 171 Mix Audi 1 The Wavetable oscillator The Pitch The pitch is defined by the oscillator frequency You can set the frequency with 3 controllers The Range selector determines the fundamental frequency expressed in feet 32 brings the lowest audible frequencies 2 brings the highest audible frequencies The LOW setting lets you use the oscillator as a low frequency oscillator LFO to modulate other parameters The Fine knob allows you to tune the oscillator more precisely This can be used to create detuning effects The Coarse knob adjusts the frequency of the oscillator in semi tones This knob ranges from minus 2 to 2 octaves above the fundamental frequency The waveforms The waveforms define the sonic characteristic of the oscillators sound The wavetable oscillator is based on the Prophet VS oscillator circuit It uses digital waveforms sampled from diverse sources acoustic instruments voice and assorted sound effects These waveforms give you access to a sound palette much greater than that of most analog synthesizers The Table selection box selects one of the 96 wavetables included in the oscillator The Input connections FM The FM modulation all
170. m locations of the Multi It can also be helpful when switching between slots during a live performance when the Live page is activated 8 5 10 Saving a Multi Once you have created or edited your Multi you can then save it to an available memory slot in the Origin for later recall gt Press the Save button on the front panel and you are directed to a screen that prompts you to save the Multi as well as its corresponding Programs and any Sequencer presets that may have been used for one of those Programs Mult Noe Vv Saue Saue As Sou Program 0413 Sou Program 041 Sout Prozram O46 Sout Prozram O427 Press SAME or EXIT to cancel PAIN IIR 02 Speed OF Deck Droa d Od I Hope Fo Save a Multi preset gt If you have edited one or several programs inside a Multi Preset you can save those programs as a new one exactly in the same way you should work on the Program mode gt Press the Save button again to validate the Save function NOTE If you used Factory Program presets you can be prompted to save them to a User preset 3 location This allows you to later edit them freely within the context of the Multi Likewise with the sequencer presets in the case where a Factory preset is used you are prompted to save the Step sequencer pattern to a new memory location i ARTURIA ORIGIN USER S MANUAL 92 8 5 11 Multi Save As You can change the location place or and the name of the current mul
171. m mm rm eB rm mm rm ee mm rm eB mm mm rm eB mm ee eB mm mm rm vm mi 5 Connecting your computer Origin provides both MIDI connectors and a USB connector Both can transmit and receive MIDI data in the same way Use the type of connection that is most appropriate for your setup Using the USB connection for data transfer between Origin and the computer is faster If you use MIDI cables to connect the Origin synthesizer to your computer you l need to purchase a separate MIDI interface of the appropriate type for your computer For details on connecting the ARTURIA ORIGIN USER S MANUAL 24 MIDI interface to your computer and how to set up the MIDI ports refer to the owner s manual for your MIDI interface 5 8 Connecting the audio inputs INPUT jacks You can connect any audio source synthesizer CD player output of a mixer etc to the INPUT jacks By using this connection you can use Origin s effects to process the incoming audio ARTURIA ORIGIN USER S MANUAL 25 6 THE ORIGIN STRUCTURE 6 1 Overview of the global structure of Origin The Origin synthesizer uses 2 different kinds of presets The Program preset uses a modular structure as the base of its synthesis This modular structure allows you to easily create new and rich sounds sequences and effects These Program presets can be played by the step sequencer or the Arpeggiator and be connected to up to three effects slots The Multi pres
172. meric keypad to enter a name when finished press the jog dial or the Enter key again to validate you choice Knobs Mode HOOK SNAP HOOK mode means that a parameter in a preset is not changed until its corresponding physical controller or MIDI controller mapped to that parameter sweeps through the preset value When the physical controller reaches the preset value the parameter directly tracks the movement of the physical controller SNAP mode means that a parameter in a preset immediately tracks to its corresponding physical controller position or MIDI controller mapped to that parameter as soon as it detects a new value The default value is SNAP Global Transpose 24 to 24 This setting allows you to set the global transpose value for all notes that play based on MIDI notes coming in through the MIDI input or USB input This control is separate from program level Master Tune as well as transpose values that are programmed within a multi The default value is 0 Global Tune 420 to 460 The Global Tune allows you to set Origin s main tune to a value other than the A 440Hz that is common practice today This setting affects all presets on the Origin Again like the Global Transpose value above this control is separate from the Voice Unison Detune controls on the program level The default value is 440 Last Preset ON ON OFF When set to on this setting configures Origin to automatically select the preset that was
173. modulator in a manner very similar to the original hardware F 3 EM 1 EH EH Ring Modulator FHT RingmMmodg Speed Attack Dolegce O Up O Iz Delay On En Amount De Wert a E a Si ng Mo Fr O ol 0002 CS Hperience om al The Ring Modulator effect As a ring modulator on the effects section this differs from Program preset level ring modulation in that it affects all played notes at the same time Also note that there is a basic envelope for controlling the shape of the effect Below is a brief description of each control Speed 0 020Hz 6000Hz Controls the initial frequency of the internal signal modulator Attack 6ms 5850ms Controls the speed of the ring modulation frequency change This is triggered when the first note is played i e a program level key trigger Release 6ms 5850ms Controls the speed of the ring modulation frequency decline This release begins as soon as the attack portion of the envelope is finished Env Amount OHz 3000Hz Sets the frequency change that the AR envelope imposes on the modulator Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting In this case you can also control this parameter using the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet
174. mple connect an LFO for auto pan effects The Amount knob allows you to set the depth of the selected modulation ARTURIA ORIGIN USER S MANUAL 136 The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation 9 1 1 4 Minimixer The Minimixer allows you to set and mix the volume of 5 audio modules The most common use of the mixer is to set the output volume from several Inputs Audi 1 Audi Audio Audis 4 E Dud AH Outputs AUDI VCO outputs 171 OSC AUDIO 171 Ofte AUDIO HOT COMHECTED HOT COMHECTED HOT COMHECTED HOT COMHECTED 171 FLT AUDIO The Minimixer The Input connections Audio 1 to 5 These are the dedicated inputs for audio modules AM This input allows you to modulate level of the audio output of the Minimixer You can for example connect it to an LFO to get tremolo effects The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the amount of modulation The Output connections Audio This is the audio output of the mixer It can be connected to for example a filter or directly to an output module 9 1 1 5 Ring modulator The ring modulator multiplies two signals to create non harmonic frequencies It is then easy to produce metallic sounds When the MULT input is not connected the input signal is multiplied by
175. n input via the Connect dialog box It has three parameters The Attack knob sets the Attack time of the accent envelope The Decay knob sets Decay time of the accent envelope The Level knob sets the amplitude of the accent envelope The Slide knob sets the portamento time between the selected step and the following step The Length knob sets the length of the pulses for the gates this setting affects all the steps of the selected sub sequence The Quantized Not Quantized option allows you to activate the quantization of the steps by semi tones ARTURIA ORIGIN USER S MANUAL 99 8 6 1 4 The Globals settings of the sequencer The Globals sequencer section include Global EAH A PATTERH 1 ETERS 1 ZHE Mooe FWE SIUIRHG lees ZAVE The Globals edit section of the sequencer The memory location of the current pattern 8 factory Banks named from A to H and 8 user Banks named from I to P Each bank contains 16 patterns 1 16 The factory sequence banks are organized the following way Bank A Bass line sequences Bank B TB sequences Banks C D E F miscellaneous sequences used by factory presets Banks G H drum sequences Steps The number of steps within the current pattern from 1 to 32 Sync ON OFF is this parameter is ON the sequencer is synchronized to the Origin tempo which may be either an internal tempo or an external
176. n nice to start from a simple sound to build more complex sounds Standard Synth is a common synthesizer structure Many sounds can be created from this patch from basses to pads ARTURIA ORIGIN USER S MANUAL 58 You may also choose an Organ template which uses a new Tone Wheel module as its basis OPGRM MULTI HEW Choose a template Empty Program Simple Program 0001 3 Osc Selection of anew Organ template You can also create a new preset using the Minimoog template This is a pre built modular structure recreating the sound and functionality of this vintage analog synthesizer The panel of the modeled synthesizers is graphically displayed in the Edit page Template offers a convenient tool for tweaking your favorite synthesizer straight away without having to create it from scratch The Minimoog template is the first template included in the initial firmware version of Origin Other synthesizer templates the ARP 2600 the CS 80 and the Jupiter 8 will be offered with future updates of the Origin A third category of template is directly dedicated to create a new program using the Audio in connection to an external audio signal coming from a sampler or another instrument For example a guitar In order to have the Audio In signal processed you must press a key on your keyboard or activate the Audio IN Auto Start feature in the Settings gt System page 2 page Using
177. n playing on the keyboard On both Origin Keyboard and Origin Desktop incoming MIDI data won t be forwarded to programs Channels This is the zone level MIDI channel assignment for handling zone events As noted above There are 7 types of events notes aftertouch pitch bend mod wheel exp pedal hold pedal ribbon that are considered zone events while other Control Changes are program events ARTURIA ORIGIN USER S MANUAL 87 8 5 4 Zone Configuration For each zone there is a configuration context screen that appears when the zone is selected Each zone has parameters that are set to indicate which performance events notes controllers pedals should reach the programs assigned to that zone on Zone Transpose Ext devices and local Ebd play this zong Hardware cantrollers Aftertouch O OH Exp pedal tte ou Ribbon Footswitch Hod WRtel Droa 1 0086 C2240 Brass The zones configuration page Low note and High note these control the zone range All notes between these two boundaries will be played by programs assigned to the zone Notes outside the range are ignored Note You can use a MIDI input device to set the key range by selecting the respective field and Striking a key on your keyboard This allows for quick zone setup on either the Origin Keyboard or an external MIDI device controlling the Origin Desktop unit L a zm zm e e e e e e e e e e ee ee ee rm rm rm rm
178. n volume and the activity of the three effect outputs of a Program preset The Volume 1 3 knobs control the return volume or dry wet balance of the three effects For more details refer to chapter 7 3 2 The Edit 1 3 buttons jump directly to the Fx1 3 slot on the Effect page The ON OFF button mutes or bypasses the selected effect For more details refer to chapter 7 3 2 4 1 9 Sequencer section In this panel you can find all of the real time sequencer controls The Play Stop button toggles the step sequencer on or off When set to on the step sequencer starts running when a note is pressed and stops when the last note is released The Hold button toggles hold on or off When hold is on active and new notes are held until the hold button is switched off again The Seq1 3 Act buttons activate or deactivate sub sequences 1 3 The Edit gt Seq1 Seq3 Pattern button selects the corresponding sequence for editing or when pattern is selected activates pattern selection mode The Assign button opens the assign pop up of the selected sub sequence The Lock button effectively switches the sequencer between Groove and edit modes When active it also prevents any encoder from changing the values of their respective step sequencer position When deactivated the sequencer is fully editable The Trig button activates the key trigger on the current step of the selected sub sequen
179. nates You can set the frequency of the oscillator using its pitch parameters and the keyboard follow were e e ee e ee e e rm rm e rm rm e e rm rm e rm rm e e rm e e rm rm e e rm rm e rm rm e e rm rm e rm rm e e rm rm e rm rm e e rm rm e rm rm e e rm e e rm rm e e rm rm e rm rm e e rm e e rm rm e e rm rm e rm rm rm e rm rm e rm rm rm e rm e e rm rm e e rm e e rm rm e e rm ee rm rm ee rm Ee KK Minimoog oscillator This oscillator is an emulated version of the oscillator module found on the original Minimoog synthesizer The Minimoog was introduced in the 70 s and was among the first portable and playable synthesizers Today it is highly sought after because of its unique and fat sound Some of MiniMoog famous players include Herbie Hancock Kraftwerk Chick Corea Rick Wakeman Keith Emerson and Apollo 440 This oscillator has some very particular sound characteristics The original Minimoog oscillator doesn t offer any pulse width setting for its square waveform That s why it offers three different sorts of rectangle waveforms The Square which is not a perfect square it doesn t give a perfect hollow sound its original pulse width isn t at 50 but rather around 47 what gives it a very particular sound the Wide rectangle and Narrow rectangle NOTE Origin s Minimoog oscillator offers a pulse width modulation input that was not available on the original Minimoog ARTURIA ORIGIN USER S MANUAL 118 The
180. nd Note how the sequencer defaults to GROOVE mode which allows you to select sequenced patterns from the 16 button positions It also allows you to loop certain groups of the pattern for musical effects This will be explained in greater detail later in this manual For now wel stick with the basics We ve already programmed all the connections with the sequencer for you feel free to reroute the connections to anywhere you want later The pitch of the oscillators is connected on the first sub sequence The cutoff frequency of the filter is routed to the second sub sequence What s more the trigger of the filter envelope envelope 2 is also controlled by sub sequence 2 When the sequence is being edited the step parameters are controlled as follows 16 encoders that set the modulation level for each step of a sub sequence The Frequency knob allows you to control the speed of the sequencer This is ignored when Settings gt System page 2 gt Global Synchro is set to MClock Trig Accent and Slide switches for connecting these musical effects to each steps Play Stop switch to activate or stop the sequencer run Seq1 Seq2 Seq 3 switches activate or deactivate the corresponding sub sequence ARTURIA ORIGIN USER S MANUAL 41 Edit gt Seqi Seq2 Seq3 gt Pattern switch selects which sub sequence can be controlled by the Sequencer section When Pattern is selected this button acti
181. nd select Cutoff using the same method gt The knob in the middle allows you to change the amount of the modulation Set it around 3 o clock Now the filter opens up more as you play louder on your keyboard this will render your playing more dynamic and lively Feel free to explore the other possibilities offered by the modulation matrix to create your own unique sounds 10 3 1 Minimoog structure The Minimoog template offers the following modules 3 Oscillators Oscillator 3 can also be used as modulator Noise generator External input 24 dB Oct resonant lowpass filter ARTURIA ORIGIN USER S MANUAL 148 Mixer 2 ADS R envelopes VCA amplifier W s Minimoog template uses a quite classic subtractive synthesis structure graphically displayed elow Mixer e Ext Audio IN D Fitter Amplifier Audio wg A R output A 2 ADEIR Env ADSIR Env f M Gu Three independent oscillators provide the main sound source for the Minimoog template Their waveform and pitch can be set independently from the other oscillators Oscillator 3 can also be used to modulate the frequency of the other oscillators or even the filter cut off frequency The audio signals from the three oscillators are sent to the mixer where their individual volumes can be set The mixer also provides volume controls for the noise generator and the external input The mix of all audio sources is then sent to the filter which has
182. nd switches of the rear panel 4 1 Front panel CONTEXTUAL PRESETS SECTION SCREEN SWICHES SELECTION EE ooo Qua Volume wom Dwm K de GER Qun INPUT o VOLUME MAIN OUTPUT e VOLUME Mast Lad HEADPHONES D VOLUME Hea Filii VCA OUTPUTS PANEL EFX OUTPUT PANEL JOYSTICK SECTION SEQUENCER PANEL MAIN PAGES 4 1 1 Output section You can find all of the output volume controls in the output section The Master Level knob adjusts the volume of the Main output The Headphones Level knob adjusts the overall volume of the headphone output 4 1 2 Input section The Input Level knob adjusts the input volume The Input bar graph shows the level of the signal at Origin s audio inputs ARTURIA ORIGIN USER S MANUAL 16 4 1 3 Joystick section The Joystick controls up to four assignable parameters on its two Y and X axes The Mode 1 2 3 button allows selection of one of three connection configurations for the joystick The Assign button directs you to the Joystick assign page 4 1 4 Analog section The Analog section contains all of the physical controls for the main synthesis parameters 4 1 4 1 Oscillator section The Frequency knob controls the Coarse frequency of the selected oscillator module The Tune knob controls the fine tune of the selected oscillator module The Waveform encoder selects the waveform of the selected oscilla
183. new period every time the first oscillator completes its period even if oscillator2 has not fully completed its current cycle this signifies that it is not tuned to the same tonality The more you tune oscillator2 upwards the more you can encounter composite waveforms KREE One Period ARTURIA ORIGIN USER S MANUAL 160 Oscilator 1 Oscilator 7 synchronized Here oscillator2 is synchronized with the first and tuned to with double the tonality The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering 11 1 1 4 Frequency modulation 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 Prophet V if you turn the modulation rate ring you can obtain a sound richer in harmonics If you introduce a square or sawtooth signal the result can be quickly distorted but interesting for enharmonic sonorities like bell sounds or special effects for example Amplitude Amplitude Harmonic number Frequency Example of Frequency Modulation FM 11 1 2 The Mixer The audio signal generated by an oscillator the waveform is generally directed towards a filter module Voltage Controlled Filter Origin contains two types of mixers The Minimixer where you can individually set the volume coming from up to 5
184. noise module output was situated directly on the mixer section We have replaced the noise output directly on the waveform selector for more convenient use You can find this original configuration on the Minimoog template The input connections FM The FM modulation allows you to modulate the frequency of the oscillator You can connect for example a LFO for vibrato effects of use another oscillator for FM sounds This can yield interesting results for inharmonic sonorities like bell sounds but it can also be quickly distorted if you introduce a square or sawtooth signal AM This input allows you to modulate the level of the audio output of the oscillator You can use for example a LFO to create tremolo effects or an envelope to control the output level over time ees ea E ice anes ne aoe ERENNERT E EE ieee ore ice ae ane E ae ae ae ee EE EE ee ee a ee ee E EE EE ee re ee ere er re are AE E EE E El NOTE This is referred to as a multiplying input In this case it is often better to use a Unipolar modulation sources when attached to this input When in doubt give it a try and see what works for you ALSO NOTE The high frequency modules outputs such as oscillators are not available at the AM input If you wish to generate non harmonic frequency components like metallic sounds you can use the dedicated Ring modulator module eee eee ee ee mm rm ee mm rm ee mm rm ee mm rm rm mm rm
185. o modulate the cutoff frequency The result is interesting for filter sweeps or wah wah like sonorities The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the filter It can be connected to another filter for a serial filter connection or directly to a VCA input CS 80 filter This filter is an emulated version of filter found on the Yamaha CS 80 synthesizer Like the oscillators the filter has a very natural sound Where using this module Origin is capable of generating the analog strings brass and pads the CS 80 was famous for while weighing only a fraction of the original synth The CS 80 has been used by for example Vangelis Stevie Wonder Brian Eno Peter Gabriel and Daft Punk ARTURIA ORIGIN USER S MANUAL 132 NOTE The original CS 80 synthesizer used a serial HPF and LPF configuration for a very unique sound result Depending on the cut off frequencies of both filters this configuration allows you to get a band pass filter effect You can get this sound result on Origin by connecting two CS 80 filters modules in series Choose a high pass filter on the first and a low pass filter on the second filter Filter 1 Inputs AUDI Hix DUDIO FH Hdu Jout Out E RH AduJgy out E AM COMHECTED QO Outputs AUDIO 17
186. ob sets the amount of modulation applied to the designated destination In central position there is no modulation the left positions set a negative modulation the right positions a positive modulation The right Destination selectors are drop down menu s that allows you to select a destination to be modulated by the designated source Modulation Matrix Destination Select a destination connection 10 3 2 8 LFO This section contains the settings for the mono LFO of the Minimoog template It was not available on the original Minimoog Faur ON SINE VB The Minimoog s LFO Rate This knob sets the rate or frequency of the LFO When the MIDI Sync selection box see below is switched to ON the rate is synced to the internal or external clock ARTURIA ORIGIN USER S MANUAL 155 Shape This selection box allows you to select the shape or waveform of the LFO Origin s LFOs offer 5 waveforms Sine triangle Tri sawtooth Saw Square and Random Sync This selection box allows you to sync the LFO to the internal or external clock When sync is On turning the Rate knob chooses only frequencies that are integer multiples or divisions of the master tempo When sync is set to Off the Rate knob has its own logarithmic scale ARTURIA ORIGIN USER S MANUAL 156 11 THE BASICS OF SUBTRACTIVE SYNTHESIS Subtractive synthesis appeared at the end of the 1960 s giving birth to th
187. od 1 Inputs CN IH AH CW IH 171 LEO OUTPUT E I Fara AH 171 P2iInd Hod W U Ae A Outputs e AM offset ou om 174 oe FM CO e 4 The CV Modulator If you wish to control a parameter with an LFO or the joystick and adjust that modulation in real time you will need a CV modulator to accomplish this For example if you wanted to control an external modulator to a filter envelope send the envelope output to the CV IN assign the controller joystick LFO mod wheel to the CVMod AM and the CV OUT to the filter control input Then the knobs on the CV modulator interface would allow you to set how much the ARTURIA ORIGIN USER S MANUAL 145 controller modulates the parameter This is a simple example but the applications are numerous With that in mind the parameters for the CVMod are as follows AM Offset Scales the amount of amplitude modulation coming in through the AM input which affects the CV signal Gain Control the amount of signal presented at the CVMod output after the CV and AM signals have been mixed DC Offset adjusts the center range of a modulated signal up or down to suit the overall range of the destination that will be modulated by the final CV signal The Input connections CV IN Primary control voltage input for the module Bear in mind that multiple inputs can be summed and scaled at this point even before the signal is processed through the module AM
188. on of the manual will focus on the MAIN tab while the following sub sections of the manual will describe the other tabs in greater detail Program INFO fd 1 Pama EE Gam ere re eR ae Lue Grr et Arturia Tine Ess Sri Tet Finima ga PREWIEW 0001 3 Osc The Main tab On the main tab you can browse directly through Origin s presets in a variety of ways Using the jog dial you can quickly scroll through the list of presets A number displayed in black means that its corresponding preset is currently loaded When you scroll through the presets using the data dial you only scroll the numbers which are displayed in red A number displayed in red means that its corresponding preset is not currently loaded When you stop on a number it automatically loads the corresponding preset after 1 second Another method is pressing the Sound Select key pad By pressing the numbers you can directly jump to the preset of your choice gt If you press a 4 digit number the corresponding preset can immediately be loaded When you press a 3 2 or 1 digit number the number you ve just typed blinks in red and loads within two seconds For example if you press 0 0 5 2 preset 52 is directly loaded When you only press 5 2 number 52 blinks in red and the corresponding preset is loaded after two seconds gt By pressing the and keys you can increment or decrement the preset number by 1 on each press The corresponding preset is directly
189. ons Program OES J oe AS EMPTY Type Project Other WnEnmownm Press SAWE or EXIT to cancel ARTURIA ORIGIN USER S MANUAL 34 Saving as a preset gt To save a User preset click on the Save icon in the tools bar the new settings are saved in the preset currently selected without changing the name if the preset being edited is part of the factory presets the Save icon is disabled aaa as amas eelere WARNING It is important to realize that changing the name of a preset does not create a new one Only the name of the preset being edited is modified Ae em eee rm ee ee rm rm ee rm rm eB mm mm rm eB mm rm rm eB mm rm rm eB mm rm rm eB eB rm rm rm eB rm rm rm eB rm mm rm eB mm mm rm eB mm mm rm eB mm rm rm eB eB rm rm eB eB rm rm rm ee rm rm eB mm mm rm eB mm mm rm eB mm mm rm eB mm rm rm eB em rm rm eB ee rm rm eB rm mm rm eB rm mm rm eB mm mm rm eB mm rm rm eB mm mm rm eB eB mm rm vm mi 7 7 Add a module to your preset Origin is a modular synthesizer which means that it allows you to build your own synthesis structure You can do this by adding different modules into a virtual RACK and make all the needed connections between them to make your sound This way you will explore one of Origin s most interesting features allowing you to create an infinite variety of sounds To have access to these features go to the Edit page by pressing the button of the same name under the LCD sc
190. oscillator You can for example connect this output to a mixer module to mix the oscillator signal with other audio modules Alternatively you can connect it directly to a filter or VCA module Jupiter 8 oscillator This oscillator is an emulation of the oscillators used in Roland s Jupiter 8 synthesizer With 8 notes polyphony and an extensive array of features the Jupiter 8 was capable of generating a wide variety of sounds To this day it is still heard on numerous records thanks to its warm analog sound Famous players include Howard Jones Tears for Fears Ultravox Michael Jackson used on his Thriller album Moby David Bowie and Alicia Keys The Jupiter 8 oscillator has one of the most surgical sound from all the VCO s for Voltage Controlled Oscillator All the waveforms are very close to the mathematical waveforms we can have in laboratory oscillators Its tune is also very stable contrary to most of other analog VCOs modules ARTURIA ORIGIN USER S MANUAL 123 The Pitch Inputs FH 13 q Gut 1 AH 171 AduJoy out Fine Codrse Pur 171 AduJoy out O o Elvis HOT COHHECTED Outputs C AUDIO 171 Mix Audio 1 ZHE HOT COHHECTED Shape SQUARE The Jupiter 8 oscillator The pitch is defined by the oscillator frequency You can set the frequency with 3 controllers The Range selector determines the fundamental frequency expressed in feet 32 brings the lowest audible frequencies 2
191. ou can also use the A YW cursors to scroll through the presets They can be used in the same way as the keys By each press you can decrement or increment one step in the preset list and the preset is directly loaded The lt cursors allow you to scroll though lists of presets this allows for faster searching Using these controllers the preset is not loaded automatically To load the preset press the data dial or the Enter button SS IGAN P 7 oJ Lat The different ways for the presets selection ARTURIA ORIGIN USER S MANUAL 60 8 2 4 Program and Multi Filters 8 2 4 1 Program filtering The PROGRAM tab PGRM offers two filters for narrowing down the selection of presets to the relevant sub set of programs that fit your search criteria Those filters are set in the Key 1 and Key 2 fields As values are selected for those fields the number and range of presets in the PROGRAMS window is automatically shifted to correspond to the filter criteria Once you have selected a key category for one field it is not available in the other key field Below is a listing of the Key categories and their respective values Synth Origin Minimoog future firmware versions will offer more ARTURIA Classic Analog Synth templates Type Ambient Arpeggio Bass Bell Brass FM FX Guitar Keyboard Lead Pad Percussive Sequence String Other Project a range of Factor
192. our speakers In this mode the delay times can be set independently and the feedback knobs are linked 8 7 3 4 Distortion This particular effect has the simplest set of controls of all FX within the Origin Yet it can have a profound impact on the sound You can use this to add mild saturation to a pad or you can go full bore and turn a lead sound into a screaming monster ARTURIA ORIGIN USER S MANUAL 106 FH 1 E e EH 3 Distortion FHT Distort On Lire Type p Fa N Delay ES Reuwuerb Or 0022 OrumtThing Seq al Pam K The Distortion effect Drive This knob sets the amount of drive distortion of the effect Higher values yield a more distorted sound Type Tube Clip I Clip Il These settings dictate the onset and amount of distortion according to the amount of signal present at the input The Tube setting is new as of firmware release 1 1 and creates a more subtle saturated effect modeled after analog tube distortions Clip Il generates a more pronounced distortion effect than Clip 1 Default setting is Tube 8 7 3 5 Dual Phaser The Dual phaser module provides a classic phasing sound similar to the analog phasing pedal effects You can use it for many different purposes from wild effects to the classic phasing of the 7 0 s Genesis Pink Floyd Yes Weather Report Origin s dual phaser includes two phasers that can operate in parallel or serial modes D
193. out any Origin connected the Origin panel will be automatically disabled and no transfer between the computer and Origin is possible Nevertheless it is possible to make transfer between Backups and Sound Banks You have to click on the machine s switch button 12 3 2 New sound banks gt To create a new Bank click on the menu Action gt Create new Sound Bank and choose the name of the new Bank Then the bank appears in the computer navigator Action a Create new Sound Bank m Get new Backup Reload existing Backup up Origin Update Creating a new sound bank 12 3 3 Backup 12 3 3 1 Creating new Backup gt To create a new Backup you have to click on the menu Action gt Get new Backup Then you are invited to choose the name of the new Backup gt When you click on OK button the Backup process starts It takes from one minute to several depending on the number of presets to be saved gt You can cancel the Backup process by pressing the cancel button on the progress window ARTURIA ORIGIN USER S MANUAL 174 Action Create new Sound Bank a Get new Backup al Reload existing Backup u Origin Update Creating a new backup Backup download progress Please wait during the process cancel Backup progress window At the end of the transfer the Backup can be found in the Computer panel navigator ARTURIA ORIGIN USER S MANUAL 175 Kal T hye Origin Backups em
194. ows you to modulate the frequency of the oscillator You can connect for example an LFO for vibrato effects or use another oscillator for FM sounds This can yield interesting results for inharmonic sonorities like bell sounds but it can also be quickly distorted if you introduce a square or sawtooth signal AM This input allows you to modulate the level of the audio output of the oscillator You can use for example a LFO to create tremolo effects or an envelope to control the output level over time The Amount knobs allow you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the oscillator You can for example connect this output to a mixer module to mix the oscillator signal with other audio modules Alternatively you can connect it directly to a filter or VCA module NOTE The oscillator s parameters can also be controlled in real time with the dedicated hardware knobs located in the Oscillator section This section can be found at the top left of the front panel interface ARTURIA ORIGIN USER S MANUAL 128 ToneWheel Module The ToneWheel module is the latest addition to the Origin core sound production architecture It provides an authentic sound source for classic organ presets but should also be considered as an additive synthesis resource in a mod
195. quential damages so the above limitation or exclusions may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state ARTURIA ORIGIN USER S MANUAL 181 13 2 FCC INFORMATION USA Important notice DO NOT MODIFY THE UNIT This product when installed as indicate in the instructions contained in this manual meets FCC requirement Modifications not expressly approved by ARTURIA may avoid your authority granted by the FCC to use the product IMPORTANT When connecting this product to accessories and or another product use only high quality shielded cables Cable s supplied with this product MUST be used Follow all installation instructions Failure to follow instructions could void your FFC authorization to use this product in the USA NOTE This product has been tested and found to comply with the limit for a Class B Digital device pursuant to Part 15 of the FCC rules These limits are designed to provide a reasonable protection against harmful interference in a residential environment This equipment generate use and radiate radio frequency energy and if not installed and used according to the instructions found in the users manual may cause interferences harmful to the operation to other electronic devices Compliance with FCC regulations does not guarantee that interferences will not occur in all the installations If this product is found to be the sou
196. r as the pan knob found on the corresponding VCA module in the Edit page The VCA volume slider at the bottom sets the volume of the corresponding VCA This knob controls the same parameter as the volume slider found on the corresponding VCA module in the Edit page This knob can also be controlled using the corresponding ARTURIA ORIGIN USER S MANUAL 64 hardware knobs found on the Mixer section of Origin s front panel if Origin is in Program mode D W dry wet these knobs control the balance between unprocessed dry signal and Signal processed by the corresponding effect wet When turned fully left you hear no effect when turn fully right you only hear the processed signal These knobs control the Same parameter as the Dry wet knobs on the FX page You can also use the hardware knobs found on the Effects section of Origin s front panel to control this parameter ARTURIA ORIGIN USER S MANUAL 65 8 3 3 Performance tab The Perf tab is a new set of controls as of version 1 2 of the Origin firmware It is used to control settings for features such as pitch bend modulation expression pedal aftertouch and in the case of the Origin Keyboard ribbon control PERF ZD mu GALAHY LFO 1 LFO 2 Performance Mode Poly circ Ribbon Ctrl Polyphony Hodel PITCH BEND zero position ABSOLUTE Sortamente OFF D tutrpn to 22FO DIGHT OFF parts sine C Qyantize OFF Ribbon fom 24 E Modulat
197. rce of interferences which can be determined by turning the unit OFF and ON please try to eliminate the problem by using one of the following measures Relocate either this product or the device that is affected by the interference Use power outlets that are on different branch circuit breaker or fuse circuits or install AC line filter s In the case of radio or TV interferences relocate reorient the antenna If the antenna lead in is 300 ohm ribbon lead change the lead in to coaxial cable If these corrective measures do not bring any satisfied results please the local retailer authorized to distribute this type of product If you cannot locate the appropriate retailer please contact ARTURIA The above statements apply ONLY to those products distributed in the USA 13 3 CANADA NOTICE This class B digital apparatus meets all the requirements of the Canadian Interference Causing Equipment Regulation AVIS Cet appareil num rique de la classe B respecte toutes les exigences du Reglement sur le mat riel brouilleur du Canada 13 4 EUROPE C This product complies with the requirements of European Directive 89 336 EEC ARTURIA ORIGIN USER S MANUAL 182 14 APPENDIX 14 1 General Specifications Modes Program Mul SEN e Synth modular structure _ up to 9 oscillators including analog emulations from the Minimoog ARP 2600 CS 80 and JP8 _ up to 4 wavetables oscillators emulated from
198. re module positions available within the display 30 4 of which are normalized to VCA slots regardless of whether the VCA is used Contrary to the rack view you can place the modules anywhere on the grid This allows you to arrange the modules so to have a more convenient visualization of the control and audio routing As such there are additional controls in the patch view that are not available in the rack view the move and view controls which will be described below In the patch view the modules have no visible controls you have to open the module to see its State ARTURIA ORIGIN USER S MANUAL 78 8 4 3 Editing Functions The following section details the various functions also available within both views which are positioned along the row of buttons at the top of the LCD screen 8 4 3 1 Add This button allows you instantiate a new module within the program When pressing it a drop down menu appears allowing you to choose the module to add Certain modules can be selected many times while others such as the Bode frequency shifter can only be added once BATCH FER ODScllotor EE Enuelope CUModulateor Lfo Minihixer Bin2hiod BodShitt JoyMiner 0100 Fusion Ep Add a module For example note that when you go to any preset or if you create a new preset that the Keybd module is not eligible to select from the Add list it is grayed out in the drop down menu This is because
199. reen The Edit page displays all the modules that make up the currently selected program The Edit page offers two different interfaces RACK and PATCH You can toggle between them using the two left buttons above the LCD screen The RACK interface is very basic it shows a basic layout of all the modules that make up a program without their connections 0100 Fusion Ep The RACK view The PATCH interface shows the synthesis diagram with all used modules with their audio modulation and trigger s connections It is the best way to a global view of your sound construction The differences between these two interfaces are only graphical they share the same functionality Both can be used to create your own synthesis structure and you can always toggle between them Let s take the RACK interface to add a new oscillator to our current program gt Press the Add Button to open the modules choice menu Choose the option Oscillator press the jog dial and choose the Minimoog oscillator gt Open the module interface by pressing the jog dial As mentioned in the name of the module itself it shows a Minimoog oscillator like interface ARTURIA ORIGIN USER S MANUAL 35 gt Select the FM slot on the right panel by using the gt arrow under the jog dial and select the Add Connection gt Keyboard Follow gt Audio 1 option In this way the pitch of the oscillator follows the keyboard range
200. requencies below the cut off frequency A Di ed Hz 20 00 W 00 So 00 160 0 320 0 640 0 1280 z560 5120 10240 High Pass Resonant Filter The band pass BP filter is the combination of a low pass filter and a high pass filter it eliminates the frequencies found on either side of the cut off frequency Use it to make ARTURIA ORIGIN USER S MANUAL 163 a certain band of frequencies that you wish to emphasize appear This makes the sound more pinched Hz 20 00 40 00 DUDU 160 0 S200 E400 1250 2560 8120 10240 Band Pass Filter The Notch is opposite to that of the pass band filter It eliminates the frequencies inside a band of frequencies The resonance allows you to accentuate the sag of a band of frequencies jo en d Hz 20 00 40 00 380 00 160 0 320 0 640 0 1280 2560 S120 10240 The Notch filter 11 1 3 2 Resonance A second setting to compliment the cut off frequency the resonance you can 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 When you increase the resonance the filter becomes more selective the cut off frequency is amplified and the sound begins to whistle Cutoff Fraquency G resonance ARTURIA ORIGIN USER S MANUAL 164 The
201. resonance amplifies frequencies close to the cut off frequency With a high resonance level the filter begins 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 Filter 1 Inputs TORE AUDIO Mix AUDIO oe FM adoyi out 4 e Frequency PH Adudoy Out CG E AH COHMECTED CH Outputs noe AUDI 171 OUT AUDIO Hotch Freq O The Origin s Filter module 11 1 4 The amplifier or VCA The amplifier VCA for Voltage Controlled Amplifier receives the audio signal coming from the filter or directly from the oscillator if it is not being filtered to be adjusted before the volume is sent to the speakers Inputs EHM 171 ERT OUTPUT Lil FLT AUDIO we Lo OUTPUT e U HOT COHHECTED O The Origin s VCA In conclusion here is a diagram that should help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER LOUD SPEAKERS audio signal Basic sound signal path ARTURIA ORIGIN USER S MANUAL 165 11 2 Other modules 11 2 1 The keyboard If we stop here the sound that you can obtain is 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 i
202. rm e re rm e e rm rm e rm rm e e rm ee rm rm e e eB ee rm rm e e rm e e rm rm e e rm ee rm rm e e rm e e rm rm ee rm rm e rm rm e e rm ee rm rm e e rm e e rm rm e e rm e e rm rm ee rm e e rm rm e ee ee I Transpose 24 to 24 Set the transpose for the assigned slot s program It only transposes sound on the corresponding program Therefore you can have two slots assigned to the same zone but each slot can have its own transpose value Control MIDI Channel 1 16 This MIDI channel is specific to each program unlike Zone Channel which is specific to each zone and is used to receive CC Control Change messages for automation It can also be used to receive Bank Select and Program Change messages in order to change the current program in a given slot of the multi Also when turning Origin knobs and encoders in Multi mode CCs are sent to the Control MIDI Channel of the focused program if the Send CC setting is ON and if a CC number is linked to the parameter being modified in the Live page 8 5 3 The Zones Tab 20HES Gong D EONES SETTINGS 1005 VongSplit Pros 1 0086 C2240 Brass The Zones tab Zone ON OFF Each zone can be enabled disabled from this tab There is a context button along the top of the screen that allows each zone to be switched When a zone is not active the programs assigned to the zone wont react to external or internal events on Origin Keyboard the corresponding programs won t play whe
203. rom 0 700 to 4 000 HIGH Frequency Freq range is from 20Hz to 20KHz Gain ranges from 20 to 10dB 8 7 3 8 Reverb This is a relatively straightforward stereo reverb effect with a decidedly digital flavor With the three available controls you can add a measure of depth to a sound that cannot be obtained with other effects Remember that you can also assign Live front panel encoders to any of these virtual knobs for real time control of the effect during performance Size Hab Damping O O The Reverb effect Size Sets the overall number of reflections that appear across the stereo field Higher settings make for a larger reverb effect ARTURIA ORIGIN USER S MANUAL 109 High Damping This knob sets the amount of damping applied to the high frequencies in the reflections Positioned at the left this knob causes a more dark reverb when turned to the right the reverb becomes more bright Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting In this case you can also control this parameter using the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet 8 7 3 9 Ring Modulator The RingMod effect emulates the ring modulator from the Yamaha CS 80 It uses a shaped sine wave
204. rom a screen section menu or pop up box The Enter button confirms a selection or edited value 4 1 6 Sound Select section In this area you can find the dedicated features and controllers for preset and value selection The key pads 0 9 abc allow the selection of presets by numbers or by cycling through letters to create a new preset name The jog dial allows selecting a preset in the Home or Preset pages More generally this dial can be used for navigation and or adjusting parameter values The cursor buttons A W P lt also allow navigation within pages screen sections and drop down menus 4 1 7 Mixer section In this panel you can control the volume and the activity of the four VCA outputs of a Program preset as well as the four Program outputs on a Multi preset The Volume 1 4 knobs have two functions in Program mode they control the volume of the respective VCA outputs In MULTI mode they control the four Program outputs The Edit 1 4 buttons have two functions in Program mode they open the corresponding output module In MULTI mode they select the corresponding Program preset to edit The ON OFF buttons have two functions in Program mode they mute the corresponding output module In MULTI mode they mute the corresponding Program preset ARTURIA ORIGIN USER S MANUAL 18 4 1 8 Effects section With this panel you can control the retur
205. rosses the center point of the ribbon Ribbon range 1 48 This value sets the plus minus range of the ribbon Off This is the simplest mode to explain and understand if set to OFF then the ribbon has no effect on the Program preset nes PERF ep omg GALA LFO 1 es Performance Mode Poly Circ Ribbon Ctrl Polyphony Mede oer Dotrtomento OFF Port time C ope Detuns E Modulation Pitch Wheel OH Pitch Eend HOT COMHECTED Eend Fange Hod Whe 171 LF I AM Expra Fedal HOT CONMHECTED ia Gi Aftertouch HOT COHHECTED Wee D o004 Reedy Ei Ribbon Control OFF Mode ARTURIA ORIGIN USER S MANUAL 68 8 3 3 2 Modulation This section of the Perf tab affects both the Origin Desktop and the Origin Keyboard Pitch Bend This sets additional modulation destinations for the Pitch Wheel separately from the Pitch Wheel and Bend Range controls on the right side of the screen Use the connection menu to select the modulation destinations for your Program preset Note that you can set the modulation amount and scale it as either Uni polar or Bi polar controls but in the case of using the pitch wheel for alternate forms of modulation a Bi polar control seems to be the best match However it is up to you to use which over mode you wish for each assigned modulation destination Note that if you are using this connection you may want to deactivate the default pitch bend behavior of the pitch wheel in the righ
206. s all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass sounds bass sounds or rich lead and pads The square possesses a more hollow sound that the sawtooth It only contains odd harmonics with lower amplitudes for higher harmonics This waveform can be used for sub bass sounds that comes out well in the mix the square oscillator is often set an octave below that of the sawtooth wood sounds clarinet if the square signal is a little filtered etc The triangle can be considered as a filtered and soft square signal It contains only odd harmonics at very low amplitudes Use this waveform for example for sub basses and flute sounds The sine is the purest available waveform It contains only one harmonic referred to as the fundamental Use it for example to reinforce the low end of a bass sound or as a modulation source in FM routings The white no white noise waveform produces acoustic energy across a broad spectrum of frequencies with no discernible fundamental or harmonic signature For this reason the noise module is used to create different noises like the imitation of wind or special effects The Width knob allows you to manually modify the waveform cycle of the square wave This feature is only available when the square waveform is selected ORIGIN USER S MANUAL 126 The modulation inputs FM The FM modulation allows you to modulate the fr
207. s an LFO Sync This top centered switch activates or deactivates the synchronization of oscillator 2 to oscillator 1 only available on oscillator 1 Fine These knobs control the fine tuning of the corresponding oscillator only available on oscillator 2 and 3 Coarse These knobs control the coarse tuning of the corresponding oscillator only available on oscillator 2 and 3 Waveform The three selection boxes in the column below waveform at the far right set the waveform of each oscillator The following waveforms are available TRI triangle TRI SAW asymmetric triangle SAW sawtooth SQUARE WIDE RECT wide rectangle NAR RECT narrow rectangle Osc3 Control This switch at the bottom activates or deactivates the keyboard follow for oscillator 3 Osc Modulation This switch at the bottom activates or deactivates the frequency modulation of oscillator 1 and 2 by oscillator 3 10 3 2 2 Mixer The mixer sets the balance between all the sound sources of the Minimoog template before the Signal is sent to the filter The mixer ARTURIA ORIGIN USER S MANUAL 151 Volume The three knobs in the column below Volume at the far left set the oscillators volume From top to bottom they control Oscillator 1 2 and 3 External Input Lvl This knob sets the external input volume of the Minimoog template the source connected to Input 1 on Origin s rear panel Noise Lvl This knob sets th
208. s the amount of the processed signal that s fed back into the right input for a greater number of echo cycles Damping Reduces the amount of high frequency content each time the signal is processed through a feedback loop therefore creating a darker sound for continuing echoes in the processing chain Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting In this case you can also control this parameter using the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet Sync If set to ON the delay time of both channels synchronize to multiples of either the internal clock or MIDI clock depending on the SYSTEM SETTINGS tab of the HOME page If this setting is set to OFF the delay times can be set independently Link This setting when ON causes Time1 and Time2 to track simultaneously when one or the other is changed This also applies to Feedback and 2 If Ping Pong see below is set to on this setting is grayed out and has no effect Ping Pong When this setting is set to ON the input of the delay is mixed to a mono signal and sent to the left delay line The feedback path of the left delay line is fed into the right delay line and vice versa This creates the effect of a sound bouncing between y
209. s 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 gt To start and stop the sound and this at the tone that we require we use a keyboard trigger Trig that is connected both to the VCA through a gate and to the frequency of the oscillators This plays 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 gt For the notes to tune correctly to the notes of the keyboard you must apply a keyboard following modulation KF 1 4 replacing the 1volt octave control present on most analog synthesizers Take a look at the Keyboard follow module KBF 11 2 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the sound when we press a key on the keyboard and ends after the note is released The most common modules developed use 4 settings that we can vary The Attack is the time that the sound takes to reach its maximum volume once we have pressed a key on the keyboard The Decay fall is the time that the sound takes to diminish after the attack portion is complete The Sustain hold is the maximum volume level that the sound reaches after the decay is complete The Release
210. s work in parallel 8 7 3 6 Rotary Speaker The Rotary Speaker effect has been carefully modeled after the most popular style of jazz organ speaker cabinets It emulates two rotating speakers one for treble and one for bass The resulting sound is a complex interaction of tremolo vibrato and chorus with speed and mix controls to tailor your sound and shape your live performance rF 3 Fr 1 Eu e Eu Rotary Speaker FHT Rotary On Slow Fast Mix Dry Wet Fre Delay d OO fon FuS Mo Fr O 0002 CS Hperience The Rotary Speaker effect Though it is most commonly associated with organs the Rotary Speaker can also be used with a wide variety of other keyboard sounds as well Slow Fast Sets the rate of the speaker effect E e rm rm e ee ee ee ee rm rm ee rm rm rm ee rm rm ee rm rm ee rm rm eB mm rm rm rm mm rm rm rm ee rm rm rm rm rm rm rm rm rm rm ee rm rm rm rm rm rm eB mm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm y Note You can assign this control to one of the live knobs on the front panel of the Origin to transition the speaker rotation speed as you perform Simply turn the assigned knob and the switch immediately toggles from the Slow to Fast and back again Mix Sets the relative level of bass to treble speaker rotation Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting
211. sing the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet Sync If set to ON the base rate of the Chorus LFO synchronize to multiples of either the internal clock or MIDI clock depending on the SYSTEM SETTINGS tab of the HOME page If this setting is set to OFF the base rate of the internal LFO can be set independently Shape This switch controls whether the internal LFO is based on a sine wave or a low frequency noise signal ARTURIA ORIGIN USER S MANUAL 105 8 7 3 3 Delay The Origin delay is a stereo effect that can create a wide variety of sound results It features independent settings for the left and right channel a damping circuit emulating vintage tape delays plus a ping pong configuration Remember that you can also assign Live front panel encoders to any of these virtual knobs for real time control of the effect during performance Time Feedback Damping Time Feedbacks O Oo Sync OFF Link OH Pinz Ponz OFF The delay Time1 Controls the amount of time between the original signal and the delay for the left channel Feedback1 Controls the amount of the processed signal that s fed back into the left input for a greater number of echo cycles Time2 Controls the amount of time between the original signal and the delay for the right channel Feedback2 Control
212. sive array of features the Jupiter 8 was capable of generating a wide variety of sounds To this day it is still heard on numerous records due to its warm analog sound Famous players include Howard Jones Tears for Fears Ultravox Michael Jackson used on his Thriller album Moby David Bowie and Alicia Keys The Jupiter 8 filter is one of the most beautiful and thin analog filters Unlike most other analog filters the Jupiter 8 filter doesn t self oscillate with higher resonance settings Due to it s ARTURIA ORIGIN USER S MANUAL 133 somewhat less aggressive behavior compared to for example the ARP filter the Jupiter filter is very versatile and can be used for various types of sound On top of that you ll don t have to worry about overloading your mix with a high resonance peak Filter 1 SE Cutoff Fre a DUDIO Hizi AUDI fa a FM AduJoyl out E weg RM Adutoyl out J e Resonance AH COHHECTED O C Outputs DUDIO 171 OUT AUDIO The Jupiter 8 filter The Frequency knob sets the cut off frequency of the filter The Resonance knob sets the amount of resonance also called Q The resonance determines the amount of amplification of frequencies close to the cut off frequency The other frequencies are either unchanged below the cut off frequency or reduced above the cut off frequency The Type selection box selects the filter type It offers three types 4P LP or 2P LP Low
213. spective values are described below Settings System page 2 Startup Tempo Invert Switch Pedal Sequence Auto Start Sequence Start key Pottern Change Sire Pattern Audio IH Auto Start Die CD 1000 Dark Side 650s de Ios t 0000 Openins The System 2 page Startup Tempo 20 300 BPM The startup tempo parameter sets the default tempo of the internal clock loaded when Origin starts The default value is 120 Invert Switch Pedal ON OFF This setting allows the foot switch input on the rear panel of the Origin to respond to a pedal that is oriented in a normally open configuration If your foot pedal is responding backwards to the expected behavior try changing this setting to reverse the polarity Default value is OFF Sequence Auto Start ON OFF This setting controls whether a preset containing a sequence starts as soon as it is loaded If this is ON then any preset that has an assigned step sequence will start This includes any presets that are part of a multi Default value is OFF Sequence Start Key ON OFF This setting is related to Sequence Auto Start and sets the key value that is triggered when Sequence Auto Start is ON Default value is A2 Pattern Change Sync None Step Pattern This setting controls how the sequencer behaves when in GROOVE mode When a new pattern is selected the Origin can either make the switch when the current sequence is complete Pattern or when
214. stinations within modules in the Edit page gt Simply highlight the desired axis for a given mode and either press the jog dial or the Enter button on the front panel to open up a context sensitive list of modulation control destinations Select the desired destination and note that it is not listed in the axis field Once you have selected the destination you may wish to set the scaling factor in order to smooth the amount of effect that the movement of the joystick along its axis will have on the destination gt Finally set the polarity by highlighting the field to the right of the virtual scaling knob and select either B for Bipolar or U for Unipolar NOTE You can select more than one destination for any given axis in any particular joystick mode Each destination can have its own scaling factor and B U setting This can make for some i extremely varied subtle and complex levels of control and puts the advanced the Advanced Joystick 8 8 5 MIDI Mappings The MIDI Mappings tab allows you to set the individual controllers that are routed to the various destinations within the Program preset Note Home gt Settings gt MIDI gt Receive Control Change must be set to ON for the program preset to respond to its assigned incoming MIDI data The same applies for Send Control Change if you wish to use the Origin front panel knobs as a MIDI control source When the configuration for MIDI
215. t NONE means that modulation position is held in place even after the ribbon is released Destination Just like the sound modules within the Program preset you can set a variety of destinations for the ribbon control in MODULATION mode Select the field and Add Connection where you ll see an array of choices Once a destination is ORIGIN USER S MANUAL 67 selected a scaling factor as well as Uni polar or Bi polar control can be selected for each connection Self Trigger The most recognizable use for SELF TRIGGER mode is to create a sound reminiscent of the Beach Boy s Good Vibrations solo There the ribbon was used to control both the pitch of the sound as well as the trigger for the start of the note Here a simplified set of controls are used MIKER PERF ZD omg Gala LFO 1 es Performance See Poly circ Ribbon Ctrl Polyphony Mode SELF TRIGGER Hotes velocity DEENEN OFF Ease note Port time C Drbbop ranas z Moce Cee tore E Modulation Fitch Whesi OH Pitch Eend HOT COMHECTED Bend Fange Hod Whee 171 LEO aM Expra Pedal HOT CONMHECTED Peace Dy Attertouch HOT COMHECTED a Zi OOOLL Reedy Ei Ribbon Control SELF TRIGGER Mode Note Velocity 1 127 The virtual knob control allows you to set the initial velocity that is initially sent when the ribbon is touched Default value is 64 Base note This sets the pitch that will be triggered when the finger touches or c
216. t a modulation sources to automate the modulation of the Y axis The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the amount of modulation The Output connections Output This is the output connection of the JoyMixer 9 1 2 The modulation modules Without the action of modulation modules the sound that you obtain is uniform without life and without any end The oscillator delivers a sound signal the audio output of a waveform of a fixed pitch in a continuous manner To get a playable and pleasant sound you have to add some real time or cyclic modulations on your audio modules like envelopes LFOs or joystick 9 1 2 1 Keyboard Follower The Keyboard Follower module is important not only for use with a keyboard but just about any device that sends MIDI NOTE ON commands This module first scales the input signal according to the follower s basic range setting Then it quantizes the scaled input signal to the closest exact note which fits in the semitone scale following the well tempered scale set by the range controls of the follower Origin supports up to four keyboard following inputs This allows you to create a variety of control sources to scale controllers that can benefit the sound by having a non 1 to 1 relationship to the played note Common examples are filter cutoff scaled at declining slope in order to more closely simulate the behav
217. t section of the page Mod Wheel As is implied by the label this allows for a range of modulation destinations to be assigned with the source being the modulation wheel Use the Standard menu controls to select the modulation destinations for your Program preset Note that you can scale the amount for either a Uni polar or Bi polar direction but in the case of using the modulation wheel a Uni polar setting seems to fit the basic mode of operation But again it is up to you to make the choice for each destination depending on the desired result Expr Pedal This setting sets the modulation destinations from the expression pedal input As noted above you can set the modulation amount for each connection and scale it as either a Uni polar or Bi polar control but in the case of using an expression pedal a Uni polar setting seems to fit that mode of control As with the other Suggestions above you can make your own choice for each destination depending on the desired result Aftertouch The connections created here respond to aftertouch input You can scale each connection as either Uni polar or Bi polar controls but in the case of using aftertouch a Uni polar setting seems to map to that type of control Bear in mind that with the Origin Keyboard that this setting will be directly influenced by the general SETTINGS gt Velocity Aftertouch screen described earlier in this document The number of voices that are affected by
218. te copies of the SOFTWARE or accompanying materials to others Licensee may not modify adapt translate reverse engineer decompile disassemble or create derivative works based on the SOFTWARE or its accompanying printed or written materials Transfer Restrictions Licensee shall not assign rent lease sell sublicense or otherwise transfer the SOFTWARE to another party without prior written consent of ARTURIA Any party authorized by ARTURIA to receive the SOFTWARE must agree to be bound by the terms and conditions of this Agreement LIMITED WARRANTY AND DISCLAIMER Limited Warranty ARTURIA warrants that the disks on which the SOFTWARE is furnished to be free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase Your receipt 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 you All ARTURIA ORIGIN USER S MANUAL 180 programs and accompanying materials are provided as is without warranty of any kind The complete risk as to the quality and performance of the programs is with you Should the program prove defective you assume the entire cost of all necessary servicing repair or correction Remedies ARTURIA s entire liability and your exclusive remedy s
219. temperature and other environmental conditions we find one of the characteristics that contributed to the typical sound of vintage synthesizers TAE reproduces the instability of oscillators bringing a fatter and bigger sound ARTURIA ORIGIN USER S MANUAL 13 2 3 3 Direct filter circuit modeling Due to advances in DSP processing power Origin can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of a hardware synthesizer s filter By modeling the operation of the individual hardware components of the filter circuit the warm nuances synonymous with analog sounds are recreated The graph below is a frequency domain plot as just a single example of direct circuit modeling in action it shows the generation of harmonics at multiples of the resonant frequency when the filter is in self oscillation mode for both one of ARTURIA s virtual instruments and the one it is emulating These harmonics are characteristic for analog filters and are due to the non linear behavior inherent to its analog circuitry The harmonics generated add to the richness and warmth of the sound produced by the filter As a result of the direct recreation of this analog circuitry the same characteristics of the sound are present thus giving the user a truly analog sound Comparison of harmonics generated by the filter circuits of the ORIGIN and a hardware synthesizer when in self oscillation ARTURIA O
220. the Stereo Filters templates the audio inputs are directly connected into two filters Those filters are connected in parallel thru 2 output VCAs modules This preset uses 3 effects Distortion delay and reverb The Crazy Fx the audio inputs are connected into a bode frequency shifter and thru two filters one 4 Pole high pass and a 4 pole Low pass modules connected in serial This preset uses pre connected to three effects distortion Delay and Stereo Phaser If you wish ear those effects modules you just have to turn the ON OFF buttons of the hardware Effects panel On 8 2 2 4 Factory and User Presets Origins can store 1000 Programs in slots 0000 0999 and 256 Multis in slots 1000 1255 The first 400 slots are factory programs They cannot be overwritten The first 100 Multi slots are factory multis They cannot be overwritten The remainder of those locations are available as User Preset Slots Some programs and Multis are also delivered on these ones but they can be overwritten The Memory Protect setting on the SYSTEM page controls whether memory locations can be overwritten by your edits If the Memory Protect setting is ON then it is not possible to save any program multi or sequence The SAVE button is then disabled Otherwise it is possible to save and overwrite User Preset slots An edited Factory Preset that you choose to save automatically selects the Save Program As dialog and present
221. the MULTI preset gt Select the preset n 0059 named Cosmology on the second mixer slot by pressing on the jog dial and using the A Y arrows Press the jog dial another time to validate this choice 1106 Untitled Droa Sr 0055 Cosmolocy The new MULTI preset ARTURIA ORIGIN USER S MANUAL 40 gt Now the Cosmology preset plays with the Reso_Pad in a layering fashion gt You can now set the volume of this new layer by turning the second Volume knob on the Mixer panel Why o ly EUU Wa NS d Edit On Of Volume Cy U BD Edit On Of Volume pe ES 3 E Edt On Off Volume Dr F g Edt On OF Volume Set the volume of the second layer gt Now you can save your new MULTI preset by pressing the Save button which will prompt you to also save each Program preset in a new memory slot see chapter 1 6 for more details 7 10 Using the step sequencer Each sequence in a program consists of three sub sequences which can be used to modulate different parameters This way you can easily set up complex sequenced modulations all controlled directly using Origin s Sequencer section Origin provides more than 200 sequencer presets that you can assign to any of the existing programs To explore the main possibilities of the sequencer we ll start with a simple bass sound Let s choose the n 0001 3 Osc Program preset This is a Minimoog bass sou
222. the transition to the next step is made Step or instantly as soon as the new pattern position is selected None The default value is Pattern Audio IN Auto Start ON OFF This setting determines whether the audio inputs are active when the Origin is started Default value is OFF 8 1 4 4 Velocity Aftertouch page Origin Keyboard only This page is only available on the Origin Keyboard It allows you to set the overall response of the keyboard velocity and aftertouch curves to suit your needs It also controls the behavior of the Duophonic Aftertouch feature that is unique to the keyboard version of the Origin The programming for this page is described below ARTURIA ORIGIN USER S MANUAL 54 Settings Velocity AFtertouch Velocity AFterctouch Duosphonic attertouch OFF O o F d H TD 1 000 Oork Side 80s D Re o2 1 0000 Opening The Velocity Aftertouch page Velocity This section of the page allows the user to set the overall velocity response of the keyboard Use the Alpha dial to select each node and use the joystick to set the value for that segment of the scale The range of each node is limited by the settings of the adjacent nodes and or the boundaries of the grid Note that you can also navigate to the Recall menu and select any of the pre defined curves Aftertouch This section of the page allows the user to set the overall aftertouch response of the keyboard Use the Alph
223. the first available EMPTY preset location You can also use the Dump function from Origin Connection software in order to move presets into and out of the Origin from a host computer ARTURIA ORIGIN USER S MANUAL 59 Aside from Program and Multi Presets there are also 128 Factory Sequence patterns and 128 User Sequence patterns available through the Sequencer page 8 2 3 Loading a Preset Scrolling through the presets on the preset page works mostly the same way as on the home page gt By turning the jog dial you can quickly scroll through the list of presets The current selected preset is highlighted in black To load the preset you want highlight it and press the jog dial or the Enter button on Origin s front panel gt Another method is pressing the Sound Select key pad gt By pressing the numbers you can directly jump to the preset of your choice gt When you press a four digit number the corresponding preset is loaded immediately gt When you press a 3 2 or 1 digit number the number you ve just typed blinks in red and loaded within two seconds For example when you press 0 0 5 2 preset 52 is directly loaded When pressing only 8 3 number 83 blinks in red and the corresponding preset is loaded after two seconds gt By pressing the keys you can increment or decrement the preset number by 1 on each press The corresponding preset is directly loaded gt If the Preset page is open y
224. the selected module Inputs AUDIO jet Mix AUDIO 8 fy V ES EH WE AdvJoyl Gut CH E f z Sia RM et AduJoyl gut G B z Do ech ry Ener AM HOT CONHECTED ban i Outputs AUDIO 171 FLT AUDIO Open a Filter module gt In order to modify a parameter you can use the standard set of Origin navigation selection controls A V or lt gt Enter Exit buttons or jog dial NOTE If you are editing one of the oscillators filters Envelopes or LFO modules you can use the Analog Section front panel controls to edit the corresponding module This can save a great deal of time by allowing you to access the most important parameters for certain modules directly from their dedicated front panel controls In Program mode the levels of each VCA are accessible as well in the Mixer Section Mesias ah sty a Tesh ie SiGe te et tS Gm im mlm mh mem sv cm sm Sm BO mm me sme mesma mmm sms ew sm mw sm am ml segs em wm mae Sm ss ew pw me mh em ae GB eam a am ae hm tm es ew am als gt First you must ensure that the front panel controls have selected the module you wish to edit Use the Select encoder to focus the front panel controls to the desired module gt Once that is done whether you are in the general Rack View or in the detailed editing view for the module the Analog Section controls can be used to adjust the settings of the desired module However note that care must be taken when using this
225. the sustain level during the note s hold period This control is affected by default to the hardware Sustain knob located in the Envelope area Release Sets the release time when a note is trigged OFF This control is affected by default to the hardware Release knob located in the Envelope area Pre decay Time Sets the intermediate decay time This control is affected by default to the hardware Pre Decay Time knob on the Envelope area Pre decay Level Sets the intermediate decay level This control is affected by default to the hardware Pre Decay Level knob on the Envelope area Slope Sets the slopes for the envelop Attack decay and Release parameters The Input connections Trigg Input trigger signal connection for the envelope ARTURIA ORIGIN USER S MANUAL 142 Att Modulation Input connection for the attack time of the envelope Dec Modulation Input connection for the Decay time of the envelope Rel Modulation Input connection for the Release time of the envelope The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the amount of modulation The Output connections Output This is the output connection of the Envelope 9 1 2 3 CS 80 ILAL Envelope This CS 80 ILAL envelope is a unique adaptation for Yamaha s classic synth that allowed for unique control of the filter cuto
226. ther control source for a range of parameters throughout exceptions ARTURIA the Program preset Many of the controls are the same as above with a few key explained below PERF ED mu GALAHY LFO 1 LFO 2 Performance Mode Poly circ Ribbon Ctrl Polyphony Mode MODULATION k ero position ABSOLUTE GEET OFF Beturn to ZF BIGHT OFF EE C HOT CONNECTED O voice Detune EC Modulation Bitch Wheel OH Dutch Eend HOT COMHECTED O Eend Fange Hod Whee 171 LEO AH C3 U Expr Pedal HOT COMHECTED O E HEL Attertouch HOT COMHECTED O a W 0004 Reedy Ei Ribbon Control MODULATION Mode Zero Position ABSOLUTE RELATIVE When the value is set to ABSOLUTE the position of your finger along the ribbon is taken as an absolute value from the zero point at the center of the strip It is somewhat akin to jumping instantly to a position on the modulation wheel When the value is set to RELATIVE then the start value is taken as the zero point regardless of where you first placed your finger on the ribbon control strip From that position movement along the ribbon is then adjusted within the limits of the modulation range Return to zero INSTANT FAST SLOW NONE INSTANT means that the modulation value returns to zero as soon as the ribbon is released FAST creates a quick smooth transition back to the zero point when the ribbon is released The SLOW setting creates a more sloped modulation to the zero poin
227. ti preset by using the Save As option gt Select the Save As box using the lt P cursors gt Confirm this selection by pressing the Enter or the jog dial buttons Mult 1106 Soue J oe As Project Un nownm Save Prozram 0413 V Save Program 0414 Save Program O Z6 val Saye Program o d27 Zi Press SAVE or EXIT to cancel Bi i o 1 102 Speed OF Dork i Prog d Ode I Hope So Le L Hope ne Cheam nase addi Select the Save as box and select a new location number gt This directs you to the location number of the new preset Turn the jog dial to select a new location number or use the key pads Then press the Enter button to validate the number selection gt Then go to the change the name press the different key pads to enter the characters you wish letters or numbers and press the Enter button to validate the name entry gt Select the Project box using the jog dial or A V or lt P buttons Choose a name for the project If you select NEW then you can create a new project entry that can then be selected in the future and available as a search value while browsing for presets Mult 1106 Soue v oe As 1106 Speed OF Oark Project New Soue Progprg Art urig cave Prosrdg Origin 1 1 Se Unknown Save Program 047 wi Press SAME or EXIT to cancel Choose a name for the project gt Press the Save button again to validate the save funct
228. time control functions Additionally each program can link to a sequence and has individual settings for the Arpeggiator the effects the Galaxy 2D envelope and LFOs HEW Search 1 Morne search 2 Monge PROGRAMS Minimooz CS Hperience We TB Seq Reedy P EJS Arturia See re Seqpacdbell Drawber Organ Accoustic Orm Big THH T 0001 3 Osc Zei FACTOR Hone The Program preset tab 8 2 2 2 Multi Preset A MULTI consists of a selection of up to four Program presets along with various settings for use in both live performance and host sequencing recording situations ARTURIA ORIGIN USER S MANUAL 57 PRO JECT Fill 1201 MULTI PROGRAMS Enolhung Pod 1000 Dark Side 80s Arturia JHE Monster Moog 1003 Noah s Arp Ata 1004 Nothing Left ae ieee 105 PvongSpiit ee 108 Etherlead 107 At the Beach T s Fusion T CS Up ri nc Ji 0001 3 Osc 2 The MULTI preset tab 8 2 2 3 New Preset The NEW preset function allows you to create a new Program preset from scratch HEW Choose a template Program Simple Program Standard Synth j 0001 3 Osc NEW preset tab Empty Program includes the minimal number of modules on the Edit page for beginning a new preset one Keyboard and one Output module Simple Program is the smaller synthesizer structure to begin a patch It is ofte
229. tly to a VCA input Le EE 9 1 1 3 Output amplifiers The output receives an audio signal coming from for example a filter or oscillator This module adjusts the overall volume and allows you to pan the sound before sending it to the effects section Inputs EHM EH OUTPUT DUDIO FLTT AUDIC LEO OUTPUT G di HOT CONNECTED CH The VCA output module Origin s output module has the following controllers The Volume slider sets the overall volume of the audio signal NOTE The output volume parameter can be also controlled in real time with the dedicated hardware Volume knobs located in the Mixer section on the top right of the front panel The Pan determines the panoramic placement of the audio signal The Input connections Env This is the dedicated input for the envelopes Output 1 is automatically connected to Envelope 1 when this module is available on the modular structure of the Program This input can also be connected to the Accent envelopes of the sequencer Audio This is the dedicated input for an audio module AM This input allows you to modulate the amount of amplification An LFO or keyboard velocity is used for this kind of modulation Connecting the velocity allows you to control the volume of your sound over with the keyboard An LFO can be used for tremolo effects Pan This input allows you to modulate the panoramic placement of the audio output Here you can for exa
230. to effects or use another oscillator for FM ORIGIN USER S MANUAL 121 sounds This can yield interesting results for inharmonic sonorities like bell sounds but it can also be quickly distorted if you introduce a square or sawtooth signal PWM This input allows you to modulate the pulse width of the square signal This input is only active when the square waveform is selected It allows you to modify the waveform cycle with for example an envelope or LFO The pulse width modulation creates spectrum modifications comparable to a chorus effect if you use an LFO The Amount knob allows you to set the depth of the selected modulation The Bipolar or Unipolar selector allows you to set the polarity of the selected modulation The Output connections Audio This is the audio output of the oscillator You can for example connect this output to a mixer module to mix the oscillator signal with other audio modules Alternatively you can connect it directly to a filter or VCA module CS 80 oscillator This oscillator is an emulated version of oscillator found on the Yamaha CS 80 synthesizer Due to the characteristics of the waveforms the CS 80 oscillator has a unique natural sound Using this module Origin is capable of generating the analog strings brass and pads the CS 80 was famous for while weighing only a fraction of the original synth The CS 80 has been used by for example Vangelis Stevie Wonder Brian Eno Peter Gabri
231. tor module The Select encoder selects the oscillator module to edit in the current Program preset 4 1 4 2 Filter section The Cutoff knob controls the cutoff frequency of the selected filter module The Resonance knob controls the resonance amount of the selected filter module The Type encoder selects the filter type of the selected filter module The Select encoder selects the filter module to edit in the current Program preset 4 1 4 3 LFO section The Frequency knob controls the frequency of the selected LFO module The Waveform encoder selects the waveform of the selected LFO module The Select encoder selects the LFO module to edit in the current Program preset 4 1 4 4 Envelope section The Attack knob controls the attack time of the selected envelope module The Decay knob controls the decay time of the selected envelope module The Sustain knob controls the sustain level of the selected envelope module The Release knob controls the release time of the selected envelope module The Select encoder selects the envelope module to edit in the current Program preset The Time knobs controls the pre decay time of the selected envelope module The Level knob controls the pre decay level of the selected envelope module NOTE The CS 80 uses some specific parameters for its filter envelope the Initial level and e Attack Level These two parameters can be controlled by the Time
232. try in the Config context menu ARTURIA ORIGIN USER S MANUAL 90 8 5 8 Volume and front panel mixer in Multi mode The audio level for each Program preset within the Multi is represented in the Multi MIXER screen by the slider displayed at the bottom of each slot NOTE The audio output signal of each Multi slot is directed automatically to its own Auxiliary outputs jacks The audio output of the first slot goes to the Auxiliary outputs 1 2 the second slot goes to Auxiliary outputs 3 4 the third slot goes to Auxiliary outputs 5 6 and the fourth slot goes to Auxiliary outputs 7 8 This allows you to make the mix of the current programs more convenient using an external hardware mixer or directly inside a host audio sequencer gt However there is also a more direct method for setting the level of each Program within a Multi and that is by directly changing the Volume knob in the MIXER section of the Origin front panel As you would expect each Volume knob corresponds to each Program slot in the Multi gt Once you ve set the volume levels to the desired balance save the Multi and the values is recalled when you load the Multi preset gt The ON OFF buttons on Origin s front panel mixer can be used to toggle programs on or off This setting is saved with the multi and recalled when you load it again MIXER Lu ei Edit Ons CF Cin OF Ons OF Lee FE On oF The h
233. ts WT Osc 1 Rance D EH L Seat out 1 CG E AM Le AduJoyl out e T Outputs AUDIO 171 Mix Audio 1 The wavetable oscillator of Origin ARTURIA ORIGIN USER S MANUAL 169 12 ORIGIN CONNECTION USER S MANUAL 12 1 Introduction The Origin Connection is a software running under Mac OS X or Windows XP Vista which provides several services to Origin users Storage and management of the presets created on Origin Origin firmware updates 12 1 1 Preset storage and management The preset manager allows to make a backup of the sounds from the machine and to share its presets The user is able to create Backup files which represent an exact copy of all the presets in Origin It also works with Sound Banks of presets The main difference between Sound Banks and Backups is that the number of presets in a Sound Bank is not limited In a Sound Bank the user can add or delete as many presets as he wants Contrarily it is impossible to add or delete presets in a Backup A Sound Bank is divided in three levels Multis Programs Sequences Each level is independent For instance if you add a multi into a Sound Bank you will not find the programs that this multi uses in the Program level these programs are saved with the Multi and you can t access them In this way you will be sure to get exactly the same Multi you saved when you reload it onto Origin It is the same thing for the Programs linked to a Sequence T
234. u that this multi will be modified 12 3 8 Computer to Origin transfer This type of transfer is different of the others The main reason is because there are space impositions on Origin which mostly do not apply a computer It can be either transfer presets from Bank to Origin or from Backup to Origin There are also two ways to do this gt With a drag and drop operation gt By clicking on the Transfer buttons But the result is different gt If you drag the selected preset s the application locates it them into the slot s he chose gt If you choose the Transfer button the application sends the preset s into the next empty slots available The process is also different for each type of preset Program if the program contains a sequence you have to select the destination slot of the sequence Fig 3 5 Multis for each program composing the Multi you have to select the destination slot Fig 3 6 Sequence you just have to select the sequences then drag them or press the transfer button 12 4 Preset erase gt To erase one or more presets on Origin the user has to use the Erase function Just select the preset s and press the erase button The slots corresponding to selected presets will become empty gt It is the same thing for deleting presets in Banks you will just need to select the presets and press the Erase button 474 TranceSeg Origin IMB IMB 425 Digital Disto Origin JMB JMB 476
235. ual Phaser Depth katel Feedback Shap Sine Depth Pate Feedbacks Shape Sine Stered Syme Dual Hode O OFF OFF The dual phaser Rate 1 2 These knobs set the rate of the internal LFO for phaser 1 and 2 Depth 1 2 These knobs set the modulation depth for phaser 1 and 2 Feedback 1 2 These knobs set the amount of feedback for phaser 1 and 2 Dry Wet This virtual knob controls the mix of the processed and original signal This knob is only active if the program mixer is configured in a serial setting In this case you can also control this parameter using the Return knobs in the Effects section on Origin s front panel If the mixer is configured in parallel setting the dry wet knob is grayed out always 100 wet Stereo This knob sets the stereo width of the phaser effect ARTURIA ORIGIN USER S MANUAL 107 Shape 1 2 This switch controls whether the internal LFO is based on a sine wave or a low frequency noise signal Sync If set to ON the delay time of both channels synchronizes to multiples of either the internal clock or MIDI clock depending on the SYSTEM SETTINGS tab of the HOME page see section 9 1 of the manual for more information If this setting is set to OFF the delay times can be set independently Dual mode If this switch is set to ON the two phasers are configured in a serial connection i e the output of phaser 1 is fed into phaser 2 When set to OFF both phaser
236. udio signal of the 3 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 Tire Har number 10 ER 30 40 Fraquercy The sawtooth waveform The square possesses a more hollow sound than the sawtooth it only contains odd harmonics but none the less its rich sound notably in low frequencies can be used for sub bass sounds that comes out well in the mix the square oscillator is often set an octave below the sawtooth wood sounds clarinet if the square signal is a little filtered etc PWM Pulse Width Modulation is a setting that allows you to modify the waveform cycle or wave length This can be done manually with the help of a knob PW or by modulation with an envelope or LFO This pulse width variation translates to a spectrum modification resembling a waveform change ARTURIA ORIGIN USER S MANUAL 158 Hannon number Frequency Lanmregge number Frequency The Pulse Width Modulation PWM waveform The triangle can be considered like a very filtered and soft square signal It is very low in harmonics odd only and is very useful for creating sub basses flute sounds etc Amplinde Amplitude 7 Hanmmoric number 10 20 ao d Frequency The triangle waveform The sinusoid is the purest of them all It is a single harmonic and produced a v
237. ular Program There are nine sliders a common configuration for traditional organs of this style ToneWheel 1 O Fange Corse Fins gain FH we ql Gut 1 E AH HOT COHHECTED B Outputs AUDIO 171 Mix Audi amp Hdns Click Perc Lu Decoy E or T EET The parameters of the ToneWheel module provide options that allow a great deal of control over the resulting sound Range Lo 32 16 8 4 2 Sets the base octave of the Principal 3 harmonic which is the fundamental of the ToneWheel s range Default is 8 Course 24 to 24 semi tones Sets the number of semi tones that the ToneWheel is shifted relative to the value that is input from the Keyboard Key Follow or other FM input Default is 0 Fine tone Sets the amount of fractional pitch shift of the ToneWheel module relative to the value that is input from the Keyboard Key Follow or other FM input Default is 0 Gain 0 000 to 1 000 Sets the gain that is sent from the audio output of the module Default is 0 500 bourdon 1 8 First slider which sets the level of the sub octave quint 1 8 Second slider which sets the level of the 5 above the sub octave principal 1 8 Third slider the fundamental of the ToneWheel octave 1 8 Fourth slider the octave above the fundamental hazard 1 8 Fifth slider the 12 octave plus S above the fundamental block flote 1 8 Sixth slider two octaves above the fundamental
238. und in the Zones tab So for example if all programs are assigned to the same keyboard zone this parameter is the same for all programs This is the MIDI channel that is used to receive keyboard data notes but also pitch bend messages modulation wheel aftertouch messages expression pedal hold pedal and ribbon controller for Origin Keyboard only ARTURIA ORIGIN USER S MANUAL 86 Note There are 7 types of events notes aftertouch pitch bend mod wheel exp pedal hold pedal ribbon that are considered zone events while other Control Changes are program events meee ee ee ee rm rm ee mm rm ee mm rm eB mm mm rm eB ee rm eB ee rm eB ee rm eB ee eB rm eB mm mm rm eB mm mm rm eB mm mm rm ee mm rm eB mm rm rm ee rm rm eB eB ee rm eB mm mm rm ee mm rm ee mm rm ee rm rm eB mm mm rm eB ee rm eB eB mm mm rm eB mm mm rm eB mm mm rm ee ee ee mm rm eB mm mm A A mi Note also For Origin Keyboard all active zones are played regardless of their MIDI channel the keyboard is in a kind of omni mode But when playing with notes or other zone event for each active zone a MIDI message is generated at the MIDI and USB outputs using the respective Zone MIDI Channel However if Local OFF is selected in the MIDI settings the keyboard will only generate simple messages at the MIDI and USB outputs ignoring the zones settings and channels ee ee re rm e ee rm e rm rm e ee rm e re rm e e rm e e rm rm e e rm
239. ut Inputs L R Effect 1 Effect 2 Effect 3 Effect matrix Vouga Ria ane a ae Ais ia ae ae aac a cata ae aes eat AE eats ea aa eid E ea abd Laas Gear aad see om em wm wm mma wm em em em mm e Sen wm vm mm en wm vm wm em wm wm wm on wm vm wm o wm vm wm een wm wm wm wen wm om wm on wm vm wm wen wm wm wm wm The Program architecture 6 3 The Multi preset The Multi preset allows you to use up to four Programs simultaneously Each program can be assigned to a specific MIDI channel for up to four parts of multi timbral operation Alternatively you can assign all programs to the same keyboard zone to set up layering or keyboard split patches ARTURIA ORIGIN USER S MANUAL 28 MIDI EXTERNAL SEQUENCER I Keyb Zone A gt Program 1 INDIV OUTPUT L R Keyb Zone B gt Program 2 INDIV OUTPUT L R A Keyb Zone C Program 3 INDIV OUTPUT L R Keyb Zone D ad MULTI f MAIN OUTPUT Output Mixer L MONO R The MIDI structure of the Origin Multi preset Program 4 INDIV OUTPUT L R ARTURIA ORIGIN USER S MANUAL 29 7 QUICK START This chapter will introduce you to the general principles of the Origin synthesizer You will find basic examples of the different interfaces of the synthesizer meant for first time users A precise and detailed description of all the parameters and controllers will be given in the following chapters ANALOG CONTEXTUAL PRESETS SECTIO
240. ut connection Audio A Positive translation output connection Audio B Negative translation output connection 9 1 1 7 Joymixer The Joymixer lets you mix the four audio sources e g oscillators filters in order to enrich and develop the sound This mix is done with a joystick moving between four points A B C and D representing the maximum volume of each of the audio sources You can also automate the modulation of the X and Y axis by connecting modulation sources e g LFO envelopes The mix can also be dynamically automated by an envelope defining four periods each of which corresponds to a position to which the joystick can be programmed The 2D envelope emulates the movements of the joystick designating a time to each of the four movements points 1 to R and during the length of a note eoymMimer 1 Inputs SD Enn on Joystick TRIG CONNECTED Audio A OSC AUDIO Audio E OSCI AUDIO Audio C JSC AUDIO Audio D OSC AUDIO Mod H CONNECTED Mod 4 COHHECTED Repeat Es EEE AUDIO 172 FLT AUDI The joy stick mixer To position the four points on the virtual joystick area on the screen Select the joystick area with the lt gt or A V buttons and press the jog dial to validate the selection highlighted in red gt Move the joystick to the place you want The first point of the joystick moves on the screen value 4 is indicated at first Select the second point by pressing the lt P or
241. vates pattern selection mode Hold Play Stop E O Accent Slid Seq Ac Seq 2Ad Seq 3Ad oOoOoOoOOoOOoOooOoOoOOOoOOO OO Pal Lo LA Lal Lu T T Lol La Ly La T Lej TJ EJ SEQUENCER oO Seq1 The sequencer parameters panel To get started right away activate the Play Stop switch it s active when the switch lights up in red Also make sure that the Edit gt Seq1 Seq2 Seq3 gt Pattern switch is set to Pattern When you press a note on the keyboard the sequencer starts directly affecting the sound To toggle between different sequences press one of the 16 switches at the bottom of the sequencer panel This way you toggle between all the 16 sequences within a bank on the fly Next we will discuss how to make our own sequences with Origin gt In order to understand the sequencer s programming we will start with a very simple sequence Go to the Sequencer page by pressing the Seq button below the LCD screen On this page you see the three sub sequences plus a number of configurations at the right In this configuration section select Bank K and Pattern 1 As you can see all sub sequences are empty ALL Seq sp pes aere eank BANK DOOD D000 DD DD e Pil pil Pil tl til Pil Pil Pid Global 51 14 OSC FM OQ E QUAHTIZED Pn PATTERH 1 i ee ee EL PPE Perri grrr gdril STEPS Dea ODD EE DOOD oO f 0 0 0 f f 0 0 f o t 2 D ew D D D D D D D D D D D D D D D D D D SH OH PAT
242. ve or dB Oct For example a 12dB Oct low pass filter attenuates frequencies one octave above the cutoff frequency with 12dB two octaves above the cutoff frequency with 24dB etc Most filters used in classic analog synthesizers have 24 dB Oct or 12 dB Oct slopes The filter slope can also be expressed in poles you can calculate the slope in dB Oct by multiplying the number of poles with six For example a 1 pole filter has a 6 dB Oct Slope and a 4 pole filter a 24 dB Oct slope The Origin synthesizer offers a great variety of filters Most of them are emulated versions of the filter modules used in some of the best analog hardware synthesizers the Minimoog the ARP 2600 the Jupiter 8 and the CS 80 In addition there is a special low CPU cost Origin filter module It offers very good sound characteristics for a low CPU cost You can use it in a very big preset including lots of audio modules E e rm rm em ee ee ee ee rm rm rm ee rm rm ee rm rm ee rm rm ee rm rm mm mm rm rm rm mm rm rm rm mm rm rm rm ee rm rm rm rm rm rm rm rm rm rm rm mm rm rm ee rm rm rm mm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm rm eB mm rm rm rm mm rm rm rm rm rm rm rm ee rm rm ee rm rm ee rm rm eB zm rm rm eK Minimoog filter This filter is an emulated version of the filter module found on the original Minimoog synthesizer The Minimoog was introduced in the 70 s and was among the first portable and playable synthesizers Today it is highly
243. ve and in some ways it can be very aggressive if you use a lot of resonance ARTURIA ORIGIN USER S MANUAL 131 Filter 1 Seen Type AUDIO 171 Hut AUDIO 4P LP FH We AduJoy Out E Filter Freq Pr 171 AdwJoy out G E 10 100 Ik Wk AH HOT COMHECTED O Fine Tune Outputs IR AUDIO 171 OUT AUDIO Resonance The ARP filter The Filter Freq slider sets the cut off frequency of the filter The Fine Tune slider allows you to tune the cutoff frequency more precisely This setting is mostly effective when the filter is self oscillating see below The Resonance slider sets the amplification amount of frequencies close to the cut off frequency The other frequencies are either unchanged below the cut off frequency or reduced above the cut off frequency When you increase the resonance the cutoff frequency is more and more amplified At very high resonance values the filter starts to self oscillate giving a sort of whistle sound The Type box selects the type of filter It offers 2 types 2P L a 2 pole 12 dB Oct low pass filter 4P L a 4 pole 24 dB Oct low pass filter The Input connections Audio This is the audio input of the filter You can connect it to the output of an oscillator or a mixer if you use several oscillators or other audio modules FM This input allows you to connect sources to modulate the cut off frequency of the filter The envelope or LFO are the most common modules t
244. view When pressing the Move button you can move the currently highlighted module to any position in the patch view This can be useful when you have a complicated patch and want to get a clear overview of its structure ARTURIA ORIGIN USER S MANUAL 81 e oan obt JE Es gp Se LS Hl E Moving a Filter module gt Highlight the module you wish to move using the jog dial or A W or lt P gt buttons on the front panel of the Origin and press Move gt The Move button turns black and you can now move the highlighted module using the jog dial or A V or lt gt buttons gt When you positioned the module to the desired location press the Move button which will then return to its normal state gt Note that moving modules has no effect in the Rack view nor does it has any impact on the sound or functioning of you patch 8 4 3 5 Remove The second button along the top of the LCD panel allows you to delete a module from the view gt Simply highlight the targeted module using the jog dial or A F or lt P buttons on the front panel of the Origin and press the Remove button EXIT 4 a a F d j j E a iz Tea iernoe Module ES OUTE E B E B EBr Seeae Wi 7 Removing a module E mm rm mm mm eee mm mm rm mm rm mm mm rm mm rm rm mm rm mm mm rm mm rm mm mm rm mm rm rm mm rm mm mm rm mm rm mm mm rm mm rm ee rm mm rm rm mm rm mm mm rm mm rm ee rm mm rm rm mm rm mm rm rm mm
245. w to avoid the possibility of serious injury or even death from electrical shock damages fire or other risks The product used either alone or in combination with an amplifier headphones or speakers may be able to produce sound levels that could cause permanent hearing loss DO NOT operate for long periods of time at a high level or at a level that is uncomfortable If you encounter any hearing loss or ringing in the ears you should consult an audiologist NOTICE Service charge incurred due to a lack of knowledge relating to how a function or feature works when the unit is operating as designed are not covered by the manufacturer s warranty and are therefore the owner s responsibility Please study this manual carefully and consult your dealer before requesting service 1 2 Precautions Precautions include but are not limited to the following 1 Read and understand all the instructions 2 Always follow the instructions on the instrument o ARTURIA ORIGIN USER S MANUAL 3 Before cleaning the instrument always remove the electrical plug from the outlet as well as the USB cable When cleaning use a soft and dry cloth Do not use gasoline alcohol acetone turpentine or any other organic solutions do not use liquid cleaner spray or a too wet cloth 4 Do not use the instrument near water or moisture such as a bathtub sink swimming pool or similar place 5 Do not place the instrument in an unstabl
246. w tone wheel generator for classic organ sounds Up to 4 filters based on the Minimoog ARP 2600 CS 80 and Jupiter 8 filters plus a special Origin filter 1 Ring modulator 1 Bode frequency shifter 1 Joymixer Up to 4 mixers Up to 4 independent output amplifiers VCAs With the modulation modules you can connect to those audio modules Up to 8 ADSR and special IL AR ADR envelopes Up to 4 Voice LFOs One keyboard follower with four independent outputs 1 Keyboard trigger 8 CV Modulators The graphically displayed preset below is an example of a basic synthesizer structure including 4 oscillators including a sync connection between the oscillators 1 and 2 1 mixer 1 filter 1 VCA 3 LFOs 2 envelopes 1 keyboard follower The red lines are the audio connections the green ones are the modulation connections and the yellow ones are the keyboard follow and keyboard trigger connections ARTURIA ORIGIN USER S MANUAL 2 ES synth Modular structure OUTPUT A modular structure example On this sound you can add Up to 3 different step sequences modulating different parameters Alternatively you can use the Arpeggiator to create note patterns based on held chords 2 mono LFOs 3 intermodulating control outputs from the Galaxy module A 5 stage looping 2D envelope Up to three audio effects me a a a a a e a e a e a mm zm mm a mm mm e mm zm zm mm zm mm zm zm ee ee ee Audio External Audio Stereo outp
247. within each KF tab s range Note One idea for using multiple Keyboard Follower tabs is for program level splits and layers Also a simple drum kit can be created defining a separate note range for each sound 9 1 2 2 ADSR Envelope The ADSR envelopes allow you to develop one or several time function parameters The ADSR envelope is composed of four successive sequential periods Attack time Decay time Sustain voltage and the Release time When you send the signal for the note by pressing the key on the keyboard the envelope begins the sequence beginning with Attack then Decay and Stays in the Sustain as long as the note is active When the note is released the envelope finishes with the Release parameter The envelope1 is automatically connected to the first VCA by default and controls the volume amplitude Enwuelope 1 Inputs Delay Attack Decay TRIG Lei KEDI TRIG B a HOT COMHECTED be Sustain D l oze HoT COHHECTED ER CT HOT CONNECTED Dr decour HOT COMHECTED time leugli Outputs C OUTPUT Let OUTI ENY Shape A D F The Origin ADSR envelope Attack Sets the attack time when a note is trigged ON This control is affected by default to the hardware Attack knob located in the Envelope area Decay Sets the decay time during the note s hold period This control is affected by default to the hardware Decay knob located in the Envelope area Sustain Sets
248. y and User created projects for representing individual collections of presets that may span over other criteria Designer the names or abbreviated handles of various Factory and third party sound designer This is also where Owner Name is located to help you quickly located your own User Presets CPU lt 30 40 75 gt 75 None Resets the selection criteria to an empty value ee mu pet nine IME Fin Ambient Arturia Heyboord Ka ACTORY AE 000s Seqpacdbell 000s Orowbar O 000d Accoustic D008 BigTHH Program filters 8 2 4 2 Multi filtering The MULTI tab has one Key field which is for limiting the selection of presets to specific Projects Once that value is set the number of Multi presets is narrowed down to the appropriate selection ARTURIA ORIGIN USER S MANUAL 61 Wa Dark Side GO Arturia Euoluing Mood JME Monster Moog 100353 Noch e Arp 1004 Nothing Left ee pas 1005 VonmgSplit SE 1006 Etherled E Withyou 1007 At the Beach 1008 10 s Fusion T peninz H SD Fros 1 0000 Opening MULTI filter 8 2 4 3 Delete a preset You can delete a User Program any preset location above 0399 or Multi location above 0999 by pressing the Delete button on the upper right corner of the Preset page Search 1 Wome search 2 Wome Bech H GH Are SOW SURE Yog want to delete Prozram 4227 1 fe Continue Eklesia L
249. yer synthesizers etc so they can be processed through Origin s filters and effects Headphones inch stereo headphone output ARTURIA ORIGIN USER S MANUAL 21 5 CONNECTIONS A WARNING Make all your audio connections with the power off on all units If you don t you may damage your speakers the Origin synthesizer or other audio equipment Please use Caution Foot Switch Sustain A m USB Cable g CG emm 5 oO Computer I 1 Pedal Connecting your computer M z A ye RR I Se SS aa SS ae L Right eft Aux 2 Aux 3 Aux4 Aux S Aux 6 Aus Aus 8 pression Footswitch In Thru Out D eft igi L Right Aux Out audio inputs T switch power power main individua phone output audi outp ts sudio cutis ven ien MIDI IN OUT THRU adaptator on off pedal FP oR P A oR OK FG iw i ane To AC outlet AC DC power supply Connecting the AC DC power supply Zz nm MIDI cable CD Player analog record player etc SS e oL_ m eej S PDIF IN AUDIO OUTPUT Monitor AUX OUT etc OUTPUT Connecting the audio MIDI OUT inputs INPU jacks MAMA Power monitors etc 5 1 Connecting the AC DC power supply Connect the included AC DC power supply to the Origin synthesizer After you ve connected the AC DC power supply to Origin plug it into an AC outlet

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