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1. The Bass filter section of Open mode Controls the FENV attack time working in conjunction with the Env Amt and Cutoff parameters Range 0 3000 milliseconds Controls the FENV release time and also interacts with the Env Amt and Cutoff parameters Range 0 3000 milliseconds This is the only parameter dedicated to the Bass instrument s amplitude envelope Crescendo affects the Upper instrument as well With higher values the Bass instrument will take longer to fade out after its note is released The maximum value is 4000 milliseconds Controls the filter cutoff frequency and when set to a low value allows the cutoff frequency to be swept through the FENV stages Range 20 20kHz Will emphasize certain frequencies as the filter is swept from minimum to maximum and back down It can cause the filter to self oscillate so be careful when setting the value Enables the Attack and Release parameters to affect the filter Lower Cutoff values tend to make the overall FENV settings more effective Those six parameters offer quite a bit of sound designing flexibility for the Bass instrument 3 6 4 Bass section Arpeggiator It is not an overstatement to say that arpeggios have become a mainstay of modern music Of course the original string machines didn t have them but the blending of the old and the new has become a mainstay of Arturia So we ve included an arpeggiator as an enhancement of the Bass instrument and we think you ll
2. DEP 5 P1 Short DEP 5 P1 Medium DEP 5 P1 Long DEP 5 P1 XL DEP 5 S1 Medium DEP 5 S1 Long DEP 5 NLR RSP 550 Hall 3 RSP 550 Room RSP 550 Room 4 0 RSP 550 Plate Warm RSP 550 Plate Long RSP 550 Black Hole RSP 550 Shimmer 5 2 Solina V Reverb presets There are no parameters within the reverb presets for you to adjust but you can set the balance between the dry signal and the effected signal by using the Rev knob on the right side of the keyboard in Open mode The REV knob ARTURIA SOLINA V User Manual 40 3 USER INTERFACE 3 7 6 Ensemble There s an inauspicious button nestled among the Basic controls in both Open and Closed modes It s sort of like the MSG of the string machine world it makes everything sound really tasty You ll find it to the right of the Upper instrument buttons Fi VIOLA VIOLIN TRUMPET HORN HUMANA ENSEMBLE The Ensemble effect in Open mode As the name implies the concept behind the Ensemble effect was to take a single string instrument and make it sound like dozens of performers each with a slightly different idea of what in tune means It is the difference between the sound of one person playing however beautifully and the impossibly huge sound of fundamentals and harmonics moving slightly in and out of tune and phase with one another in a gloriously hopeless attempt at conformity This is achieved in electronic terms through the use of a bucket brigade circuit It splits
3. Pitch bend This spring loaded wheel will snap back to center after being released It is dedicated to pitch bend purposes and is the only control that is not assignable to another MIDI controller number Mod wheel Used to introduce programmable amounts of vibrato and or tremolo to the sound This wheel responds to MIDI CC 1 by default but can be reassigned to any MIDI controller Volume Master Controls the entire Solina V output tapering or boosting the upper and bass instrument levels at the same time Bass sounds The Contrabass and Cello buttons enable and disable these sounds for the Bass instrument The Contrabass is an octave lower than the Cello Both may be enabled at the same time If they re both off and you want them on or vice versa click and drag across both buttons Volume Bass This slider will adjust the Bass instrument level independently of the Upper instrument Crescendo Controls whether notes fade in when played The response is different for the Bass and Upper instruments and is also affected by whether the preset is in Poly mode or non poly mode See section 3 2 3 for additional information Sustain Length Adjusts the amount of time it takes the Upper instrument to fade out after a key is released with a maximum time of 4 seconds The Bass instrument has a separate Sustain control we ll cover that when we go through the Open mode parameters Volume Upper This slider will adjust the Upper instrument level indepe
4. Sadly ARP Instruments Inc was forced to close its doors But its legacy lives on in the 21st century as synthesizer enthusiasts are once again paying top dollar for ARP synthesizers including the Solina String Ensemble And it is with the utmost respect for the history of the technology and the music it inspired that we offer to you the Arturia Solina V 1 2 4 String songs a selected discography The Solina string sound has been used to great effect on many albums through the years Here is a Dream Weaver Gary Wright The Grand Illusion Styx Come Get It Rick James Thrust Herbie Hancock brief overview I m In You Peter Frampton Captain Fantastic Elton John Rumours Fleetwood Mac The Age of Plastic The Buggles Wish You Were Here Pink Floyd Premiers Sympt mes Air ARTURIA SOLINA V User Manual 8 1 INTRODUCTION We could go on and on there are literally thousands of recordings where the Solina sound played a major role And now with Solina V we hope to see many thousands more 1 3 Physical modeling synthesis The process of building a sound usually involves at least one of the following synthesis methods e Additive which creates a timbre by adding various waveforms together e Subtractive in which partials of an audio signal are attenuated by a filter to reduce the original harmonic content of the sound e Frequency Modulation FM where waveforms are used in carrier m
5. The CPU meter gives real time feedback about the amount of processing power being used by Solina V at any given moment In addition to the numerical value there is a level meter that lights up as the load increases Note The CPU meter only reports the processing load related to Solina V not the combined system load of all programs and plug ins that may running at the same time 3 2 6 Global MIDI channel You can choose which MIDI channel will be used to access Solina V If you select ALL the software can respond to data from any of the 16 MIDI channels you can specify which ones with the MIDI preference settings gt All Upper MIDI Channel vd All If you select a channel here only data arriving on that MIDI channel will be received So when the Global channel matches the MIDI channel of one of the two instruments Upper or Bass that sound will respond But when the Global channel is set to a value outside of those assignments you won t hear anything because the Solina V instruments are expecting data to arrive on the other MIDI channels So you may want to leave the Global MIDI channel set to ALL unless you have a specific reason not to ARTURIA SOLINA V User Manual 17 3 USER INTERFACE There s a window under the PREF button where you can specify the MIDI channels for each instrument See section 3 2 8 for a description 3 2 7 MIDI controller configurations All knobs sliders and switches on the Solina V can be as
6. All intellectual property rights in the software belong to Arturia SA hereinafter Arturia 1 2 The following editions of the Product are available Demo Standard EDU and NFR Whilst each edition equips the User with the same software the editions vary as regards both the scope of functions activated in the Product and the rights of use granted under this EULA 1 3 By installing the software on your computer you agree to these terms and conditions If you do not approve these terms and conditions you must not install this software 1 4 If you do not approve these terms and conditions please return the complete Product including all written matter packaging and similar material to the dealer from whom it was originally bought within 14 fourteen days after the day of purchase For purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 4 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provided to the Licensee as Standard version grants the Licensee a non exclusive right to use the Product in perpetuity including commercial purposes The Licensee can activate the Product on up to five computers as long as
7. Depth Sets the amount of delay time modulation ARTURIA SOLINA V User Manual 38 3 USER INTERFACE A delay repeats a sound lke an echo giving it more space and depth This analog delay reproduces the sound of the old solid state units that used analog bucket brigade circuits The Delay knob allows you to select a time between 12ms and 1000ms for the delay The Feedback knob sets the feedback level The FB Tone knob controls a feedback filtering effect low pass to the left high pass to the right You can set the delay modulation by changing the LFO rate and LFO depth values 3 7 4 FX 2 Digital Delay MIDI SYNE o O O The Digital Delay also takes the input signal and repeats it but has a slightly different set of parameters than the Analog Delay MIDI Sync Locks the delay to MIDI clock and also to the Phaser and the LFO if their Sync buttons are enabled Time A clockwise turn increases the delay time for the left side a turn in the opposite direction shortens it Range 9 07 ms 1000ms Feedback Adjusts the Feedback amount of the left delay Larger values cause the delay to be heard longer Link Makes the delay mono after which the first set of Time and Feedback controls are used to adjust the effect Time A clockwise turn increases the delay time for the right side a turn in the opposite direction shortens it Range 9 07 ms 1000ms Feedback Adjusts the Feedback amount of the right delay Larger values cause the d
8. at the softest velocities will be that much less bright The brilliance will increase along with the velocity values The same holds true for aftertouch and also for the Level parameters Pro tip if you want a darker overall sound a quick way to do it is to increase the Vel Brightness parameter and set your controller keyboard to a fixed velocity curve Note that this will affect the Bass and Upper instruments equally If you only want to darken the Upper instrument though there s another way that offers even more control the Upper Resonator We ll unveil the secrets of this powerful processing tool in section 3 6 5 3 6 2 LFO The Mod wheel can bring in several types of modulation most of which affect the Upper and Bass instruments simultaneously There s also an independent routing that affects only the Bass instrument Vibrato and Tremolo are the global modulation types and the LFO also can be routed to the filter frequency of the Bass instrument Another thing you can do is program in a certain amount of constant modulation which can then be increased by the Mod wheel as needed Whatever form of modulation control you re after the LFO section is where these decisions are made i P TREMOLO i O RATE WAVEFORM The LFO section of Open mode We re going to jump around with these parameters a bit since you might simply want to know how to introduce vibrato to the sound We ll ignore the Mod wheel settings fo
9. be glad we did ARTURIA SOLINA V User Manual 32 3 USER INTERFACE BASS ARP The Bass arpeggiator section of Open mode Beautiful in its simplicity here s what the arpeggiator offers Bass Arp mode On and Off are obvious Hold will latch the arpeggiator and incorporate every note you play until all keys are released at which point the arpeggio you have defined will continue on its own The next note you play will clear the arpeggiator and it will begin to capture notes again starting with the new note Mode Determines the playback order for the notes in the arpeggio Up Down and Random are self explanatory Excl stands for Exclusive which is a combination of the Up and Down modes that plays the notes in a circle without repeating the highest and lowest notes i e it excludes them from being counted twice Rate Controls the speed of the arpeggio The values shown when you click and drag the knob will be different depending on the status of the Sync switch they will be displayed either as a Rate when Sync Off range 0 010 50 0 Hz or as a Ratio when Sync On range 1 256 to 2x Sync Locks the arpeggiator to the master MIDI clock which also puts it in sync with any other parameters that also have their Sync parameters enabled the LFO and some of the Effects While experimenting don t forget the Bass and Upper instruments can be transposed 2 octaves and the split point can
10. be moved quite a bit so it s possible to have a high arpeggio in the left hand and a medium range pad in the right for example Also an option set each instrument to a different MIDI channel for independent control And as many of the presets demonstrate the Bass section arpeggiator can remain active even when Solina V is not in Open mode It can still pull strings from behind the scenes or in this case push them 3 6 5 Upper Resonator If you have used a three band parametric EQ you will recognize its similarity to this area of the Bonus control panel The terms are familiar Cutoff represents the frequency Resonance is similar to Q and Gain will boost or cut the level of the selected band However most EQs do not also behave like the filters on a synthesizer with Low Pass High Pass and Band Pass options All told the Upper Resonator is really what you would call a three band ARTURIA SOLINA V User Manual 33 3 USER INTERFACE formant filter capable of superimposing fixed peaks and valleys that maintain their characteristics regardless of the input frequency These qualities make the Upper Resonator a unique tool for sculpting the sound of a preset into your own UPPER RESONATOR sos em 300 1 Bkktzem 1 5k7 5kHrz BAND Low BYPASS MODE CUTOFF RESO GAIN CUTOFF RESO GAIN CUTOFF RESO GAIN The Upper Resonator section of Open mode We ll define controls with similar functions only once keeping in
11. button the controls are the same those on the left adjust Stage 1 and those on the right adjust Stage 2 The following parameters are independent for Stage 1 and Stage 2 Rate Sets the speed of the phase shifting effect Feedback Controls the amount of phaser resonance Depth Sets the depth of the phaser activity Stages 1 and 2 share these parameters Sync Locks both phaser stages to the current tempo and to the rate of other Sync equipped Solina V features such as the LFO Dual Mode When disabled Stage 1 is on the left side and Stage 2 is on the right When enabled i e the button is lit both stages process both sides The phaser output is mono in this case Phase shifting has been one of the most popular effects to use with electric instruments since the 1970s It works by splitting the incoming signal changing the phase of one side and recombining ARTURIA SOLINA V User Manual 37 3 USER INTERFACE it with the unaffected signal This creates a notch comb filter that sweeps through the frequency spectrum You can then modulate the phase of the affected half with an oscillator with the frequency determined by the Rate control The Depth knob sets the amplitude for the action of the filtering while Feedback amplifies certain harmonics Phase shifting is easily identified by a characteristic whooshing sound that sweeps through the frequency spectrum 3 7 2 FX 1 Analog Chorus STEREO 1 2 os TYPE WIDTH
12. days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to the Licensee in this case All programs and accompanying materials are provided as is 8 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this Product shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this Product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state Sample rate converter designed by Aleksey Vaneev of Voxengo ARTURIA SOLINA V User Manual 44 4 END USER LICENSE AGREEMENT
13. hand corner These settings are saved with each preset so each one will respond the way you want 3 2 8 1 Omni mode vs MIDI Channel All Technically Omni mode means listens to all 16 MIDI channels So in the interest of accuracy we gave our most inclusive MIDI Channel setting the label All This reflects the hierarchy of MIDI channel assignments in Solina V starting with the Global MIDI channel and ending with the individual MIDI channel assignment of each instrument Here s how it works e The Global MIDI channel setting acts as a filter either passing all channels to the instruments or allowing only one specific channel to pass e Next come the Upper and Bass MIDI channels If the Global channel is set to All and one of the instruments is also set to All that instrument will resoond to any data Solina V receives Both instruments will receive all MIDI notes on their channels regardless of the Split settings e If both instruments are set to the same MIDI channel or to All the Split Mode Split Point settings take effect e As mentioned earlier if the Global MIDI channel value is something other than All and that value matches one of the two instruments that instrument will play across the full note range If that value matches neither instrument neither will receive MIDI data Here s an example using some actual MIDI channel numbers We ll assume the Global MIDI channel is set to All e When Upp
14. only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed Owning a license of the Products entitles the Licensee to get access to the future updates of this Product 2 3 Any Products provided to you as NFR Not For Resale version grants the Licensee a non exclusive right to use the Product for a limited period of time The Product shall only be used for demonstration testing and evaluation purposes NFR Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on ARTURIA SOLINA V User Manual 42 4 END USER LICENSE AGREEMENT another device able to exchange files with the computer on which the Product is installed NFR Products are exempt from update upgrade or crossgrade offers and cannot be purchased with or exc
15. otherwise provided to you as a Demo version grants the Licensee a right to use the Product only for demonstration and evaluation purposes These Products must not be used for commercial purposes and must not be resold or transferred These Products are exempt from upgrade or crossgrade offers and cannot be exchanged for vouchers or coupons 3 No Unbundling Bundles product bundles are an association of software and hardware or software only products can only be resold transferred as a whole The individual components of a bundle must not be resold transferred separately 4 Resell 4 1 Renting or lending the licensed Software to a third party is expressly forbidden Apart from that and if not provided otherwise within this EULA 4 2 Except if otherwise stated within this EULA Licensee may resell the software to a third party or transfer the software permanently free of charge provided the third party agrees in writing with this EULA and Licensee ceases all use of the software completely removes all installed copies of the software from his computers and if the software was not purchased via download deletes or transfers the original media delivered with the software to the third party In addition Licensee is required to de register the purchased software with Arturia more information available on www arturia com 5 In case a sound library is part of the purchased Product the following shall apply in addition to the
16. the original signal passing one half through a series of capacitors each timed to delay the signal a bit and then release it to the next capacitor etc There is a slight degradation of the signal at each stage sort of like the classic game of telephone where what the first person says and what the last person hears has undergone more than a bit of revision LFOs are used to vary the delay times adding to the diversity of the output Finally the delayed degraded signal is recombined with the original resulting in a very lush combination of harmonic discrepancies In that sense it is somewhat like the magic unleashed by an instrumental ensemble if you will Note also that there is a tiny switch next to the Ensemble button which is only visible when Solina V is in Open mode It will toggle the Ensemble effect between mono and stereo operation with the overlapping circles icon representing the stereo position om L ENSEMBLE ENSEMBLE Mono mode Stereo mode ARTURIA SOLINA V User Manual 41 3 USER INTERFACE 4 END USER LICENSE AGREEMENT 1 General 1 1 In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right for the use of software including related media documentation for example program descriptions manuals and other documents and materials manufactured by Arturia SA Product s
17. 0 1 INTRODUCTION 2 ACTIVATION amp FIRST START Solina V works on computers equipped with Windows 7 or 8 and Mac OS X 10 7 or later You can use the stand alone version or use Solina V as an Audio Units AAX VST2 or VST3 instrument Nea 9 Audio Units 2 1 Register amp Activate Once the Solina V has been installed the next step is to register the software The registration process will require you to enter the serial number and the unlock code you received with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have an Arturia account yet you will need to create one The process is quick but it does require that you can access your e mail address during the registration process Once you have acquired an Arturia account you will be able to register the product 2 2 Initial setup At the top of the Solina V application is a pull down menu It houses the MIDI settings and various sound selection and output options among other things The location of this menu is slightly different for Windows and Macintosh computers so we ll address them separately 2 2 1 Audio and MIDI settings Windows Click on the Setup gt Audio MIDI Settings menu Setup About Audio MIDI Settings The next window you ll see is the same one that appears when the software starts for the first time ARTURIA SOLINA V User Manual 11 2 INSTALLATIO
18. ED will then be shown in the MIDI Control Setup window for that control Once you have finished linking the controls to your controller you have completed making a new config Be sure to use the Export function described in section 3 3 3 to back it up To close the MIDI Control Setup window and exit learn mode click the MIDI button again 3 4 1 Minimum maximum controller ranges Values for minimum and maximum operational range can be set for each assignable control After this the control will still receive the full range of its assigned MIDI CC but will scale its response so these values are spread out within the min max range of the control In other words if the Min value is set to 50 and the Max value is set to 100 ARTURIA SOLINA V User Manual 24 3 USER INTERFACE e aMIDICC value of 0 will result in a value of 50 for the selected Solina V parameter e aMIDICC value of 127 will result in a value of 100 for the Solina V parameter e aMIDICC value that falls between 1 and 126 will result in a value somewhere between 50 and 100 on the Solina V parameter Note that a squashed range such as in the example above means there won t be a 1 1 correlation between the motion of the MIDI controller and the response of the Solina V parameter it may take two or more adjacent values of the controller before the Solina V parameter will change It is also possible to invert the Min and Max values so the parameter responds backwar
19. EULA The provided samples instruments and presets can be used for commercial or non commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement The usage of this Product in particular samples instruments and presets for the creation of a sound library or as a sound library for any ARTURIA SOLINA V User Manual 43 4 END USER LICENSE AGREEMENT kind of synthesizer virtual instrument sample library sample based Product or other musical instrument is strictly prohibited Individual samples sound sets or audio loops may not be distributed commercially or otherwise standalone Furthermore these samples sound sets or audio may not be repackaged in whole or in part as audio samples sound libraries or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy 7 Limited Warranty Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase The Licensee s invoice shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30
20. INTRODUCTION 1 2 3 A string of spinoffs It is said that imitation is the most sincere form of flattery In the business world though it is an attempt to eat the other guy s lunch The Solina and its siblings held their own for quite a few years against a slew of competitors and it is amazing they did as well as they did Take a look at just a small sample of what they were up against Year 1973 1974 1975 1976 1977 1978 1979 1980 1981 ARP model Solina SE IV Omni Omni 2 Quadra Quartet Competition Logan String Melody Crumar Stringman EKO Stradivarius Roland RS 101 Godwin String Concert 249 Jen SM2007 String Machine Roland RS 202 Korg PE 2000 Crumar Orchestrator Hohner K4 Stringer USA String Performer Europe Elgam String Ensemble Logan String Melody Il Multivox MX202 Oberheim Eight voice Farfisa Soundmaker Roland RS 505 Oberheim OB 1 Sequential Circuits Prophet 5 Crumar Performer Korg Lambda Roland VP 330 Yamaha SK 10 20 30 50D Siel Orchestra rebadged for ARP as the Quartet Oberheim OB X Godwin Model 749 String Concert Korg Trident Oberheim OB Xa Roland Jupiter 8 Note the appearance of the first 8 voice programmable synthesizer in 1977 followed rapidly by others of varying polyphony but increasing popularity By 1981 the competition was too fierce the research and development costs were too high and the public interest in ensemble synthesizers had waned
21. L UAL E RAT vB RT PTH MODE E BAND FEEDBACK Lu dg TREMOLO a Ch um EXCL LOW z gt D alla VW RAND BYPASS RATE WAVEFORM V ATTACK REL BASS BASSARP MODE MODE CUTOFF RESO GAIN CUTOFF RESO GAIN CUTOFF RESO GAIN COW The bonus control panel in Open mode There are other changes too three knobs appear to the right of the keyboard and two more appear to the left The two on the left set the ranges for the pitch bend and mod wheels Amount controls while the three on the right are the effect sends Effect sends That s not all A new sound button has materialized for the Upper instrument Humana It adds the complex texture of a Vox Humana preset that some paraphonic synthesizers offered in the 1970s VIOLA VIOLIN The Humana button in Open mode The Humana sound can be active at the same time as the others with the previously noted exception of the Horn overriding the Trumpet There s one more tiny control that makes a huge difference and it would be easy to miss a switch appears that changes the Ensemble effect from a great mono effect into a glorious stereo effect ARTURIA SOLINA V User Manual 27 3 USER INTERFACE SC ENSEMBLE ENSEMBLE Mono and stereo Ensemble effect settings As you can see Open mode unveils a lot of what s been making Solina V sound so great And the settings of each of these previously hidden parameters will continue to af
22. Mellotron tapes it had certain advantages that made it the natural selection for keyboard players around the world smaller size and weight no tapes to tune or break and it didn t cost as much as a house ARP drove the point home in their marketing materials with statements like You can hold a chord until you drop from exhaustion That certainly beats the eight second limit found on other systems This was true the Mellotron tapes were not loops when a key was pressed they played for about 8 seconds before reaching the end and after that they needed to reset their position To put things in perspective that s 2 bars of 4 4 time at 60 bpm This forced the keyboard player to be mindful when voicing chords so as not to have a crucial note drop out at a bad time But the String Ensemble imposed no such limitation 1 2 2 Form factor Another great thing the Solina had in its favor were its dimensions especially the width 38 and depth 14 5 It stacked well on top of other foundational keyboards like the Rhodes Wurlitzer and Hammond It also had a sturdy flat top so it in turn could be used as a stackable surface for a smaller synth such as the Odyssey So by the time the Solina was packed into its flight case it took up less room in the tour bus cargo bay than almost anything else in the keyboard player s rig All things taken together ARP and Eminent had produced a best seller ARTURIA SOLINA V User Manual 7 1
23. N amp ACTIVATION Audio MIDI Settings Device Windows Audio v Speakers High Defini Buffer size 448 samples 10 2 ms Sample rate 44100 Hz Play Test Tone MIDI Devices Keylab4ao Arturia BeatStep Here the pull down menus and boxes allow you to e Select the audio interface e Set the audio output port e Set the buffer size e Set the sample rate e Play a test tone to check your audio configuration e Select which MIDI input port s will be recognized 2 2 2 Audio and MIDI settings Mac OS X The process is similar for Mac OS X Select Preferences from the Solina V pull down menu EL About Solina V Preferences CH Services de Hide Solina V SH Hide Others X SH Quit Solina V Q Another window will open with options for connecting audio and MIDI interfaces ARTURIA SOLINA V User Manual 12 2 INSTALLATION amp ACTIVATION Audio MIDI Settings Device CoreAudio Built in Output Buffer size 512 samples 11 6 ms Sample rate w44100 Hz Play Test Tone MIDI Devices E 828x MIDI Port 828x Sync Port Arturia BeatStep KeyLlab 49 Mac OS X Audio MIDI Settings window The above window shows one of several configuration options The settings indicate the selection of an Arturia controller as one of the MIDI sources while the setting Built in Output means the user will hear the sound of the Solina V through the computer s speakers as opposed to the external USB audio in
24. RATE RATE AMOUNT DELAY Type Select one of three chorus types Stereo Width Controls the width of the stereo effect Stereo Rate Sets the speed of the stereo effect Chorus Rate Adjusts the speed of the chorus Chorus Amount Controls the depth of the chorus Chorus Delay Sets the amount of delay applied to the input signal A chorus module recreates the sound of multiple takes of an instrument being combined in a mix Even with the best of performances there are always differences in tuning or timing and when taken to either extreme the results can range from slow and lush to a warbling frenetic vibrato The speed of the effect is set by the Rate knob while its depth and width are controlled by the Amount and Delay knobs respectively The resulting frequency blur is different for the left and right halves of the signal which allows us to derive a stereo signal from a mono signal The difference between the two halves then can be set with the Stereo width with the speed of the left right rotation under the control of the Stereo rate knob The Type switch selects between three different chorus models simple medium and complex 3 7 3 FX 2 Analog Delay FEEDSACK A o 5 Is DN Za TIME IHE Time Sets the delay time The delay is mono for authenticity Feedback Tone Changes feedback filtering Feedback Amount Adjusts feedback level LFO Rate Controls modulation of the delay time through use of a sine wave LFO
25. USER MANUAL ARTURIA YOUR EXPERIENCE YOUR SOUND ARTURIA SOLINA V User Manual 1 1 INTRODUCTION Project management Theo Niessink Pierre Lin Laneyrie Product management Glen Darcey Programming Adrien Courdavault Pierre Lin Laneyrie Theo Niessink Design Glen Darcey Shaun Ellwood Morgan Perrier decoderdesign com Sound design Glen Darcey Randy Lee Erik Norlander Boele Gerkes Theo Niessink Pierce Warnecke Manual Randy Lee Ist edition October 2014 ARTURIA S A 1999 2014 All rights reserved 30 chemin du Vieux Ch ne 38240 Meylan FRANCE htto www arturia com ARTURIA SOLINA V User Manual 2 1 INTRODUCTION Table of contents Table of Contents Projeciimana e Ee E 2 Tabl of TC 3 NH ele ele WE 5 UD SINO Ree 5 Valle Chamberinana Be 5 1 2 Ken Freeman SIME EA EE 6 Mec EE er Ee Ee 6 TZ The ARP String ene E 6 kak ek e Eege TILES EEN 7 IER ele Beete EE 7 1 23 AS iMNI O SPINO EE 8 1 2 4 String songs a selected discography essseessesesesersesrseeseseesrseeseseseesrsreseseesrseesesereesesreseseesrseesesereeses 8 1 3 Physical modeling swvrfbesis erererererererenerenere rare narenernerana rena rena rena rana rena renerenerenerenerea 9 Medel Musicand math torever INKS suseni an aka EE En TRENE aE En oA A ERIN En TRENRETO 9 kaz GOMPISX e e D ele 9 13 3 NOS le Tele EE 10 2 ACTIVATION amp FIRST START v ccccceccccsscssscsssesssesssesseesssesssesseesssesseees
26. VOLUME CRESCENDO SUSTAIN VOLUME VIOLA VIOLIN TRUMPET HORN ENSEMBLE MASTER BASS BASS LENGTH UPPER hadhosdhodbnadbodenedhodeundd The virtual keyboard and basic controls of Solina V There s another important feature to mention if a preset is velocity sensitive you can even play different velocities on the virtual keyboard with your cursor When you click further back on the key it will be triggered with a lower velocity and a forward click will generate a higher velocity 3 2 The tool bar Across the top of the Solina V window is a narrow strip known as the tool bar It houses the preferences and MIDI settings various sound selection options and gives access to advanced editing functions among other things BH Mm All Banks All Types TN EminentSustain lt q D E W OPEN POLY 1 All MIDIY PREF The Solina V tool bar We ll go through each of these functions in the following sections 3 2 1 Selecting Presets Naturally one of the first things you ll want to do is listen to a handful or two of the great presets Arturia included with Solina V This is really easy to do ARTURIA SOLINA V User Manual 14 3 USER INTERFACE By default the first two buttons in the tool bar read All Banks and All Types If they don t just click them one at a time and select those options This means no preset filters have been applied which also means all the presets are available in a single list So all you ll need to do is use the
27. al models either didn t exist or were too expensive But if you ve been watching the technological trajectories you know those days are in the past And we re just as happy about that as you are 1 3 2 Complex calculations Here s an example of what must be taken into account while developing a physical model To recreate the sound of a drum for instance a formula must be in place to represent all of the ways the collision between a drum stick and a drum head sends shockwaves through a two dimensional membrane Among other things the formula must incorporate e The properties of the striker its rigidity the velocity of the hit the material and how where the strike happens e The membrane its mass density elasticity woven fabric vs plastic vs skin etc e The sympathetic resonances of the membrane and the body of the drum e The conditions at the membrane boundaries is there a rigid termination to the drums body or are there multiple independently adjustable pressure points ARTURIA SOLINA V User Manual 9 1 INTRODUCTION e The ancillary and perhaps lingering response of additional components such as the snares under a snare drum Similar complexities can be found in instruments such as an acoustic guitar A few years ago a French scientist finally completed a comprehensive modeling of all acoustic guitar parameters The calculations to produce the sound took three days The second biggest challenge of physical mode
28. blue arrows to select one preset after another Or you could click on the third button to open a window and see the entire preset list at once TN_Eminent Sustain lt q Air String 1 4 Air String 2 Air String Ambi horns Ambi strings 1 Ambi strings 2 Arpenpad Cathedral Chorale 1 Chorale 2 An example of the preset list Just click on a name that looks interesting and it will be loaded immediately into Solina V That was just a basic overview to get you going There s a lot more information about presets and banks in section 3 3 3 2 2 Open That beautiful wood top panel is more than just a place to put a virtual tip jar If you click the OPEN button or click on the lid itself the lid will open to reveal a host of sliders buttons and knobs These controls allow you to process the Solina V sound in ways that were almost unimaginable to musicians back in the day MASTER SECTION BASS SECTION gt O 0 O CUTOFF RESO El RATE AFTERTCH AMT LEVEL HOLO ATTACK REL BASS BASS ARP CUTOFF RESO GAIN CUTOFF RESO GAIN CUTOFF RESO GAIN CONTRA CELLO VOLUME CRESCENDO SUSTAIN VOLUME VIOLA VIOLIN TRUMPET HORN HUMANA ENSEMBLE BASS BASS LENGTH UPPER Aedieggdhedkheggdkegkeggkegsnngh The front panel when Open ARTURIA SOLINA V User Manual 15 3 USER INTERFACE As you can see there are lots of tone shaping capabilities such as filter controls effects processors and a resonator plus a number of ways
29. controls you will see only when the lid is open For more in depth descriptions of each parameter see section 3 6 3 5 3 Coarse vs Fine adjustments Normally controls will make coarse adjustments to parameter values However they can also make fine adjustments allowing for greater precision This is possible by dragging the cursor while holding the Control key or by using the right click first and then dragging the cursor To reset a parameter to its default value double click that control ARTURIA SOLINA V User Manual 28 3 USER INTERFACE 3 6 Open mode Open mode uncovers a bunch of hidden parameters that enhance the power of Solina V Here you will find a selection of effects velocity and aftertouch controls a resonator and even an arpeggiator for the bass section MASTER SECTION BASS SECTION Ki o a KJ o D BASS CUT CUTOFF RESO ENV RATE mm 60 00 en A0 A Sitten sl She 7 Sitten AFTERTCH AMT LEVEL HOLD HIGH a BAND FEEDBACK iro Sis MOU gt a LOW th k CR am ma 2 BYPASS RATE WAVEFORM V BASS BASS ARP MODE CUTOFF RESO GAIN CUTOFF RESO GAIN CUTOFF RESO GAI NE h TEM solinalV CONTRA CELLO VOLUME CRESCENDO SUSTAIN VOLUME VIOLA VIOLIN TRUMPET HORN HUMANA ENSEMBLE BASS BASS LENGTH UPPER Aegbesgdkegkeggkadkesgkagknsgh Solina V controls in Open mode But that s not all it also adds another voice selector button on the front panel Humana and a handful of eff
30. d as in the picture below MIDI Control Setup Learning Upper Sustain MIN MAX ASSIGNED TO CC 64 Ch 1 UNASSIGN Is Relative This comes in handy when dealing with sustain pedals for example if the external MIDI controller doesn t allow you to switch the pedal polarity 3 5 Front panel Solina V has two editing modes Open and Closed which are selected by clicking the OPEN button Let s take a look at each 3 5 1 Basic controls First we ll talk about the controls that are common to both editing modes The easiest way to do this is to be in Closed mode so if it isn t already close the lid by clicking the OPEN button You should see only the row of controls closest to the keys VOLUME CONTRA CELLO VOLUME CRESCENDO SUSTAIN VOLUME VIOLA VIOLIN TRUMPET HORN ENSEMBLE R BASS BASS LENGTH UPPER LA Aggkesgkegbeggbegkesgkagkasgh The basic Solina V controls There is a difference in the number of controls in this area between Open and Closed modes So if you see knobs to the left of the Pitch Bend wheel you are in Open mode and need to close the lid We will discuss those controls in section 3 5 2 Operating the basic controls is fairly simple if it s a button click it to change it from on to off or vice versa if it s a wheel or slider click and drag the control to edit the value ARTURIA SOLINA V User Manual 25 3 USER INTERFACE Here s a description of each control moving from left to right
31. e parameter described below Allows the LFO amount to increase gradually over time rather than coming in all at once Range 0 3000 milliseconds When disabled the LFO is a free run state when enabled the LFO will always start at the beginning of its cycle The Random waveform is not affected by this parameter Locks the LFO to the master MIDI clock which puts it in sync with any other Solina V effects that also have their Sync parameters enabled As you can see for all its simple appearance the LFO section of Solina V is really quite powerful In that regard it s sort of a microcosm of Solina V itself which looks like a happy little piece of furniture until you open the lid and see its inner workings 3 6 3 Bass section Filter FENV and Sustain The Bass section has so many interesting features we ll need to discuss it in two parts Here we will look at the parameters related to the filter envelope i e FENV the filter settings themselves and the Bass Sustain parameter We ll cover the Bass section arpeggiator features in section 3 6 4 As you ve seen from some of the presets the Bass instrument has a fair amount of independence from the Upper instrument The parameters we re about to describe are a major reason why ARTURIA SOLINA V User Manual 31 3 USER INTERFACE Attack Release Bass Sustain Cutoff Resonance Env Amount ___BASSSECTION 000 CUTOFF RESO EMV AMT ATTACK REL BASS TE
32. e sure Solina V is in Open mode The simplest way to do this is to click on the lid which will open to reveal the hidden parameters If you don t see the lid you re already there Among those hidden parameters way over on the right side of the Bonus control panel are the three effects we ll cover first These include a phase shifter and a chorus FX 1 two different styles of delay effects FX 2 and a convolution reverb with over 20 different presets ARTURIA SOLINA V User Manual 36 3 USER INTERFACE ANALOG CHORUS MA STEREO CHORUS i CR WIDTH RATE RATE AMOUNT DELAY FEEDBACK a PO a pr m m m The Solina V Effects section There s a fourth effect too the Ensemble effect which is excellent A string machine wouldn t be complete without it But there s no editing involved with that effect it s either on or it s off We ll cover it in section 3 7 6 Right now we re going to take each of the other effect units one at a time starting from the top And as we do keep this in mind All FX parameters are MIDI assignable which means they can be linked to the controllers on your external USB MIDI device For information about this process refer to section 3 2 7 3 7 1 FX 1 Phaser PHASER vue sun a Pa a a N w DUAL RATE FOGK DEPTH MODE RATE FI The phase shifter effect in Solina V is actually a dual stage phaser If you look closely you can see that on either side of the big red
33. ect controls near the endcaps You might become so accustomed to having those extra controls available that you ll want to leave the top panel open all of the time We gave a brief overview of the various Open mode parameter groups in section 3 5 2 Now it s time to take a look at each parameter in greater detail 3 6 1 Master section In the days of the Solina it was very rare for the keys on an electronic keyboard to do anything other than turn a sound on and off In that regard they were basically switches Velocity sensitivity and aftertouch were many years off into the future However Solina V has been endowed by Arturia with the ability to respond to both velocity and aftertouch The implementation is simple but very effective MASTER SECTION gt AFTERTEH LEVEL ARTURIA SOLINA V User Manual 29 3 USER INTERFACE The Master section of Open mode There are four controls two routed to the overall volume level and two routed to the filter brightness So for example you could configure a preset so that velocity affects both the level and the filter while aftertouch only affects the filter frequency or vice versa The way this works for both filter and level is to reduce their base level or starting point so there s some headroom For example with Vel Brightness set to zero the filter will be wide open and unaffected by velocity But with this parameter set to a non zero valve such as 30 0 the notes played
34. eeesseesesesseeseseseseseecseseseeesesesesesseesseesenes 11 Nee LEE 1 2 2 IMM SETUP ONENE TEONE Se dolalsuedoadatahcelalstedeed cbs call bsesdeedales dose she deed thes aa ed aa Saba da EET 1 2 2 1 Audio and MIDI settings Windows 11 222 Audio and MIDI Settings MAC OS Xvecccssccsccsssssssccoscczscssscsssctosaceccusdensastovacoscestesasctosecbaceetecbacvaastaeds 12 SP USERINTEREACE E 14 3 Virtual KEV DOGG WE 14 3 2 The ele Met E 14 CN Wd ele NC 14 SEN O EE 15 KC WEE 16 KN Le 17 325 CPU MOSK cicisccccers cei ett ENEE hd ceed aed tees iid es ates 17 3 2 6 Global MIDI Channel 2s e asians See Des DO EE Papert eee Sin oar UG 20 aisles 17 32 7 MIBCeontroller CONMQUIGTIONS EE 18 3 2 8 PREF MIDI PreierehCeS erna EEEE DAS aaa aaa aa esbo a 19 3 9 Managing Or SEIS ss su cusscato casca isosasis quarasa ENN lotado sic asta roseta ata peradiia densas ta EN 20 3 3 1 Selecta bank type OF Presel einer iissedeniea varas ivuecdesseceseedebgucebevesuseesch davon EENS vases 21 3 2 Saving an edited Re 22 3 3 3 Import Exporta bank of PESSI ouere eerie rieka EEEE EERS 23 ARTURIA SOLINA V User Manual 3 1 INTRODUCTION SA Assignina MIDI CONTOS a 25 202 causada dee L ani iro rage gde lection a e ae a aa aaa a a A a a ARR 23 3 4 1 Minimum maximum controller ronges 24 3 5 ele deiere 25 Sc EE 25 Se WBONUS COMMONS sia sisal EE SC 26 3 5 3 Coarse vs Fine CACJUSTMENTS cccsccceeccssccsessseccsccsecssncssecssnceseccsncssec
35. elay to fade out more slowly PiPo Short for Ping Pong Hard pans the effected signals so they bounce from left to right Damping Higher settings will roll off the high frequency content of the delayed signal more quickly 3 7 5 Convolution Reverb The creation of a convolution reverb is a fascinating process The idea is to recreate the characteristics of a particular physical space or electronic device by means of a computer model An extremely brief burst of noise called an impulse is fed into the device or concert hall for example while recording the response to the impulse Then an extensive computer analysis of the recording is made to determine an algorithm that will react to any input signal in the same manner that the original space or device would react Solina V provides almost 25 different convolution reverbs modeled after the presets of a half dozen devices Some are the actual reverb units that were paired with string machines of the time ARTURIA SOLINA V User Manual 39 3 USER INTERFACE To select one of the convolution reverbs look at the lower right corner of the Effects area of the Bonus control panel There s a narrow strip that looks like this Solina V Reverb location When you click on the pull down menu arrow a lengthy list of options will unfold Reverb Model Eminent 310 King Medium RV 1 RIAA RV 2 High Cut RV 2 Flat RV 2 Low DEP 5 R DEP 5 R61 Short DEP 5 H14 Long DEP 5 H76 Medium
36. en you re ready to give this a try click the MIDI button in the tool bar not the arrow to its right the actual button It will remain lit to indicate that the Solina V software has entered assign mode At this point all of the assignable controls will be highlighted in purple Solina V has quite a few ARTURIA SOLINA V User Manual 23 3 USER INTERFACE All Banks All Types TN Eminent Sustain Se TIME TONE AMOUNT comet pais EMINENT SIO i e e o ISO EI 4 a CONTRA CELLO CRESCENDO VOLUME VIOLA VIOLIN TRUMPET HORN HUMANA ENSEMBLE BASS BASS UPPER MIDI assignable controls of the Solina V In the picture below one of the controls has been selected the Upper Sustain Length slider A MIDI Control Setup window for that switch now shows the parameter name its Min Max range and whether the control has already been assigned to a MIDI Continuous Controller number CC MIDI Control Setup Learning Upper Sustain f e ez Ke tiv mo ep _ O Is Relative SS Ea a E 5 VOLUME CONTRA CELLO CRESCENDO MASTER BASS BASS In this case the control has not yet been assigned it is waiting for a controller on an external device to be activated so it can learn the MIDI CC and establish a relationship between the two You ll notice that as soon as a new assignment is made the control being edited will turn red A controller assignment can be removed by clicking the UNASSIGN button The word UNASSIGN
37. er is set to 1 and Bass is set to All the two instruments play together on MIDI channel 1 across the full range On MIDI channels 2 16 though only the Bass instrument will play e When Upper is set to All and Bass is set to 1 the two instruments play together on MIDI channel 1 across the full range On MIDI channels 2 16 though only the Upper instrument will play Between the various Global and Instrument channel settings Solina V should be able to handle any MIDI scenario you encounter 3 3 Managing presets Presets can remember the settings for any sounds you create with Solina V When saving a preset you can decide the bank and type to which it belongs so make as many banks as you need and fill each one with as many types and presets as you like Use the type designation to categorize your presets into groups such as Strings Pads etc There s no limit on the number of presets within a type so use these features in the way that helps you the most ARTURIA SOLINA V User Manual 20 3 USER INTERFACE Solina V ships with several banks of factory presets each containing a number of types and presets These cannot be overwritten but they are great starting points for creating new presets Then you can use the SAVE AS feature to save the changes as your own presets 3 3 1 Selecta bank type or preset The bank type and preset selections are permanently displayed in the plug in tool bar All Banks A
38. erwritten So If that s what you started with clicking the Save button will automatically open the Save as menu so you can save the edited preset as a user preset 3 3 3 Import Export a bank of presets It is possible to import or export entire banks of Solina V presets To import a bank click on the bank import button on the tool bar After clicking this button a window will appear so you can choose the bank to import look for the solx extension Choose the desired bank and click Open The new bank of presets will automatically appear among the available banks And while you can only import an entire bank at once it s possible to export a single preset or an entire bank as a single file You can use this as a means of backing up your own sounds using them on another computer or sharing them with other users To do this click on the preset bank export button in the tool bar of the program which looks like this Select the type of export you want to perform bank or preset and a window will appear allowing you to choose a destination folder and name for the item s you are exporting 3 4 Assigning MIDI controls Almost every control in Solina V can be linked to an external MIDI controller the Mod wheel sliders switches buttons and knobs This includes each effect parameter and you can even assign MIDI controllers to switch between the effect and reverb types Even the POLY button is assignable Wh
39. f LFO a hint of chorus wash it out with your favorite convolution reverb and just about any chord you play will make people listen We trust you never to use this superpower for evil purposes ARTURIA SOLINA V User Manual 34 3 USER INTERFACE 3 6 6 Effects There are three independent signal processors in this section of the Bonus control panel FX 1 FX 2 and Convolution Reverb FX 1 gives you a choice of two pitch based effects Phaser and Analog Chorus FX 2 contains two time based effects Analog Delay and Digital Delay and the Convolution Reverb offers over 20 different presets modeled after reverb units of all sorts spring plate and digital The selections are made through pull down menus which are circled in this picture EFFECTS TANALOG CHORUS p CHORUS i si IR e Le gt k a De n A Tver DS ATE RATE AMOUNT DELAY ANALOG DELAY WT e LAO o Ze Ze si o Selection pull down menus In each case all you have to do is click the arrow next to the label and a list of available effects will appear In the case of FX 1 and FX it looks like this FX 1 Type Phaser ANALOG DELAY T FX 2 Type vd Analog Delay Chorus Digital Delay The FX 1 menu options The FX 2 menu options There s nothing complicated about using the various effects but for a description of each one and its parameters please refer to section 3 7 3 6 7 Amount controls When Open
40. f seconds to fade in e Release that note e Play other notes one after the other releasing each one before playing the next You should be hearing each note you play fade in like the first one did Now release all keys e Play another note and hold it until it fades in completely e Play other notes one after the other for a few seconds Aside from the fade in of the first note this is the same thing that happened the first time every other note had a quick attack The Crescendo slider has no effect on any of the notes except the very first one when Solina V is not in Poly mode Now click the Poly button in the tool bar and repeat all of the experiments in this section When you get to the final stage you will notice that all of the notes fade in regardless of whether the first note is held or not From this point forward we will refer to the two conditions as Poly mode and non poly mode wherever they appear in the manual Note that the Poly button has no effect on the bass instrument it is always monophonic ARTURIA SOLINA V User Manual HES 3 USER INTERFACE 3 2 4 Panic PANIC If there is an interruption to the MIDI data being received by your computer you can end up with notes that won t shut off This means they are expecting to receive a Note Off message Fortunately the Solina V software has a button that will solve this problem just click the PANIC button the notes should become unstuck 3 2 5 CPU meter
41. fect the sound of the preset even when the lid is closed There s so much here in fact that we re only going to give a brief overview of the various sections of the Open mode controls and then cover them completely in section 3 6 We ll start at the top and work our way down moving left to right as before and skipping the basic controls see section 3 5 1 for those Master section These set the amount of velocity and aftertouch response for the volume and the filter LFO LFO means Low Frequency Oscillator a common term in synthesis Tweak the vibrato tremolo and bass filter mod settings here Bass section Two sub sections Filter level envelope settings and arpeggiator controls Upper Resonator Provides a highly configurable filter section for the Upper instrument Effects Five essential FX modules with up to three active at once The convolution reverb is not to be missed but you might if you don t look closely Amount controls To the left of the pitch bend and mod wheels are two knobs that govern their range Humana Toggles the Humana sound in and out for the Upper instrument It has a bit of motion even without effects and sounds even nicer when effects are added Ensemble width Toggles the Ensemble effect between stereo and mono operation Effect sends One knob each for FX1 FX2 and the Reverb The combined output of the Bass and Upper instruments can be sent to any or all of the effects Those are the
42. fig will be removed from the list in the MIDI menu but it will still exist in the folder to which it was exported previously It can be imported later if needed e Import Config A config which has been exported can be loaded into Solina V through this process You can import configs from another user who has already mapped the controls for a particular MIDI controller for example e Export Current Config Use this feature to export your configs one by one to a folder on your computer or to an external memory device USB stick hard drive etc This can serve ARTURIA SOLINA V User Manual 18 3 USER INTERFACE two purposes as a backup in case a config is accidentally deleted and as a way to share your configs with other users The second and lowest section of the MIDI menu contains the list of existing configurations The one with the check mark to the left of its name is the current config To select a new one click on its name and it will become the current config 3 2 8 PREF MIDI preferences The original Solina allowed you to play two parts on its keyboard at the same time the upper instrument and the bass instrument Not to be outdone Arturia enabled the Solina V software to do this too But we also allowed for other possibilities such as those times when you just want to plug a keyboard controller into your computer and jam So it s also possible to access both instruments Upper and Bass from a single incoming MIDI channe
43. h several impressive products including the now legendary Odyssey And so an unusual partnership was forged that proved to be a very wise move for both parties Note the first production version of the ARP String Ensemble was actually named the ARP Model 2100 String Ensemble SE IV But that s a bit unwieldy so this manual will gradually transition from the name ARP String Ensemble to Solina to give credit where credit is due 1 2 1 Arrival of the fittest As mentioned previously the ARP String Ensemble was not the first ensemble keyboard to reach the ready hands of keyboard players around the world But at some point after its release in 1974 it became the standard bearer for all that followed In fact the String Ensemble has proven not only to be the most popular product ARP ever made but also the one with the most identifiable sound The average person might hear a synth lead and not know whether it was an ARP a Bob Moog s creation or an Oberheim but the ARP String Ensemble has always benefited from a strong sound identity easily recognizable Some other synths were even sometimes mistaken for a String Ensemble so much it was a sound reference Case in point Jean Michel Jarre s Oxyg ne and Equinoxe albums which were released years after the ARP String Ensemble hit the streets used the Eminent 310 not an ARP And even though its sound was obviously synthesized as opposed to the real strings provided by the
44. hanged for vouchers or coupons Furthermore as an owner of a NFR Product you are not entitled to any vouchers that ship with the standard version of the Product 2 4 Any Products labelled or otherwise provided to you as an Educational version grants the Licensee a non exclusive right to use the Product in perpetuity The Product shall only be used by students or those working in educational institutions This definition includes students faculty staff and administration attending and or working at an educational institutional facility private public schools colleges universities and similar These Products must not be used for commercial purposes and must not be resold or transferred The Licensee can activate the Product on up to five computers as long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed These Products are exempt from upgrade or crossgrade offers and cannot be purchased with or exchanged for vouchers or coupons Furthermore as an owner of an educational Product you are not entitled to any vouchers that ship with the standard version of the Product 2 5 Any Products labelled or
45. in many hit songs of the 1970s and early 1980s And naturally it was a perfect fit for the various forms of symphonic rock that flourished in those days filling the spot that had previously been held by the mercurial Mellotron Since you obviously appreciate the Solina sound we thought you might enjoy a brief look backward at what it took to bring this marvelous instrument to life 1 1 String theories In the early days of rock music there were very few options available to the keyboard player in a band The nicer clubs would have a grand piano or a Hammond the not so nice ones might have an upright piano tuning optional and the vast majority had nothing at all if you wanted to play you needed to bring something with you Unfortunately the options were limited to electric pianos and portable organs some more portable than others And while those instruments were certainly capable of producing some great sounds there was a hole they couldn t fill the irreplaceable lushness of a room full of violins violas cellos and contrabasses There s something about the sound of these instruments that can take a sweet love song and turn it into a heart rending expression of the human condition And it was impractical for studios to hire a small orchestra except for the most important artists The average musician could only dream that he might one day hear his music with something more than basic instrumentation So the stage was set for an i
46. l shift their octave ranges to spread them across the controller s keys and then specify the split point between them To access these great features press the PREF button in the tool bar The MIDI Preferences menu will appear in the middle of the Solina V window From here you can set all of the parameters we ve discussed in this section so far and then some Preferences MIDI Channels Upper Bass Upper Bass Split Split Mode Split Point Octave Shift Upper Bass The MIDI Preferences window To change any of the parameters you see in this window click in the value field next to its name and make a selection from the drop down menu that appears Here s a description of what these parameters do e MIDI Channels Set the upper and bass instruments to independent channels or set one or both to All ARTURIA SOLINA V User Manual 19 3 USER INTERFACE e Split Mode The Layer setting spreads the upper instrument across the full keyboard range regardless of the bass instrument or Split Point settings and the Split setting keeps the two instruments separated at the split point e Split Point Determines the boundaries between each instrument when the Split mode Split When set to Layer it sets the upper key limit for the bass instrument e Octave Shift Transposes the selected instrument in octave increments To close the MIDI Preferences window click on the small x in the upper right
47. ling synthesis is to simplify the algorithms wherever possible without sacrificing the essential nature of the instrument being modeled The goal is to achieve an efficient model which can be used interactively in real time without limiting the spontaneous paths a musician may take during a rush of creativity 1 3 3 No end in sight There are several methods of physical modeling synthesis including Karplus Strong algorithms digital waveguide synthesis and formant synthesis Each one uses a different paradigm to bring a modeled sound to its musical fruition The main point here is that physical modeling synthesis is capable of recreating the character of a real instrument during performance including its subtle nuances of expression while using a thousand times less hard drive space than the sampling method would take to produce an inferior result If that were not amazing enough it should be mentioned that physical modeling algorithms have the ability to combine parameters into instruments that have never existed There is no limit to the types of sounds that can be produced And when you bring together a bunch of music lovers who also have a tremendous grasp of the applicable laws of physics and the characteristics of electronic circuits you wind up with Arturia And Arturia now offers you our latest marriage of math and music the Solina V May it help you weave the music of your dreams ARTURIA SOLINA V User Manual 1
48. ll Types Chorale To choose a new preset in the current Bank and Type click on the Preset Name field A drop down menu will appear with a list of the available presets in that category Or if you know which preset you want inside that category and don t need to look at the list simply use the blue arrows to move up and down through the choices Either way as soon as the preset has been chosen the new sound will be available for your MIDI controller or your sequencer Chorale SOL_Cello L Horn SOL Trumpet SOL Viola 50 SOL Violin Selecting a new preset To choose a different type of preset in the same bank click on the Preset Type button the middle one of the three A drop down menu will appear with a list of the types of presets contained in the same bank Classic Distorted etc Each type listed in the menu contains a sub menu with its own list of preset names Follow the arrows to choose the desired preset from within these sub menus Bass TN_Bass Guitar All Types N_Arp Soup _Psycho Arp TN Selecting a new preset inside the Preset Type menu ARTURIA SOLINA V User Manual 21 3 USER INTERFACE To choose a preset in another bank click on the Preset Bank button the left most of the three A drop down menu will appear with a list of the available banks within which sub menus exist for the preset type and preset name Navigate to the preset name level to choose a new preset heo Niessi
49. mind that what they do between 60 300 Hz is the same thing they do between 300 1 5 kHz etc Mode Cutoff Resonance Gain Four settings which affect all three bands Bypass which of course makes the other controls do nothing sometimes nothing is OK You can use an external MIDI controller to switch to from the other modes which can be a great effect Low Low Pass which attenuates the higher frequencies in each band and favors the lower ones Band Band Pass which affects the high and low frequencies in each band and allows the ones in the middle to pass High High Pass which attenuates the lower frequencies in each band and favors the higher ones Sets the value for the corner frequency of the filter The range varies depending on the selected band 60 300 Hz 300 1 5 kHz or 1 5k 7 5 kHz Will focus the impact of the Gain amount on selected filter frequency with a variable width ranging from 0 5 broad to 10 narrow This will cut or boost the frequencies encompassed by the Cutoff and Reso parameters Range 6 to 72 decibels dB Don t forget each of those parameters is MIDI assignable which opens up a lot of possibilities For example with three adjacent sliders on your controller assigned to your choice of the Upper Resonator s Cutoff frequencies the on the spot edits could be loads of fun The Upper Resonator can turn the Solina V into a dark brooding ambient pad generator add a dash o
50. mode is engaged two new knobs appear to the left of the wheels Bend Amount and Mod Amount Their function is to set the operational limits for their respective wheels So when one of the wheels is moved from zero to 100 for example that wheel can only respond within the range allocated to it by its Amount control ARTURIA SOLINA V User Manual 35 3 USER INTERFACE The Amount controls In the case of the Pitch Bend wheel the range can be anything from 0 cents to 1200 cents which is an entire octave of pitch bend in either direction The default range is 200 cents or two whole steps The function of the Mod wheel is not as simple It is tied to the LFO section which in tum may be controlling up to three different types of modulation for the Upper and or Bass instruments The Mod Amount puts a limit on how much of those modulations the Mod wheel can add Its range is from 0 100 3 6 8 Effect sends Open mode also adds three knobs to the right of the virtual keyboard FX1 FX2 and REV They control the amount of the Solina V output that will be sent to each of the effects The range of each control is 0 100 The Effect sends The resultant sound also depends on the active effects of course 3 7 The effects Solina V is equipped with a set of highly useful effect units and you will have no problem creating new sounds with them or recreating the sounds of yesteryear To edit the effects in a preset first mak
51. ndently of the Bass instrument Upper sounds The Viola and Violin buttons toggle their sounds for the Upper instrument as do the Trumpet and Horn buttons The Violin is an octave higher than the other three sounds All four buttons may be lit at once but the Horn and Trumpet can t be heard at the same time the Horn will override the Trumpet In this case whether the Trumpet is lit or not will have no impact on the sound but having it lit means it will appear when the Horn sound is disabled If you want to enable or disable more than one adjacent sound click and drag across those buttons Ensemble effect Toggles the Ensemble effect on and off Those are the controls you will always see whether the lid is open or closed Now we ll take a look at the other controls that exist in Open mode 3 5 2 Bonus controls While checking out the factory presets you may have reached the conclusion that there are things happening that aren t represented by the basic controls arpeggios for one And you d be right Click the OPEN button or the lid and the simple Solina will transform into a sound sculpting powerhouse As the lid folds upward a host of new parameter controls emerge not the least of which are some really great effects modules ARTURIA SOLINA V User Manual 26 3 USER INTERFACE MASTER SECTION EFFECTS PHASER me DS oo elo CUTOFF RESO ENV RATE 60 200Hree 300 L5khres si Ski Sire A Ke AMT AFTERTCH o LEVE
52. nk Strings TN Eminent Sustain lt q All Banks d Factory Solina Theo Niessink User Delete All Users Banks Selecting a new preset inside the Preset Bank menu In the Preset Bank menu the All Banks option allows you to navigate directly to any preset type or any preset in any bank This gives you direct access to all of the presets of a given type such as the FX presets no matter which bank they are in Strinns TN Eminent Sustain Db e W OPEN POL Air String 1 oe Air String 2 Factory Arpeggio Bass Boele Gerkes l Amb p Brass andy Lee Ambi s Solin Dry a gt olina Amb FX Selecting a new preset through the All Banks gt All Types menus One more important thing to know When a preset has been modified an asterisk appears next to its name in the tool bar This means you need to save it before selecting another preset or else your changes will be lost 3 3 2 Saving an edited preset To save the changes you ve made to the current preset click on the Save button in the tool bar It has the icon of a single floppy disk If you want to keep the original program you ll need to give the edited one a new name So click on the Save as button in the tool bar which looks like two floppy disks on top of each other A drop down menu will appear and let you choose a new name and location for the edited preset ARTURIA SOLINA V User Manual 22 3 USER INTERFACE Note Factory presets can t be ov
53. nstrument that would help fill these needs Thankfully certain technological innovations were just around the corner 1 1 1 Chamberlin and Mellotron One of the first attempts to solve this problem was a keyboard which traces its roots to the late 1940s when a gentleman named Harry Chamberlin began experimenting with ways to trigger strips of magnetic recording tape from an organ style keyboard His first device played back pre recorded drum loops and he followed this with a series of keyboards that would play tapes of various orchestral instruments The age of samplers began with analog tapes ARTURIA SOLINA V User Manual 5 1 INTRODUCTION A bit of industrial drama led to an overlap between the Chamberlin products and their younger more famous cousins the Mellotrons Suffice it to say that these products were used extensively by major artists such as the Beatles the Moody Blues King Crimson Genesis Led Zeppelin and Yes However their size unreliability and price tag made them unsuitable for many people The need for another solution was building 1 1 2 Ken Freeman string synthesist As a keyboard player in the mid 1960s Ken Freeman saw first hand the need for an instrument to help him reproduce the string arrangements of popular music when his band played live shows But a Mellotron was out of the question for most of the reasons already cited He discovered through experiments with a Selmer Clavioline and a triple head dela
54. odulator relationships and tuned according to the harmonic series to produce overtones in the carrier waves e Wavetable which offers a wide selection of digital waveforms and then allows them to be layered filtered and or used as the crossfade targets of an X Y controller or a looping envelope e Sample Playback where recordings of a sound are triggered by a playback device and can be transposed by increasing the playback speed when different pitches are required e Granular which splits samples into very short grains and allows them to be manipulated through a myriad of playback options and e Physical modeling In this method the output waveform is calculated according to a set of equations and algorithms derived through extensive analysis of a physical sound source 1 3 1 Music and math forever linked A physical model attempts to codify the laws of physics that govern a particular form of sound generation A model typically will have multiple parameters some of which are constants that describe the physical materials and dimensions of the instrument while others are time dependent components representing the player s interaction with the instrument such as plucking a string pressing a valve or reducing the pressure of his embouchure etc This idea has been around for a long time but development has been hindered until recently because processors that were powerful enough to handle the computational complexity of the physic
55. r now and cover them in section 3 6 7 ARTURIA SOLINA V User Manual 30 3 USER INTERFACE Rate Waveform Vibrato Tremolo Bass Cut Delay Fade Retrig Sync Controls the mod speed The values shown when you click and drag the slider will be different depending on the status of the Sync switch they will be displayed either as a Rate when Sync Off range 0 010 13 0 Hz or as a Ratio when Sync On range 1 32 to 16x Five options Random Square Saw Down Saw Up or Triangle This will add or remove pitch modulation If the Mod wheel is not configured to control the modulation the vibrato will remain constant This will add or remove amplitude modulation If the Mod wheel is not configured to control the modulation the tremolo will remain constant This will add or remove filter modulation for the Bass instrument If the Mod wheel is not configured to control the modulation the filter will remain constant Also a factor is whether the Bass Section Cutoff frequency is low enough to make sufficient headroom for the filter modulation to happen If you don t want the LFO to affect the sound immediately after the note is played the delay parameter will keep the LFO at bay for up to 3 full seconds However when the modulation comes in it will jump immediately to the amounts specified by the Vibrato Tremolo and Bass Cut parameters So the Delay parameter is most effective when used in conjunction with the Fad
56. signed to external MIDI controllers which is demonstrated in section 3 4 This is great but what makes it even better is the ability to save groups of these assignments so you can set up Solina V to work perfectly in every context These groups are called MIDI Controller Configurations or configs for short 3 2 7 1 MIDI menu The MIDI menu on the right side of the tool bar provides the tools for config management To access them click on the arrow to the right of the word MIDI and a drop down menu will appear This menu is composed of two main areas All MIDI PREF MIDI Controller Configs Copy Current Config Delete Current Config Import Config Export Current Config Default KeyLab map Y BeatStep map The MIDI Controller Configuration menu The first section of the menu MIDI controller configs is split in two and provides four features e Copy Current Config This duplicates the current config allows you to give it a new name and places it at the bottom of the config list Changes made to this config can be exported to your computer ora memory stick for transfer to another computer e Delete Current Config The current config is indicated by a check mark in the bottom portion of the MIDI menu If you select Delete Current Config a confirmation box will open in the middle of the Solina V main window Either click Cancel to abort the process or click OK to proceed The deleted con
57. simmering in an untapped marketplace for many years And so in 1974 two years after the initial introduction of the 310 series organs the Eminent Solina was born The Solina had a 4 octave keyboard and only offered a handful of sounds But they were important sounds ones that had been missing in the minds of many musicians warm ensemble strings that could fill out the sound while the guitarist took a solo high string lines that could soar above the song and make it sparkle And perhaps most importantly these sounds could be carried from gig to gig by one person even though at nearly 50 pounds the Solina was quite heavy by today s standards But there was still one more step to be taken before the world would be introduced to perhaps one of the most sought after vintage keyboards of all time the ARP String Ensemble 1 2 The ARP String Ensemble ARTURIA SOLINA V User Manual 6 1 INTRODUCTION It s no mistake that the Eminent Solina and ARP String Ensemble sound alike they are the same keyboard with different labels ARP had actually been in pursuit of an ensemble synthesizer of their own design for some time and for various reasons discontinued their efforts and struck an agreement with Eminent to rebadge their Solina as an ARP product ARP was no new kid on the block though which is probably why the much larger Eminent agreed to the deal ARP had already established itself solidly within the synthesizer marketplace wit
58. ssecsseccsecesecssecssecesecesecesecsseees 28 3 6 OPEN asi ais aa pe ne OE ada aca Baia Ee aaa na db Da aa casada Sen do 29 3 65 MOSTEMSCETOM EE 29 DEO EE Eege deen 30 3 6 3 Boss section Filter FENV and Sustain oe eee eseeeseeseeseesceecseeseeseeecseesecseeacsesseesesaseeseesesseeaseeeeeeaes 31 3 6 4 BOSS SECTION Arpeggio EE 32 3 6 5 SUPPER Tee E EE 33 3 60 61 JETS CTS EE 35 Sa ne lege EE 35 310 0 CENSCISCNAS ee ada TAS a Alcoa SGAN Sa DR SPO shun agudo e 36 SA Tee deeg ee ee E 36 S BA ER D EE EE tee EE 37 So EX IE e ter te Me EE 38 SR ele Te HR Ce EE 38 372A EX Els te RR EE 39 37 10 Convolution REVErD la mistas RG ae Sel eG RSS ia LA EA 39 3 76 EREMO eeh Seet Seene See Ee 41 St END USER LICENSE AGREEMENT artes ui Eai a DSI n NES EA 42 ARTURIA SOLINA V User Manual 4 1 INTRODUCTION 1 INTRODUCTION Arturia would like to thank you for purchasing our latest modeling synthesizer Solina V We are confident it will become a valuable addition to your music production studio If you ve purchased our products before you know we take great pride in recreating the sound and feel of the original instruments And then we top it off with 21st century features the products might have had if the technology had been available at the time And if this is the first Arturia product you have owned it is an excellent way to become acquainted with our stuff The instrument upon which this virtual model is based played an important part
59. terface If a different configuration is desired all you need to do is select a different audio device in the drop down menu and then check and uncheck the various MIDI Devices until you have exactly what you need Other options enable you to e choose the memory buffer size a smaller size will increase the CPU load but will reduce latency and vice versa e choose a sample rate between 44 100 Hz and 192 000 Hz You can also play a test tone to make sure the audio interface responds properly Just click the Play Test Tone button and a simple clear tone will play It shuts itself off after one second so if you need to hear it again just click the button a second time ARTURIA SOLINA V User Manual 13 2 INSTALLATION amp ACTIVATION 3 USER INTERFACE Solina V has a lot of great features and in this chapter we ll make sure you know what each one does We think you ll be amazed at how quickly Solina V provides you with sounds that are inspiring and perfect for all sorts of projects It s also really easy to work with just a few tweaks here and there and suddenly you re in a new world That will always be the main focus of every Arturia product unleashing your creativity 3 1 Virtual keyboard The virtual keyboard allows you to play a sound without the need for an external MIDI device just click on a virtual key to hear the selected sound You can also drag the cursor across the keys to hear a glissando VOLUME CONTRA CELLO
60. to customize the responsiveness of each preset There s an overview of all controls in section 3 5 and full coverage of the Open mode parameters in section 3 6 3 2 3 Poly Without even trying it you probably knew the Poly button adds polyphonic capability to Solina V Actually it only affects the upper instrument the bass instrument is always monophonic POLY But the opposite of poly is not mono in this case When the Poly button is disabled the upper instrument actually becomes paraphonic which is a strange word that means has lots of voices that share one filter and amplitude generator In practical terms it means the first note you play willopen the filter and amplitude envelopes and as long as you keep holding the first note every other note will enter at whatever stage in those envelopes the first note happens to be To see this in action select the Viola SOL preset this may be easiest to find when the tool bar buttons read All Banks and All Types Make sure Solina V is not in Poly mode i e the Poly button is off and then follow these steps e Play anote and hold it e Play other notes one after the other for a few seconds At this point each additional note should have the same attack they will all come in right away e Move the Crescendo slider on the front panel all the way to the right We ll explain what that does in section 3 5 1 e Play one note and notice that it takes a couple o
61. y unit that a single voice with vibrato could be made to sound like an ensemble with the proper application of the delay unit s three LFOs This discovery fueled his imagination and set in motion the development of the very first string synthesizer the Freeman String Symphonizer Unfortunately for Mr Freeman the alternate skittishness and sluggishness of the companies he courted for mass production of his invention actually prevented the Symphonizer from being the first string synthesizer to make it to marketplace But he deserves our grateful thanks for his pioneering work in this area which spurred the development of dozens of similar products 1 1 3 Eminent In 1972 a Dutch company by the name of Eminent Orgelbouw B V broadened their product line with the introduction of the Eminent 310 series of console organs Their targets at the time were the home and theater organ markets which had certainly been kind to them But perhaps unexpected was the impact the model 310 home organ would have on the worldwide music scene within a few years Their novel approach to the string ensemble issue caught the attention of an artist by the name of Jean Michel Jarre who used the Eminent 310 strings for his seminal albums Oxyg ne and Equinoxe released in 1976 and 1978 respectively Prior to that Eminent must have recognized they had something special on their hands something that could stand on its own as a product and also fill a need that had been

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