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USER'S MANUAL version 1.0

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1. gt LFO1 low frequency oscillator of the first line gt LFO2 low frequency oscillator of the second line gt SubOsc general low frequency oscillator gt EG Filter1 envelope of the filters of the first line gt EG Ampi envelope of the VCA of the first line gt EG Filter2 envelope of the filters of the second line gt EG Ampi envelope of the VCA of the second line gt Velocity Velocity of the MIDI note gt AfterT Pressure of the MIDI note After Touch gt Ribbon ribbon gt Wheel modulation wheel gt FootExp Expression pedal gt Off no modulation The modulation destinations are as follows gt VCO 1 Freq frequency of the oscillator of the first line gt VCO 1 PW pulse width of the oscillator of the first line gt Noise level1 noise level of the first line gt Noise level2 noise level of the second line gt VCO 2 Freq frequency of the oscillator of the second line gt VCO 2 PW pulse width of the oscillator of the second line gt HP 1 cutoff high pass filter cut off frequency of the first line gt HP ires resonance of the high pass filter of the first line gt LP 1 cutoff low pass filter cut off frequency of the first line gt LPires resonance of the low pass filter of the first line gt HP 2 cutoff high pass filter cut off frequency of the second line gt HP 2res resonance of the high pass filter of the second line gt LP 2 cuto
2. If the current preset is a factory preset the factory preset will not be replaced 20 ARTURIA CS 80V USER S MANUAL gt To choose another destination for the sound click on the Save as icon and then choose the destination For example select new in the choice of banks 2 new bank and sub bank locations as well as a new preset are immediately created The names new bank new sub bank and new preset appear in their respective displays gt Click on each of these displays to customize the name for each of these 3 parts bank sub bank and preset 3 2 METHODS OF PLAYING The CS 80V offers 2 playing modes gt The Single mode allows you to play a single sound here we will call it timbre redistributed across the keyboard gt The Multi mode allows you to play a group of single timbres distributed across 4 zones on the keyboard split or several single timbres superimposed across the keyboard unison B cssov1 E x Midi in P riph rique audio USB v Chan fal v Keyrange D_H 7H Octave 0 EY Audio B Audigy Audio E800 gt Co M o x PAGE KBD S lpg oD H SAVE SAVEAS H BANK PE SUB BANK p PRESET fi le e y A gt EE w WiGH WOH HIGH HIGH 5 6 LONG LONG LONG i0 10 LONG LONG 10 LONG 10 ad r x LON iow LOW iow o 0 SHORT SHORT Si o SHORT SHORT SHORT o 24dB UPFC F R ear ae 7 on L B w voa n R A J WEL yA D L HIGH HIGH HIGH HIGH 5 5 LONG LONG LON
3. tremolo eer 44 58 64 VIDPAtO inii ainmeir tenaaa 8 58 63 wah Waag a e aeea aeaaea 58 Envelopes ADSR iiss cose eeiv 24 38 57 61 67 82 GENERatOlasdgeFcaseedved t 57 Filters DANA PASS ccecceseeeeeeeeeeeeeeeaenaees 55 cut off frequency 24 25 38 41 54 55 56 58 60 61 62 81 82 high pass 12 23 38 54 55 58 82 83 low pass 12 13 20 23 24 25 38 54 55 58 82 83 FESONANCE katisen sorit nii 47 83 VCF 8 23 25 39 42 43 54 57 58 60 81 ATOM inariana 16 17 74 75 76 ATEN GY cne a encanto cals 70 MAS worst ro Aa ete Ore 17 79 80 MIDI channel 26 28 47 65 70 Controlada 28 35 47 64 general 8 26 28 30 35 36 38 41 45 46 47 56 62 64 65 69 70 71 72 73 75 77 78 79 80 keyboard 30 35 62 69 73 78 ACK teaser ade 72 73 75 77 79 Modulation amplitude 13 24 46 62 67 81 82 83 frequency ceccceccesceeeeeeeeeeeeeees 11 43 pulse width 23 52 82 83 Multi mode 7 9 10 19 22 23 25 26 27 28 37 40 41 47 49 60 64 67 Oscillators LFO 23 25 37 38 41 42 52 57 58 61 82 VCO 23 41 42 43 45 50 58 60 81 PANOrAMiC cceceeeeeeeeeeeee eee 64 65 81 Pitch 8 20 23 34 50 56 57 81 Pitch DEN ccccceeeeeeeeeeeeeeeeeeeaes 34 81 Plug in 14 15 16 17 18 72 73 74 75 76 79 80 Polyphony 7 10 22 23 27 28 37 38 42 45 47 48 49 66 81 Portamento 27 28
4. B cssovi x Midi in P rph ique audio USB Chan Jars on range re ais Octave PE Audio SB Audigy Audio E800 vj Cpu fos Panic yt H IN FX DELAY HORUS MU KBD a a gM SUB OSCILLATOR ni y TOUCH RESPONSE SEYe CORTAGLS BERBERS oo ca femen tS IWITIAL SUB OSC AFTER LOW HIGH LOW HIGH uP p ARPEGGIATOR pown 3 E ii tone LONG B SPEED DEPTH MIX emad Coca Them The reduced mode 22 ARTURIA CS 80V USER S MANUAL 3 3 OVERVIEW OF SINGLE MODE CS 80 The single mode contains 62 synthesis parameters which will allow you to create a nearly infinite variety of sounds The controllers associated with these parameters are found regrouped in 2 rows just under the Multi hatch Each of these 2 rows is composed of gt 1 oscillator VCO which provides the base audio signal with its 3 waveforms square saw tooth and triangle Also this section allows control of the pitch of the oscillator the frequency and the impulse width of the waveforms 1 low frequency oscillator Sub oscillator used to modulate the impulse width A high pass resonant filter tied to the 12 dB 24 dB cutoff selector A low pass resonant filter tied to the 12 dB 24 dB cutoff selector An ADR envelope that modulates the high pass and low pass filters 1 amplifier VCA allowing the amplification of the signal coming from the filter to direct it to the stereo output gt An ADSR envel
5. gt Load the preset multi_arp the 8 voices are on the same zone the first and the same single 1 The Arp button is active on the 8 voices Start by clicking on the play button on the arpeggiator and play one note on the keyboard You can hear that all of the voices play one after the other zone 1 is set to rotate mode with the same height If needed when the arpeggiator is playing you can set the Decay time on the VCA1 and 2 amplitude envelopes The shorter the time the more percussive the sound Of course the effect produced will only be heard correctly if the Sustain level is 0 gt So that the arpeggio plays alone click on the Hold switch Set the height of each of the 8 notes by turning the Trans transposition potentiometer among the single voice settings When you turn to the right the height of the note increases by semi tone if you turn to the left the height diminishes by a semi tone Choose the values that suit you to make an 8 note melody It is also possible to change the note order by moving the Mode slider of the arpeggiator To obtain a better diffusion of the notes in stereo you can separate the stereo position of each voice to the left and to the right through the use of the pan pots To create silence on one of the 8 voices lower the Vol potentiometer By choosing the UniLast mode for zone1 you will get a series of notes If you wish to transpose
6. 45 48 49 81 Presets bank 19 20 21 23 26 30 31 32 33 60 61 64 65 le a t hE AL ania cist EA 32 ET 33 SAVING see cscecetiecceonge pranteenenddeeeedene cd 33 Pro TOOS a e aiaa aa 74 75 76 Pulse width 11 37 38 52 RIDDONs et ecsdeeted dereurs Wad sieeadeds 34 41 46 RTAS naa aaa 14 15 16 17 74 76 Saving 19 30 71 73 75 78 80 Sequencer 28 30 34 35 65 67 69 72 73 75 78 80 Single MOE aiseria an ania anai aa 37 Stand alone sssssssssssssssessesssrserrse 16 69 SUtGreO r e ETES EA R 28 44 68 Sub oscillator sssssssssessssssessesresrsns 81 Synchronization ssessessesssssssrerrren 52 TAE a E RE aE 11 12 13 TOM POwsa aa net 38 44 46 TTANSPOSITION cee eee R RNa eee 67 Unison mode 21 26 27 28 48 64 65 66 67 68 VCA 20 23 24 39 41 42 56 58 60 61 62 63 81 82 Velocity 7 23 28 39 41 43 61 62 63 81 82 VST rerea 14 15 16 17 18 72 73 Waveform sawtooth 12 23 37 38 42 50 51 60 sine13 37 38 39 41 42 43 44 52 56 58 83 square 12 23 37 38 42 51 52 triangle ceeeceeee eset eee ees 23 37 51 52 84 ARTURIA CS 80V USER S MANUAL
7. ARTURIA CS 80V USER S MANUAL 39 Detuning of the second line gt Mixing of the two lines SYNC and LINK increase your sound design options The SYNC button synchronizes the oscillator of the first line with the oscillator of the second When activated it is the frequency of the second oscillator that will be audible the frequency of the first bringing the harmonics The LINK button connects the oscillator of the second line towards the filters of the first The filters and amplifier of the second line are not used and therefore deactivated to conserve calculation power 5 3 THE MODULATION MATRIX al TTE Tere Poor EOE Closed modulation hatch The original CS 80 possessed no other sources of modulation than those described above To increase the possibilities of synthesis a new modulation matrix is available To activate it open the left hatch On the original CS 80 this hatch held four mechanical preset selectors 40 ARTURIA CS 80V USER S MANUAL BOURGE OOULATION SELECT LT Sa S0UAGE ft ABOUAT DESTINATION Open modulation hatch There are ten modulation controls available For each modulation the source must be selected from 12 choices and the destination in a list of 38 choices by clicking on the SOURCE and DESTINATION displays The AMOUNT knob sets the rate of modulation The sources of modulation are as follows
8. S1iReHi2 S1iReLo2 Modulation amplitude for line 3 of the matrix Modulation amplitude for line 4 of the matrix Modulation amplitude for line 5 of the matrix Modulation amplitude for line 6 of the matrix Modulation amplitude for line 7 of the matrix Modulation amplitude for line 8 of the matrix Modulation amplitude for line 9 of the matrix Modulation amplitude for line 10 of the matrix Oscillator 1 noise level Oscillator 1 sinusoid level Oscillator 1 impulse width Oscillator 2 noise level Oscillator 2 sinusoid level Oscillator 2 impulse width Resonance of the line 1 high pass filter Resonance of the line 1 low pass filter 1 Resonance of the line 2 high pass filter Resonance of the line 2 low pass filter ARTURIA CS 80V USER S MANUAL 83 9 3 INDEX After touch 23 28 62 63 81 82 Arpeggiator 55 46 48 60 66 67 Automation sssr 73 76 78 80 Brilliance 20 23 24 28 47 49 63 81 82 Buttons KNOD ic cancer cigs A AETI ETETE 34 SWItCH cece ee ees 34 37 44 45 66 67 WHEE saver rA aides vv 41 CUBASE EE teg eee eids cater eeede es 72 D tUNG wise eis dearer 26 64 65 68 Digital Performer 79 80 DISPIAY E cated sista neaeas bs 22 25 DXI svete ae inti aua CEEA sacs Sava A RAA EENAA 77 Effects chorus 27 28 29 44 48 49 60 65 68 81 delay 27 28 29 44 48 49 60 65 81 ring modulator 8 13 27 43 48 49 53 63 64 65 81
9. SPEED teri Tan einu Baas SHANE 3 El Tle re Lerse N3 The CS 80 Service Manual In conclusion let s also quote another huge reference in the field Peter Forrest in the A Z of Analogue Synthesizers Susurreal First published 31 10 96 When it comes to trying to decide which of the top flight synths is the best ever it s not easy From almost any practical viewpoint and in terms of versatility of sound there are a lot of instruments which wipe the floor with the CS 80 But if you are looking at richness of sound coupled with performance power and sheer overkill maybe nothing can touch it The CS 80V provides all the features of the original CS 80 But it offers also a unique Multi mode and a modulation matrix to create entirely new sounds It also comes with a wide selection of presets We hope you will enjoy it as much as musicians enjoyed playing the original ARTURIA CS 80V USER S MANUAL 9 1 2 WHY A VIRTUAL CS 80 Only 3 000 CS 80 synthesizers were manufactured Weighing in at more than 80 kg it takes at least two people to move it And even though few have had the occasion to own one it remains a favorite among musicians and amateurs alike Some famous artists have gone as far as buying several to have a permanent stock of spare parts Why such a success With two independent lines of synthesis the CS 80 offers an original structure at the same time simple and rich The ergonomics of the mach
10. but also with all other sequencers that accept Dxi instruments 8 4 1 Installation During the installation check the DXi option among the list of protocols that you want to activate for the CS 80V on your computer and follow the onscreen instructions to the end of the installation As soon as the installation has been completed the CS 80V can be used as a Dxi instrument 8 4 2 Opening the instrument SONAR 2 0 In the Insert menu open the DXi Synth sub menu and choose the CS 80V Edit Process Yiew Insert Transport Go Track Tools Options Wind a Bs Bank Patch Change um Meter Key Change zi d a Tempo Change Bi z oh i Time Measures Ve Marker F11 FAAA Sudio 1 Series of Controllers Series of Tempos ReWire Device Audio Track MIDI Track E MSR O Opening DXi instrument The Synth Rack window will appear To get to the graphical interface of the CS 80V double click on its name in the Synth Rack menu 8 4 3 Connection to a MIDI track So that the CS 80V can play information coming from a MIDI track you need to choose a MIDI track and select the CS 80V as MIDI output for this track by using the menu for this in Sonar SONAR2 Synth Rack E cCS80v1 ss 3 C580 4 csn Presets 5 C580v 6 CS80 7 C580v 8 CS80 9 c580v 10 c580v 11 CS80v 12 CS80v z 13 CS80 d A Connection of a M
11. setting of the ring modulator allows you to very quickly increase the number of secondary harmonics in order to create a bell sound around 150 Hz around the halfway mark for the potentiometer a simple beating identical to a tremolo around 2 Hz gt To get a bell sound the oscillation frequency must be high set this potentiometer around 2 000 Hz ef AING MOOULATOR FUNCTION 7 SUB OSCILLATOR ATTK DECAY DEPTH SPEED MOD fe lt The Speed setting gt Lightly lower the MOD lever around 0 20 to mix the volume of the raw sound with the one coming from the ring modulator gt If you wish you can control the speed of the ring modulator in a progressive manner with an attack envelope A decay envelope D or even through an external MIDI controller This helps you to easily make special effects a RING MOOULATOR ATTK DECAY DEPTH SPEED MOD m he I Using the ring modulator for a bell sound 7 2 MULTI MODE The Multi mode allows the creation of a combination of different sounds up to 8 spread across keyboard zones up to 4 within an individual preset They bring very different results which directly influence how a sound or sequence is played 7 2 1 Four different sounds on the keyboard gt Choose the preset splitl in the bank Templates sub bank Multi1 gt The first 4 voices occupy zonel CO to B2 the fifth zone2 C3 to B4 the sixth zone 3 C5 to B5 and final
12. time sound signal amplitude time modulator signal LFO amplitude time modulated signal FUNCTION t SUB OSCILLATOR vm D r an de a SPEED VCO WCF VCA The sub section of the CS 80V Now to finish here is the diagram of a complete synthesis voice on the CS 80V containing gt 1 oscillator VCO gt 1 noise module gt 1 mixer mixing of the 2 VCO and the noise module towards the low pass and high pass filters 2 filters VCF high pass and low pass 1 amplifier VCA 2 envelopes one for the filters and the other for the VCA 1 LFO 58 ARTURIA CS 80V USER S MANUAL MOF YEA f Hel He pe PUM A HPF RES LEWEL INITIAL AFTER LEVEL TOUCH RESPONSE Pulm O5C LALA D R INITIAL AFTER BRILLIANCE TOUCH RESPONSE A complete CS 80V synthesis voice ARTURIA CS 80V USER S MANUAL 59 7 SOME ELEMENTS OF SOUND DESIGN Here is a series of examples designed to guide you through the creation of various sounds as well as a vintage analog styled note sequence They progress in order of difficulty going from the easiest to the most difficult and are organized into 3 parts gt The first part will help you to grasp subtractive sound synthesis You will start with the most basic patch make a VCO oscillator ring in an output VCA amp to finish by touching on the programming of a more rich sound several VCO sources VCF filters VCA envelopes gt The second will h
13. 3 The amplifier 56 6 2 Other modules 56 6 2 1 The keyboard 56 6 2 2 The envelope generator 57 6 2 3 The low frequency oscillator 57 7 SOME ELEMENTS OF SOUND DESIGN 7 1 Subtractive sound synthesis 60 7 1 1 A basic sound 60 7 1 2 The modulation matrix 61 7 1 3 Use of real time controllers 63 7 2 The Multi mode 64 7 2 1 Four different sounds on the keyboard 64 7 2 2 A composite sonority in unison mode 65 7 2 3 Introduction of the arpeggiator in a Multi preset 66 7 3 Other sides of the CS 80V 67 7 3 1 A step sequencer 67 7 3 2 A stereo sound without effects 68 8 MODES D UTILISATION DU CS 80V 8 1 Stand alone 69 8 1 1 Launching the application 69 8 1 2 Setting preferences 69 8 1 3 The tool bar 70 8 1 4 Processor use 71 8 1 5 Panic 71 8 1 6 Saving an instrument 71 8 2 VST 72 8 2 1 Installation 72 8 2 2 Using the instrument in VST mode 72 8 2 3 Connection to a MIDI track 72 8 2 4 Saving presets 73 8 3 Pro Tools 74 8 3 1 Installation 74 8 3 2 RTAS and HTDM standards 74 8 3 3 Opening an instrument 74 8 3 4 Connection to a MIDI node 75 8 3 5 Saving presets 75 8 3 6 Automation 76 8 4 DXi 77 8 4 1 Installation 77 8 4 2 Opening the instrument 77 8 4 3 Connection to a MIDI track 77 8 4 4 Saving presets 78 8 4 5 Automation 78 8 5 Digital Performer 79 8 5 1 Installation 8 5 2 Opening the instrument 79 8 5 3 Connection to a MIDI node 79 8 5 4 Saving presets 80 8 5 5 Automation 80 9 APPENDICES 9 1 List of abbreviations general settin
14. 3 zone gt Next click on the arpeggiator PLAY button oe SARER BIRT ORS u ah m G y SYNC SPEED PLAY HOLD The arpeggiator Play button gt Play a note between C4 and C6 the notes one after the other on the order that you placed them gt Itis possible to change the playing order by clicking on the mode slider P ere Aana T Saa fm eel R E Ca en e fa e fel RANO hi i WOTES RODE Ortavr RFPFAT Arpegiator Mode LONE backward forward The linear mode setting a y SYNC SPEED PLAY HOLO gt If you wish you can hold the chord by clicking on the Hold switch gt To remove one or several notes click again on the Hold button and play the note to be removed It is now possible to simultaneously play or record a bass part on the first octave of your keyboard accompaniments on the next 2 octaves while having the arpeggio on the last 66 ARTURIA CS 80V USER S MANUAL uP 4 4 AAPEGGIATOR i cows ES LG F uPyOK P 4 J J a e NOTES 1 y SYNC SPEED PLAY HOLD MODE OCTAVE REPEAT The arpeggiator settings 7 3 OTHER SIDES OF THE CS 80V When we move away from the conventional methods of play the CS 80V offers programming tips that help you to go further Here are a few of them 7 3 1 A step sequencer By conjointly using the arpeggiator and Multi mode settings It is possible to obtain an 8 note step sequencer
15. CS 80V USER S MANUAL 5 9 THE PEDALS The original CS 80 was a synthesizer possessing all of the functions of a real playing surface A number of settings and possibilities of expression and sustain are explained below Expression pedal The EXP and WAH buttons when activated allow the use of a pedal expression MIDI message Control number n 4 either on the amplification of the volume expression or on a sweeping filter wha wha LONG LONG EKP WAH PEDAL e SELECT BYORI l PORTA AUST PORT aua Portamento and sustain pedal settings The PORTA fader allows the control of a portamento on notes This means that for a given polyphonic voice when a new note is activated the frequency of the VCO will gradually move from the frequency of the previous note to the frequency to the currently held note When the GLISS switch is at the high position Off the passage will be done continuously at the low position On it will be done by semi tone When the play mode of the zone is CSASSIGN see 5 14 then the portamento transitions from note played at least 200 ms before It is possible to enable or disable the portamento for each voice see 5 14 When the PORTA GLISS switch is at the low position On the choice between the portamento continual variation and the glissando variation by semi tone is controlled by MIDI messages corresponding to the sustain pedal The fader above th
16. a MIDI node So that the CS 80V can play information coming from a MIDI track it must be associated to a MIDI node through the appropriate menu We can so control the CS 80V through a command keyboard see the Pro Tools manual for the connection of this type of device 8 3 5 Saving presets When the session is saved the state of the CS 80V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the CS 80V will load the preset BassOne plus the changes The Librarian Menu in Pro Tools can of course be used with the CS 80V like any other plug in Nonetheless we recommend that you use the internal menu of the CS 80V This is for several reasons gt Presets saved in this manner can be used in any other sequencer making the exchange between users easier gt They will be compatible with the different versions of the CS 80V that will appear later on ARTURIA CS 80V USER S MANUAL 75 8 3 6 Automation in Pro Tools Automation works with the CS 80V like any other RTAS HTDM plug in refer to the Pro Tools documentation for more details on plug in automation Preset changes however cannot be automated 76 ARTURIA CS 80V USER S MANUAL 8 4 DXI The CS 80V is compatible with the Dxi protocol and so can se used notably with Sonar
17. before being added to a sine wave gt lt The signal can thus be treated by the output amplifier VCA controlled by an envelope A LEVEL control sets the volume at the end of line of the synthesis LOMG LONG 10 LONG _10 SHORT SHORT O SHORT 0 D 3 A LEVEL VEA l Setting the VCA envelope The envelope controlling the VCA is a standard A D S and R envelope respectively attack time the time for the volume to go from silent to full volume decay time the time to go from the end of A to S sustain level level reached after the decay period and finally the release time time to come back to O once the note has been released Four faders set the action of the velocity and of the pressure of the keys on the frequency of the filters and the level of the VCA The green faders for control the frequency the gray for control the volume TOUCH RESPORSE INITI L r AFTE LEVEL BRILL LEWEL Setting the velocity and pressure Each of the lines of synthesis can be transposed with the 1 FEET 2 selector An octave below 16 default range 8 a fifth above 5 1 3 an octave above 4 a fifth and an octave 2 1 3 two octaves 2 The second line can be tuned with the DETUNE fader and finally the mixing between the two lines is controlled with the MIX fader 1 FEET 2 16 S Bur bie zz 7 EEEE Transposition of the lines of synthesis
18. by high pass and low pass filtering reproduced by TAE What s more the original analog oscillators were unstable In fact their waveform lightly varied from one period to another If we add to this the fact that the starting point for each period in Trigger mode can vary with the temperature and other environmental conditions we find one of the characteristics that participated in the typical sound of vintage synthesizers TAE reproduces the instability of oscillators bringing a fatter and bigger sound 12 ARTURIA CS 80V USER S MANUAL 1 3 3 A better reproduction of analog filters TAE allows the more precise emulation of analog filters over standard digital filters To obtain this result the TAE technology is based on the analysis of the analog circuits to be reproduced and converts them in algorithms that faithfully mimic the characteristics of the original filters The curve underneath shows the comparison of the original CS 80 filter and that of the CS 80V 20 Response curve of the 12 dB low pass filter of the original CS 80 Response curve of the 12 dB low pass filter of the CS 80V 40 Response curve of the 12 dB low pass filter of the original CS 80 and the CS 80V 1 3 4 Ring modulator The CS 80V includes a ring modulator just like the original CS 80 The ring modulator allows the application of a waveform a sinusoid to another in order to transform it The result is a more brilliant sound
19. extension card for Mac OS 9 and X can use these plug ins refer to Digidesign for HTDM compatibility with Windows which is to come The latter work exactly like TDM plug ins no limitations on insertion positions etc with the difference being that the treatment is primarily being done by the central unit and not by the extension cards Recap on the compatibility Mac OS 9 and X Windows 98 2000 XP TDM System RTAS and HTDM RTAS stereo in stereo out stereo in stereo out Other Systems RTAS mono in stereo out RTAS mono in stereo out Pro Tools LE Free and stereo in stereo out and stereo in stereo out 8 3 3 Opening the instrument Access to the CS 80V plug in is like any other plug in like for example through the insertion of an audio track 74 ARTURIA CS 80V USER S MANUAL ProTools File Edit AudioSuite MIDI Movie Operations Setups Display Windows 4 Sam23 15 waveform waveform P vocoder loop ZR os IIE jm al Opening the CS 80V in Pro Tools for Mac OS X TDM systems the CS 80V should be loaded to a stereo audio track Opening as HTDM is done through the TDM menu as a HTDM plug in is used exactly like a TDM plug in gt Other systems the CS 80V can be loaded on a mono audio track which becomes stereo after the insertion or stereo We can now make the CS 80V sound by playing with the mouse on the virtual keyboard 8 3 4 Connection to
20. in through the insertion of an audio track File Edit Region Basics Change Audio Windows Aide 111100014 3 ee SE Ao G a 0 00 00 00 4100 ice Se HAMA S m E GQaagaGaggga g uA e ee ar e a n vor a A a wma Kf Opening the CS 80V in Digital Performer The CS 80V can be loaded to a mono track after insertion it becomes a stereo track or stereo track We can now make the CS 80V ring by playing with the mouse on the virtual keyboard 8 5 3 Connection to a MIDI node So that the CS 80V can play information coming from a MIDI track it must be associated to a MIDI node through the appropriate menu ARTURIA CS 80V USER S MANUAL 79 GB file Edit Region Basics Change Audio Windows Aide wee oe MEIO ers rar alazon 2 sooo 2 foo a Connection of the CS 80V to a MIDI node We can thus also control the CS 80V through a command keyboard see the Digital Performer manual for the connection of this type of device 8 5 4 Saving presets When the session is saved the state of the CS 80V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the CS 80V will load the preset BassOne plus the cha
21. install the CS 80V as a VST plug in re Logic 5 Series f Logic Audio 4 7 Grey E Emagic I Logic 5 Series f Choice of the version of Logic Audio The installation program now has enough information to complete the installation In a few seconds you will be able to use the CS 80V 18 ARTURIA CS 80V USER S MANUAL 3 QUICK START This chapter will help you to familiarize yourself with the general usage of the CS 80V You will be presented with an overview of the different sections of the synthesizer as well as the Single voice and Multi mode settings You will find a precise and detailed description of all settings and controllers in the chapters that follow Chapter 6 A few elements of sound design will be of particular interest for users who have never worked with a subtractive synthesizer but wish to understand the basics in this domain B cs80 E Midi in P riph rique audio USB v Chan an Key range Audio SB Audigy Audio E800 SAVE SAVE AS BANK H SUB BANK aH IMPORT EXPORT iN N i hA xi z vima Ea _ ani mT afsfef gt fe The CS 80V 3 1 USE OF PRESETS Use of presets is one of the main areas of evolution of the CS 80V when compared to the original In fact it allowed only 4 spaces in memory for saving 4 sounds In the CS 80V a preset memorized sound contains all parameter settings
22. last names in the user information window User Information Licence number First name LAST NAME Cancel OK User information window The CS 80V will next be installed as a standalone application The following stage will let you choose to install the CS 80V as a plug in To do this choose the protocol s that you wish to use VST RTAS or DXi For more information on these protocols go to chapter 8 14 ARTURIA CS 80V USER S MANUAL CS80 Plug in Installation The cs80 beta version will be installed on your computer You may also want to install one or more of the following protocols I VST Protocol Il DXI Protocol I RTAS Protocol Choice of protocols For the VST and RTAS protocols you must choose an installation folder in order for the host application to use the CS 80V as a plug in If you do not know how to make this choice go to chapter 8 YST Plugins directory Boe x Path C Program Files Steinberg stplugins Directories E cS E Program Files E gt Steinberg Cancel amp gt Vstplugins Drives c R seau Choice of VST plug in installation folder The installation program now has enough information to complete the installation In a few seconds you will be able to use the CS 80V ARTURIA CS 80V USER S MANUAL 15 2 2 MAC OS X INSTALLATION Insert the CD ROM into the drive Explore the contents of the CD R
23. left of the Multi panel If you wish to preserve CPU power avoid using the rotate mode place the zone on ReAssign mode For each of the 8 voices you can set The choice of zone from 1 to 4 or no zone Transposition in semitones Fine tuning Volume Pan position Portamento Glissando Ring modulator Chorus and delay effects v vv v vV vV v v For the 4 zones ARTURIA CS 80V USER S MANUAL 27 gt The MIDI channel from 1 to 16 and omni gt The low and high notes from C 2 to C8 gt The playing mode rotating polyphonic trigger reassigned reinitialized monophonic unison gt Arpeggio activity 3 6 THE REAL TIME CONTROLLERS AND MIDI ASSIGN Like its excellent ancestor the CS 80V is adapted in particular to real time play One of the major points of evolution when compared to the original is the possibility to assign any CS 80V knob to an external MIDI controller Let s look at an example gt Click on the Brilliance knob while holding the Ctrl key down A MIDI assign dialog appears gt Click on Learn and move the MIDI controller of your choice the modulation wheel for example The CS 80V knob will move at the same time gt You can then record the movement of your MIDI controller on your MIDI sequencer or simply make it evolve on the fly during a live presentation MIDI Control Setup Brilliance O Active Control 0 Learn MIDI assigning of the Br
24. of the synthesis voice Single as well as Multi mode parameters and the different real time controllers and effects needed to reproduce the sound To get to know a few of the different sounds contained in the CS 80V we will select the preset Brass1 gt gt For this click on the button BANK at the left of the display indicating the name of the bank currently in use By clicking you will see a dropdown menu indicating the available banks Choose the bank JMB When the menu appears it opens sub menus in a step by step manner This allows us to get to the SUB BANK and PRESETS of a sound designer with a single click ARTURIA CS 80V USER S MANUAL 19 gt Choose the SUB BANK called Brass and finally select Brassi among the PRESETS BANK SUB BANK g PRESET 4rturia_test b Brass gt a EDIT TRANSP DET P a Brass2 QO ea JMB b MATT gt user New subbank A Sr Mew preset ad All gt i aie on Delete preset Brass1 New bank NA 2 J ZU FAST 10 9D HIGH HIGH HIGH Delete bank JMB FEE as VES ee Se ee Ene ig DESTINATION a B E g ae Sa Se Select the preset brass1 The CS 80V is shipped with 400 presets which will allow you to get to know the sounds of the synthesizer A bank called User Temp proposes a selection of presets which allow you to work from a basic template when programming a sound The sound 1 voice f
25. of the detuning of the 4 voices and widened as a result of the pan position settings between all of the voices The result is a very rich bass sound The fifth Single placed in zone 2 doesn t change It will play a polyphonic accompaniment sound Let s go directly to the sixth gt Activate the ring modulator on this Single to obtain a bell sound that will be played on the third zone Activation of the Ring Modulator gt Next lower the Modulation knob in order to mix the level of the ring modulator with the raw sound of the Single ow RING MOOULATOR i g SUB OSCILLATOR 16 ee m a ve Pe vw wee ms ai 5 nm NOISE 2 RingMod Modulation 3 0 38 Setting the Ring Modulator gt After this place the fourth zone to unison UniLast to obtain a monophonic lead sound gt Lightly detune voices 7 and 8 Separate the pan position of these 2 voices to the right and to the left SINGLE BIMBLE KEYB RANGE vol PATCH ACTIVE EDIT TRANSP DET voL PAW PORTA AMOO FX ZOME PATCH ACTIVE EDIT TRANSP DET voL PAM PORTA R MOO FX MIOICH LOW HIGH VOICEMODE e Cs t f r e oe A 6 oO g e z1 Imni oO X 4 3 G 4 22 Imni rs x 7 7 o 1 f 23 Jmni 1 Q 1 24 Jmni The Multi mode settings for preset split1 To quickly isolate a voice where the edit button is lit and play it across the whole keyboard use the solo close button above and to the
26. the CD ROM double click on the icon named CS 80V Setup Mac The following stage will let you choose to install the CS 80V as a plug in To do this choose the protocol s that you wish to use VST RTAS HTDM and MAS For more information on these protocols go to chapter 8 By default the CS 80V will be installed in the Applications folder But you can choose the disk and installation folder for the CS 80V CS8O System Setup BJ VST O RTAS HTDM O MAS Disk space available 413 840K Approximate disk space needed 55 648K Install Location tems will be installed in the folder Applications Mac 0S 9 on the disk En Sys Choice of protocols disk and installation folder Next have your license number ready and enter it with your first and family names in the user information window Licence first name User information window The installation program can automatically detect folders containing VST plug ins on your computer ARTURIA CS 80V USER S MANUAL 17 Try to find VST Folders automatically Auto detection of VST folders Choose the applications for which you wish to install the CS 80V as a VST plug in Check the st hosts installed on your computer LJ Cubase C Logic Choice of VST applications For each of the selected applications if several versions are present on your computer select the version for which you want to
27. then the zone takes the newest note played by releasing the first one Reset The polyphonic voices are played in order by their number The zone uses the first free available voice beginning with the lowest one ReAssign When a new polyphonic voice is chosen the zone uses the voice which has just played the same note UniLow Unison with priority to the lowest note This means that if two notes are presented at the same time it is the lowest note that is played UniHigh Unison with priority to the high note This means that if two notes are presented at the same time it is the highest note that is played UniLast Unison with priority to the last note played The newest note is prioritized The VOICE ARP button allows you to accept or not accept the use of the arpeggiator on this zone independently of the others The arpeggiator possesses one setting for all zones but each zone uses the arpeggiator independently This means that each zone can choose to activate the arpeggiator or not and when a note is present in two zones the arpeggios remain independent BIMBLE TOME PATCH ACTIVE EDIT TAAWEP PAH PORTA AR MOO FE o 7 F F 0 i bs i k d k Control of polyphonic voices For each voice you need to choose the zone by clicking on the ZONE display The OFF position lets you deactivate a particular voice it is possible to limit the polyphony Once the zone has been chosen the sound or single that the voice w
28. G 10 10 LOMG LONG 10 LONG 10 m a snort a P0T000007700 H0PROOOOTAOG INITIAL SUB OSC AFTER LOW HIGH LOW HIGH ARTURIA CONG Lona E TT TTT TT The single mode the original CS 80 ARTURIA CS 80V USER S MANUAL 21 SINGLE EYB RANGE TOME PATCH ACTIVE EDIT TRANSP DET D PAN PORTA RNO moca uow MiG e The Multi mode The single mode presents the exact architecture of the original CS 80 which is a single timbre distributed across the whole of the keyboard with an 8 note polyphonic limit The Multi mode takes from the GX1 the father of the CS 80 which used 3 keyboards 2 polyphonic and 1 mono and a separate pedal keyboard to play different sonorities distributed to each of the keyboards gt To get to the Multi mode click on the button to open the hatch situated above the synthesis parameters A virtual LED display on the right of the tool bar now indicates Multi mode is active gt To go back to Single mode simply click on the close hatch button The LCD display now indicates Single Opening the Multi mode hatch gt You also have the option to keep the keyboard and its assignable controllers visible on the screen by clicking on the KBD icon The advantage being quick access to real time controllers and sound presets while having a reduced work surface You can activate the reduced mode by clicking on the Kbd icon which is on the right of the tool bar
29. IDI track to the CS 80V ARTURIA CS 80V USER S MANUAL 77 The MIDI events played on a MIDI keyboard are then transmitted by Sonar to the CS 80V It is of course possible to record these MIDI events and use the entire MIDI editing options available in Sonar 8 4 4 Saving presets When the session is saved the state of the CS 80V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the CS 80V will load the preset BassOne plus the changes 8 4 5 Automation Automation with Sonar works simply by reception and recording of MIDI messages of the type Control Change You can configure the reception of MIDI events by the CS 80V in the same way as standalone mode The sequencer takes care of recording the continuous controls transmitted to the CS 80V and lets you edit them 78 ARTURIA CS 80V USER S MANUAL 8 5 DIGITAL PERFORMER 8 5 1 Installation During the installation procedure check the MAS choice among the plug in formats offered The CS 80V will be automatically installed in the MAS plug in folder System Folder Extensions MOTU Plug ins To use the CS 80V you will need to increase the memory allotted to Digital Performer by around 15 MB 8 5 2 Opening the instrument Access to the CS 80V plug in is the same as for any other plug
30. LS vn i m 7 x CHI ATK DECAY DEPTH SPEED MOD x E E I GRILL RESO PAENDSPEEO VCO VC BRILLIANCE LEVEL VOLUME I al Oy ey I ze 7 z um u f BERBERS ee TA Ei INITIAL SUB OSC AFTER LOW HIGH LOW HIGH The settings of preset Pad1 gt By varying the playing force put on the keys of your MIDI keyboard velocity you will vary the attack time A of the 2 VCA envelopes The amplitude of the volume of the sound takes more or less time before reaching its maximum gt The after touch acts following the pressure that you apply to the keys of the MIDI keyboard on the frequency of the 2 high pass filters In other words the low frequencies are weakened 62 ARTURIA CS 80V USER S MANUAL The 2 examples that we have looked at allow you to have the basics necessary for more profound research Don t hesitate in trying other settings the possibilities offered by the CS 80V are quite numerous 7 1 3 Use of real time controllers As we have previously seen the use of real time controllers is one of the strong points of the CS 80V They will allow you to apply a large variety of simple and quick modulations to the sound all while playing the keyboard 7 1 3 1 Velocity and after touch These 2 controllers are directly linked to the playing on the keyboard Velocity controls the cutoff frequency brilliance and the VCA volume After Touch controls the speed of the vibrato modulation and the
31. O1 n POLYPHONIC OR AT DRAIN SPECIAL ORAGE 01 ORAGE 02 a New subbank ORAGE 03 OVNI 01 WIND RAIN O1 New preset i HIGH HIGH Choice of a preset in another main bank In the dropdown menu concerning the banks the All option allows you to open a sub list with all of the sub banks available in all of the banks This gives you access directly to all of the presets of a given type for example all of the basses no matter which bank they are in This function is particularly useful to quickly see all of the presets of the same type ARTURIA CS 80V USER S MANUAL 31 BANK SUB BANK a kos ka i E Arturia_test i l MATT PA mP oE user roe s O gt 2 g 6 d All test BASS FX KEYBOARD re LEAD s ai POLYPHONIC H RR RH EE SPECIAL ih bass BASS 01 ee BASS 02 er BASS 03 ETE BASS 04 BASS BRS 01 BASS FK 01 BASS FK 02 re BASS FK 03 H HIGH HIGH ARE BASS SYNT 01 1 eee WOUAHOU 01 ee 6 VOUAHOU 02 e Aing MODULATOR f SUB OSCILLATOR 1 Fi WOUAHOU 03 eo A 16 N New bank gt gt gt gt gt gt gt gt Choice of preset regardless of bank When a preset has been modified an asterisk appears next to its name in the tool bar 4 1 2 Creation of a bank sub bank preset To create a new bank click on the button LS The dropdown menu displays the names of all of the existing banks of sounds and a line called New bank Click on New ba
32. OM double click on the icon named CS 80V Setup Mac Enter the administrator name and password of your computer in the authentication window Authenticate CS80V Setup requires that you type your passphrase Name Password or phrase fv Details lt a i Deenen Authentication window The CS 80V will next be installed as a stand alone program The following step will let you choose to install the CS 80V as a plug in Then choose the protocol that you wish to use VST RTAS HTDM For more information on these protocols go to chapter 8 By default the CS 80V will be installed in the Applications folder But you can choose the disk and installation folder for the CS 80V 0 9 CS80V System Setup J Standalone application BJ VST EJ RTAS HTDM Disk space available 874 936K Approximate disk space needed 77 820K Install Location SS e items wil be installed in the folder Applications on the disk Dr Rotule Install Location Dr Rotule HS Choice of protocols disk and installation folder Next have your license number ready and enter it with your first and family names in the user information window 16 ARTURIA CS 80V USER S MANUAL The installation program now has enough information to complete the installation In a few seconds you will be able to use the CS 80V 2 3 MAC OS 9 INSTALLATION Insert the CD ROM into the drive Explore the contents of
33. SING THE CS 80V 5 1 SINGLE MODE When the Multi mode hatch is closed the CS 80V is in Single mode In this mode the 8 polyphonic voices available are set with the same sound The sound that is used corresponds to the settings of the controls apparent in the graphical user interface Multi mode hatch closed This mode should be selected if you require the same manner of use as the original CS 80 5 2 TWO LINES OF SYNTHESIS The original CS 80 has a particular structure Unlike many synthesizers of that time it used 2 independent generators of subtractive synthesis each one with an oscillator a filter and an amplifier These two lines of synthesis are managed by the central part of the interface in two parallel groups of controls HIGH HIGH HIGH HIGH 5 5 LONG LONG LONG 10 10 LONG LONG 10 LONG 10 zA f x ame wE fe f f F EL A SHORT 8 0 Bi SHORT O SHORT 0 INITIAL AFTER VCA TOUCH RESPORSE c INITIALS 7 AFTER 5 LONG LONG LONG 10 10 LONG LONG gt I N n p TAIG mono i a E E CE e er 24dB i fi Low i o 8 SHORT amp o o 3 SHORT O SHORT C Control of the two lines of synthesis On each line of synthesis there is an oscillator that can generate square triangle saw tooth and sine signals The first switch activates the square signal while the second activates the second waveform which can be either a triangular signal or a saw tooth Selection of waveform To select the
34. USER S MANUAL OV version 1 0 te 358 esp 3288 s g Programming Nicolas Bronnec Pierre Jean Camilieri Sylvain Gubian Xavier Oudin Graphics Thomas amp Wolfgang Merkle Bitplant Manual Jean Michel Blanchet Nicolas Bronnec Fr d ric Brun Houston Haynes Tom Healy Akira Naito Xavier Oudin David Poncet Yuji Sano Mitsuru Sakaue Sound Designers Jean Michel Blanchet Glen Darcey Darrell Diaz Chris Laurence Mateo Lupo Jamie Muhoberac Chris Pittman Katsunori Ujiie Very special thanks to Yamaha Corporation Thanks to Elsa Chal Debeauvais Randy Fuchs Mr Tohyama Akira Naito Houston Haynes Fabrice Paumier Laurent Falla and the numerous beta testers ARTURIA S A 1999 2003 All rights reserved 1 rue de la Gare 38950 Saint Martin le Vinoux FRANCE http www arturia com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia The software described in this manual is provided under the terms of a license agreement or non disclosure agreement The software license agreement specifies the terms and conditions for its lawful use No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser s personal use without the express written permission of ARTURIA S A Other products logos or company names quoted in this manual are trademarks or registered trademarks of
35. USER S MANUAL 81 volv3 Volume of track3 volv4 Volume of track4 volv5 Volume of track5 volv6 Volume of track6 volv7 Volume of track7 volv8 Volume of track8 9 2 LIST OF ABBREVIATIONS FOR PARAMETERS THAT ARE APPLIED TO A PARTICULAR TONE Each setting begins with Sx x being the tone single number from 1 to 8 the following list is in relation to single 1 SiAfBri Brilliance of line 1 controlled by the pressure after touch SiAfLei Volume of line 1 controlled by the pressure after touch SiAfBr2 Brilliance of line 2 controlled by the pressure after touch SiAfLe2 Volume of line 2 controlled by the pressure after touch SiDetun Detuning of line 2 in relation to line 1 SieviAl Attack level for the envelope of the filters on line 1 SieviAt Attack time for the envelope of the filters on line 1 SieviDc Decay time envelope of the filters on line 1 SievtiIn Initial level for the envelope of the filters on line 1 SieviRe Release time for the envelope of the filters on line 1 Siev2At Attack time for the envelope of the VCA on line 1 Siev2Dc Decay time for the envelope of the VCA on line 1 Siev2Re Release time for the envelope of the VCA on line 1 Siev2Su Sustain time for the envelope of the VCA on line 1 Siev3Al Attack level for the envelope of the filters on line 2 Siev3At Attack time for the envelope of the filters on line 2 Siev3In Initial level for the envelope of the filters on li
36. VCA volume This was the configuration of the original CS 80 But you will be able to go further thanks to the modulation matrix these controls are among the sources of modulation gt For example try to lightly vary the frequency of oscillator1 in relation to the second by applying the velocity You will obtain a different detuning at each note This will accentuate the vintage side of the synthesizer as each note corresponded to an electronic card where the components could become unsettled with time i SOURCE AMOUAT DESTINATION SOURCE AMOUNT DESTINATION I 7 ae Amount ModO g 0 04 Apply the velocity on the frequency of oscillator1 The after touch can be employed to accentuate one of the 2 voices of synthesis Apply the after touch on the VCA volume When you press harder on a note on the keyboard the volume of voice 2 will progressively appear this will create a morphing effect between these 2 voices LONG LONG 10 LONG 10 n suna N After Levelt 0 42 Apply the after touch on the VCA volume 7 1 3 2 The ring modulator The ring modulator is essentially used to add harmonics that don t originally exist in the sound Lets use the example of the sound from a bell gt Load the preset 1_voice which is as we have previously seen a very simple sound gt Increase the release time R on the envelope of VCA1 towards 440 ms ARTURIA CS 80V USER S MANUAL 63 The Speed
37. activate the ring modulator on voice 5 to obtain a bell sound that will be played on the third zone vveovow Your end result will be a very rich sound on zone 1 a violin solo sonority on the second a bell on the third and a lead sound on the fourth zone SINGLE SINGLE KEYB RANGE voice PATCH ACTIVE EDIT TRANSP DET WIDICH LOW HIGH VOICEMODE ARP oe F 2 Jmnif C1 B2 voaa OOL LOREN Imni 73 r f gt JEZI 4 FOTOT A The finished Multi1 preset gt If you wish to use this configuration with a MIDI sequencer playing each single on a different MIDI channel choose a channel for each zone Don t forget that the notes that are not included within the limits of each of the 4 zones will not be played 7 2 2 A composite sonority in unison mode Now lets see a different use of the unison mode layering several singles on the same note remember you can go as far as 8 simultaneous Load the preset Wizd_Multi2 This preset contains 8 different singles but they are played successively to each note played They are all assigned to zone 1 which covers the whole of the keyboard gt Begin by placing zone1 to UniLast unison mode All of the singles should be played by the same note B RA KEY WGE mIDICH LOW HIGH VOICE MODE 21 Ch1 co cs UniLas Placing zone1 to UniLast unison mode gt Detune them with the detune potentiometers The global sound will get another layer gt Also c
38. at is very rich and expressive Unison Let s use an example gt Choose the preset splitl in the Templates bank and Multi1 sub bank In this example the 8 voices all have the same settings The first 4 voices will occupy zonel Ci to C3 the fifth will occupy zone2 C 3 to C5 the sixth will occupy zone 3 C 5 to C6 and finally the seventh and eighth will occupy zone 4 C 6 to C7 Each of the 4 zones receives one different single sound the singles named 1 2 3 and 4 BIMBLE TOME PATCH ACTIVE EDIT TRANSP EER oO 7 P GJO JOG O 7 Allocation of voices to the different zones on the keyboard gt Start by changing the pan position of the first voice Place the sound on the right turn the knob Pan fully to the right value of 1 00 gt Detune this voice by lightly turning the knob Detune to the right value of 1 00 Multi mode voice settings gt Now change the pan position of the second single fully to the left value 1 00L gt Detune the third put the knob Detune to a value of 0 96 gt Lightly change the pan position of this single to the right value 0 78R gt Detune the fourth put the knob Detune to a value of 1 00 gt Place these 4 voices to Unison mode by selecting the UniLast function in the play mode menu in the edit zone 26 ARTURIA CS 80V USER S MANUAL The sound of single 1 is deeper as a result
39. ates low frequencies and only lets high frequencies through The sound will become finer It is very useful for removing redundant low frequencies with a bass sound for example 54 ARTURIA CS 80V USER S MANUAL IN il Wit Hz 20 00 40 00 80 00 1600 3200 6400 1280 2560 5120 10240 The high pass filter AS aA gt The band pass BPF eliminates frequencies situated on either side of the cut off frequency It is in fact the addition of a low pass and a high pass filter Use it to focus on a particular band of frequencies that you wish to emphasize This will make the sound more pinched On the CS 80V you obtain this type of filtering by combining the actions of a high pass filter and a low pass filter as there is technically speaking no separate band pass filter Hz 20 00 40 00 80 00 1600 3200 6400 1280 2560 5120 10240 The band pass filter A second setting to compliment the cut off frequency the resonance you will also find it called emphasis or Q gt for Quality of filtering The resonance amplifies frequencies close to the cut off frequency the other frequencies remaining are either unchanged before the cut off frequency or reduced after the cut off frequency You can increase the rate of resonance through the resonance slider When you increase the resonance the filter becomes more selective the cut off frequency is amplified and the sound begins to whistle Amplitude 4 Freq
40. available on PC and Mac OSX 8 1 1 Launching the application To launch the CS 80V application on PC go to the menu Start gt Program Files gt Arturia gt CS 80V and choose CS 80V On Macintosh open the installation folder and double click on the CS 80V application icon You can also click on a previously saved document to open the corresponding configuration in the CS 80V application 8 1 2 Setting preferences The preferences window is where you can set the global preferences of the CS 80V application These preferences are automatically saved To display the preferences window File gt Preferences on Pc and through the menu CS 80V gt Preferences on Mac Configuration J x Audio protocol Direct m Audio driver Creative Sound Blaster PC Sample rate 44100 7 Audio latency 50 ms Knob control type circu o PC preferences window ARTURIA CS 80V USER S MANUAL 69 2 a Configuration Audio driver Built in audio controll Sample rate 44100 ke Audio latency 9 ms ee r ro 1 Slider control mode Circular ry ok Mac preference window gt Protocol Pc only Select the audio protocol that you wish to use If you have ASIO drivers for your sound card we recommend that you use this protocol instead of DirectX The ASIO drivers offer increased performances compared to the DirectX drivers gt Driver Select the driver corresponding to
41. aveforms 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 50 ARTURIA CS 80V USER S MANUAL Amplitude Tine Hanmecic number Frequency gt The square possesses a more hollow sound that the saw tooth it only contains odd harmonics but none the less its rich sound notably in low frequencies can be used for sub bass sounds that will come out well in the mix the square oscillator is often set an octave below that of the saw tooth wood sounds clarinet if the square signal is a little filtered etc Airplitude Harmoni number 10 20 30 40 Frequency Aarglitude Hanreric number 10 20 x 40 Frequency gt The triangle can be considered like a very filtered and so soft square signal It is very low in harmonics odd only and will be very useful for creating sub basses flute sounds etc ARTURIA CS 80V USER S MANUAL 51 Amplitude Amplitude Ti Hamoric number 10 20 3 40 Frequency gt The sinusoid is the purest of all It is a unique harmonic and produced a very 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 sine amplitude amplitude AAA time PWM Pulse Width Modulation is a setting that allows yo
42. bel The SPEED control also modulates the speed of the sub oscillator through after touch 5 5 THE KEYBOARD MODULATIONS Initial tuning The INITIAL fader performs a slight frequency modulation on the oscillators This modulation is a linear ramp that depends at the same time on the fader setting at the top there is no modulation at the bottom the modulation is set to the maximum and the velocity About the sense of these faders the CS 80 original operates in that way which can be confusing But we chose to reflect the original character of the machine e REYE COMTAOL BRILLIANCE LEVEL LOW HIGH LOW HIGH Saat aa Key follows The faders under the KEYB CONTROL label set the key follow rate The faders under the BRILLIANCE label set the key follow of the filters and those under the LEVEL label set key follows for the amplifiers The first fader sets the key follow slope for the lower part of the keyboard below C3 while the second sets the slope for the higher part The slope can be positive or negative 5 6 THE RING MODULATOR The ring modulator is an effect that creates a number of harmonics in the sound through the multiplication of the output signal with a sine wave y AIAG BOOULATOR ATTE DECAY DEPTH SPEED moo _ m Setting the ring modulator Dry and wet mixing is set with the MOD fader Dry sound is maximum in the high position The frequency of the multiplying sine is se
43. distorted and enriched in harmonics As a result of this increase in the number of harmonics standard ring modulation algorithms create an audible aliasing To avoid this unwanted effect TAE includes a module for the dynamic control of the amplitude with aliasing correction which removes every trace of aliasing in the signal coming from the ring modulator Sine wave form Amplitude control module anpa VCA with aliasing Output correction ARTURIA CS 80V USER S MANUAL 13 2 INSTALLATION 2 1 WINDOWS INSTALLATION WIN9OX ME 2000 XP Insert the CD ROM into the drive Explore the contents of the CD ROM double click on the icon named CS 80V Setup PC exe At the first step of the installation choose the destination folder for the CS 80V installation By default it will be installed at the location C Program Files Arturia CS 80V You can change the destination with the Browse button Please select the cs8Ov install folder xj Setup will install cs80v in the destination directory eo Piten ARPEGoIATOR PG SYNC SPEED PLAY 0 L LONG LONG ES x WAH x PEDAL SELECT SHORT SHORT Lic PORTA Destination Directory Eros FILES Arturia cs80 Browse a SUST PORTA SUST AUSS BUSS MODE Space Required 22248 K Space Available 3089684 K g Cancel Choose the installation folder Next have your license number ready and enter it with your first and
44. e SUST MOD switch sets the sustain time When the SUST switch is at the top Off sustain time is given by the fader setting When it is set to the bottom On sustain time depends on the MIDI messages from the sustain pedal When the pedal is off there is no sustain when it is on sustain follows the fader setting The two positions of the SUST MOD switch allow standard functioning switch off towards the top or mode where the sustain is interrupted when a new note arrives switch on towards the bottom ARTURIA CS 80V USER S MANUAL 45 5 10 THE ARPEGGIATOR The arpeggiator is used to transform a chord into a succession of individual notes The SPEED knob sets the speed for the arpeggio the SYNC button allows us to obtain a multiple or sub multiple tempo of the host application The PLAY button triggers the arpeggiator which when a note is played activates the notes one after the other but stops when there are no active notes held on the keyboard The HOLD button memorizes the notes played as long as it is active The arpeggiator in HOLD mode is stopped through the use of the PLAY button The MODE selector chooses the arpeggio mode increasing decreasing back and forth random and in the order that the notes appear The Octave selector presents the choice of the number of octaves that the arpeggiator will traverse for each cycle The REPEAT selector is to choose the numb
45. e filter cut off frequency kbbrlo Key follow setting for the inferior section on the on the filter cut off frequency kblvhi Setting for the key follow for the superior section on the VCA volume kblvlo Setting for the key follow for the inferior section on the VCA volume mod Modulation wheel panvi Panoramic of tracki panv2 Panoramic of track2 panv3 Panoramic of track3 panv4 Panoramic of track4 panv5 Panoramic of track5 panv6 Panoramic of track6 panv7 Panoramic of track7 panv8 Panoramic of track8 portam Portamento time setting reson General synthesizer resonance ringAt Ring modulator attack time ringDc Ring modulator decay time ringDp Ring modulator modulation depth ringMo Amplitude of mixing of the part treated by the ring modulator ringSp Sinusoid frequency of the ring modulator specho Chorus speed spedel Delay speed subAvcf Modulation amplitude of the sub oscillator on the vcf s subAvca Modulation amplitude of the sub oscillator on the vca s subAvco Modulation amplitude of the sub oscillator on the vco s subfrg Sub oscillator frequency tunvi Tuning of tracki tunv2 Tuning of track2 tunv3 Tuning of track3 tunv4 Tuning of track4 tunv5 Tuning of track5 tunv6 Tuning of track6 tunv7 Tuning of track7 tunv8 Tuning of track8 volume General synthesizer volume volvi Volume of track1 volv2 Volume of track2 ARTURIA CS 80V
46. e sound progressively increases gt Do the same thing with the Release R the volume will progressively decrease when you release the note The ADSR envelope controllers 24 ARTURIA CS 80V USER S MANUAL 3 4 THE MODULATION MATRIX On the left of the synthesis parameters is a second hatch smaller than the one for Multi mode This contains an extension of the possibilities for modulation when compared to the original CS 80 It is presented in the form of a modulation matrix in which we choose 10 sources sub osc envelopes etc which will modulate 10 destinations freq Osc freq VCF etc SL MOOULATION SELECT SSE Lo Ta SOURCE AMOURT OESTINATION SOURCE AMOUAT DESTINATION LFO1 vooiFreg E ampii vco 1 Feg LFo2 Hpz2cion ampi M vco 1 pw NP EG Fiter 1 Noke 2 ew on Bi s bOsc VCA1 bwl SS sibosc VCA2 kwl The modulation matrix The choice of source and destination is done by clicking on LCD screens The individual matrix positions will offer 12 modulation sources and 38 destinations with an attenuation control in between Let s apply 2 supplementary types of modulation to the preset 1_voice gt gt Open the hatch of the matrix to access the parameters gt Among the modulation sources choose the oscillator low frequency1 Subi or LFO gt Choose the cut off frequency for the low pass1 filter among the destinatio
47. ell as a short release time R This minimalist configuration will let you easily perform some simple experiments with this basic sound gt Start by progressively lowering the cut off frequency of the low pass filter The sound becomes more and more soft gt Increase the frequency of the high pass filter You will hear the sound lose its low frequencies to clearly hear this effect make sure not to set the cut off frequency of the low pass filter too low as the sound will be too soft 60 ARTURIA CS 80V USER S MANUAL HIGH HIGH HIGH HIGH Increase the frequency of the low pass filter gt Change the range of the oscillator with the Feet I potentiometer for the moment set to 8 Range Osc1 Default Change the range of the oscillator gt Now increase the release time R of the VCA1 so that the sound persists after the release of the keys Be sure to set the level of the general Sustain fader to 0 so that the changes on the release time can be effective Release Time Vea ay A LEVEL 600 00 ms Increase the Release time of the VCA 7 1 2 The modulation matrix We will discover one of the many additions to the CS 80V the modulation matrix For this load the padi preset from the templates bank sub bank temp_syn We will program synthesis lines I and II as well as 6 modulations active on the sound gt 2 oscillators gt 2 lightly resonant high pas
48. elp you to use the Multi mode and the arpeggiator gt The third will give you tips on creative use of key follows and creating a stereo sound without the use of additional chorus and delay effects 7 1 SUBTRACTIVE SOUND SYNTHESIS 7 1 1 A basic sound To begin we will see how to program a basic sound As we saw in chapter 3 Quick Start the CS 80V uses two identical and independent lines of synthesis We will only use the first the one above for this example It will be simply composed of an oscillator a low pass filter an output VCA the envelope corresponding to the output VCA v v vV v You will thus obtain the base patch for subtractive synthesis The following image shows the different slider lever positions HIGH HIGH HIGH HIGH 5 56 LONG LONG LONG 40 10 LONG LONG 10 LONG 10 e WAVE SLOW Low g g OAT Buoni O o o o o MODE FORM SPEED PWE o lt A LEVEL GRILL LEVEL BRILL LEVEL pet INITIAL SAFTER LINK E 0 _ TOUCH AERP ORBE AING MODULATOR on mix BE KEYS CONTROLS VCF BRILLIANCE LEVEL ATTK DECAY DEPTH SPEED MOD gt r BARBER u a e E e e f n INITIAL SUB OSC AFTER LOW HIGH LOW HIGH gt Choose the preset 1_line in the templates bank sub bank temp_syn This sound uses a saw tooth waveform the high pass filter is closed but not deactivated while the low pass is completely open The amplifier envelope has a minimum attack time A as w
49. er of cycles repeated for each octave uP DOWN 3 E ne NOTES 7 AA PEG GIATOR Arpeggiator settings 5 11 THE PRESELECTION BUTTONS HE SERRE HE BER e eee Pre selections The pre selection buttons like on the original CS 80 allow the selection of pre set sounds These selections work like a help system and as soon as a control is modified we find the 12 selection panel indicates that the audible sound corresponds to the settings modified by the user Each pre selection line corresponds to the control of each line of synthesis 5 12 THE RIBBON A RTU R l A f IBe m Ribbon The ribbon works like a frequency variation wheel when the PITCH button is triggered The COARSE knob sets the amplitude for the frequency variation It responds to the Pitch bend MIDI message 46 ARTURIA CS 80V USER S MANUAL 5 13 GENERAL SETTINGS Three supplementary settings control the synthesizers general brilliance resonance and volume They all effect polyphonic voices in the same way Brilliance and Resonance General volume 5 14 THE MULTI MODE When the Multi mode hatch is open the playing mode is called multiple In this mode each of the eight polyphonic voices available can take a different sound and can be commanded by four zones of MIDI control Open Multi mode hatch Under the Multi mode hatch are two identical groups of four lines of settings and a supple
50. esizers in the 80 s The Yamaha CS 80 or even your own CS 80V constitutes the best illustration of the enormous possibilities of subtractive synthesis 6 1 THE THREE MAIN ELEMENTS 6 1 1 The oscillator or VCO The oscillator Voltage Controlled Oscillator is the starting module with the noise module which is often classed among the oscillators for the creation of a sound on an analog system It will generate the initial sound signal We can think of the oscillator like a violin string that once stroked or plucked vibrates to create its sound The main oscillator settings are gt The pitch determined by the oscillation frequency You can set the frequency of the oscillator with 2 controllers first the Feet selector or range on other synthesizers which determines the fundamental frequency it is expressed in feet it contains all of the harmonics at decreasing volume levels in high frequencies 32 16 8 4 2 the highest number 32 brings the deepest tone inversely the smallest number 2 brings the highest tone Secondly the detune setting detune or fine tune lets you tune the oscillator more precisely On the CS 80V the height settings Feet and detune detune are found among the real time controllers above the keyboard gt The waveform which determines the harmonic richness of the audio signal On the CS 80V 4 waveforms are available gt The saw tooth presents the richest audio signal of the 4 w
51. estra Toto Paul McCartney and Wings Other artists and bands like Vangelis Bon Jovi Jean Michel Jarre Geoffrey Down Stevie Wonder and some others managed to turn the CS 80 into a real myth Let us quote Matt Friedmann from the Vintage Synth Explorer website No synth sounds greater The best examples for its extremely fat sound are Blade Runner Mask or Bounty by Vangelis as well as Dune by Toto With two analog oscillators per voice the CS 80 has the potential for some really phat sounds A great VCF filter with independent hi pass and low pass resonant filters a powerful ring modulator and plenty of modulation controls further enhance the CS 80 s sonic potential There are 22 preset sounds 6 user selected from bright and ugly colored buttons above the keyboard The keyboard is weighted and has a full 61 keys with performance controllers for vibrato pitch brightness and volume Surprisingly there s also a ribbon controller for the pitch bending There is no MIDI or cv gate The first edition of the service manual has a lot of hand drawn pages including the main panel layout 8 ARTURIA CS 80V USER S MANUAL PANEL LAYOUT PNi MBK HHHHHHHH iH BGG HHH NHB MEIRU ERRER T e cole i RUBE GIHE L SaLi Mda mney HET TIL OE TF eg DUWA A Vi rz come otat Aam aN SFT a jar tatn OO
52. ff low pass filter cut off frequency of the second line gt LP 2res resonance of the low pass filter of the second line gt VCA 1 Level VCA level of the first line gt VCA 2 Level VCA level of the second line gt SIN 1 Level level of the sine of the first line gt SIN 2 Level level of the sine of the second line gt LFO 1 Speed frequency of the LFO of the first line ARTURIA CS 80V USER S MANUAL 41 gt LFO 1 Level level of LFO output for the first line gt LFO 2 Speed frequency of the LFO of the second line gt LFO 2 Level level of LFO output for the second line gt EG VCF1 IL starting level for the filter envelope of the first line gt EGVCF1 AL attack level of the filter envelope of the first line gt EGVCF1A attack time of the filter envelope of the first line gt EG VCF1D decay time of the filter envelope of the first line gt EGVCFIR release time of the filter envelope of the first line gt EG VCF2 IL starting level for the filter envelope of the second line gt EG VCF2 AL attack level of the filter envelope of the second line gt EGVCF2A attack time of the filter envelope of the second line EG VCF2 D decay time of the filter envelope of the second line gt EGVCF2R release time of the filter envelope of the second line gt EGVCAI1A attack time of the VCA envelope of the first line gt EGVCA1D decay time of the VCA envelope of the first line
53. gs 81 9 2 List of abbreviations singles 82 9 2 Index 84 1 INTRODUCTION 1 1 THE BIRTH OF THE YAMAHA CS 80 Yamaha was created at the end of the 19 century in Hamamatsu Japan The first electronic instrument the Electone D 1 electronic organ was designed and built in 1959 But the history of the CS 80 began when in 1974 the GX 1 was released The Gx 1 The GX 1 was an analog polyphonic synthesizer that was built in order to test the market It cost 60 000 and was premiered in the US in 1973 at the NAMM convention Keith Emerson John Paul Jones of Led Zeppelin Jurgen Fritz of Triumvirat and Stevie Wonder all bought one Stevie Wonder called it the Dream Machine One of the strong features of the GX 1 is the superposition of the two full sized velocity sensitive keyboards The CS 80V with the Multi mode allows the creation of the same type of sounds that the GX 1 offered In 1976 Yamaha introduced the CS 80 which has the same circuits as the GX 1 The price tag 6 900 put it out of the reach of most musicians and the weight 83kgs with stand made it sometimes hard to use on stage But the qualities of this synthesizer considered Japans first great synthesizer made it immediately famous in the Music Industry ARTURIA CS 80V USER S MANUAL 7 T ETE To D The CS 80 The CS 80 was made popular in the late 70 s and early 80 s by a number of pop groups including Electric Light Orch
54. gt EGVCA1S sustain level of the VCA envelope of the first line gt EGVCA1R release time of the VCA envelope of the first line EGVCA2A attack time of the VCA envelope of the second line gt EG VCA2D decay time of the VCA envelope of the second line gt EGVCA2S sustain level of the VCA envelope of the second line gt EGVCA2R release time of the VCA envelope of the second line Off no destination To remove a modulation select off in input and output You can set the level to zero but the calculation is still carried out thus using CPU power A destination can only accept six sources of modulation Above this the modulation is ignored 5 4 THE SUB OSCILLATOR The sub oscillator is a low frequency oscillator LFO that affects all of the polyphonic voices The SPEED fader sets the speed and FUNCTION sets the waveform sine saw up Saw down square noise and random FUNCTION E SUB O8CILLATOA 53 Setting the sub oscillator The action of this LFO is determined through the VCO VCF and VCA faders which sets the modulation rate of the oscillator frequency filter frequency and output level for both lines of synthesis UCH RESPONSE SPEED WCO MGF SUB OAC AFTER Setting the modulation through after touch 42 ARTURIA CS 80V USER S MANUAL The VCO and VCF modulation rate can also be modified through after touch with the faders under the TOUCH RESPONSE la
55. hange the panoramic of each of the singles in order to form a very large stereo sound gt It is also possible to select which singles will be sent to delay and chorus effects The ring modulator will not be used for this sound Deactivate the Rmod button on all of the singles gt It is also possible to change the tone range of certain singles by detuning them by an octave or a fifth below ARTURIA CS 80V USER S MANUAL 65 You will thus obtain a rich and powerful lead sound BINELE KEYB RANGE PATCH ACTIVE EDIT TRANSP DET voL ZONE MiDICH LOW HIGH VOICEMODE e F f x ee Z1 21 Chi co CS UniLas gt 4 G y 22 Jmni cal Unison mode settings 7 2 3 Introduction of the arpeggiator in a Multi preset Now let s program a Multi preset using the arpeggiator on one of the 4 zones Take the preset Wizd_Multi3 3 split zones on the keyboard are already in place gt A single bass sound on zone 1 from CO to B1 which will be played in unison mode UniLast thus monophonic gt A polyphonic accompaniment single on 4 notes on zone 2 from C2 to B3 gt A lead single on zone 3 from C5 to C7 also in unison mode UniLast The arpeggiator will act on zone3 gt Click on the VOICE ARP button on the right of the play mode selection KEYB RANGE Low WIDI CH HIGH VOICE MODE 2i Jmni CO B1 UniLas 22 Jmni C2 B4 23 Jmni C4 C7 UniLas Click on the Arp button of the
56. hange their state The rocker type switch is on in the lowered position 4 2 4 Ribbon The ribbon by default controls the pitch bend of the synthesizer Simply click on the ribbon while playing a note on the master keyboard or in the sequencer and move the mouse horizontally to change the pitch Just like a spring loaded dial the ribbon comes back to its initial position once the mouse has been released 34 ARTURIA CS 80V USER S MANUAL ARTURIA The ribbon controller 4 2 5 Setting keyboard zones Setting keyboard zones lets us define a zone on a master keyboard This will present two displays one for the minimum limit of the zone and one for the maximum To modify these values simply click on the value and vertically move the mouse KEY NGE Low HIGH Keyboard Zone settings There is another solution for easier definition of keyboard zones Just double click on the zone to be modified and a mini keyboard will appear on the screen Keyboard range Setup ALOLLUN AALALA CLUE LU The mini raybeara EKES zone SEHIN easier We can define a zone by simply clicking on the keyboard a click modifies the minimum limit and a right click or Shift Click modifies the maximal limit The white zone on the keyboard represents the active zone 4 2 6 Virtual Keyboard The keyboard lets you listen to the synthesizer sounds without the need for an external master MIDI keyboard and without programming a melody i
57. he Depth knob gt You can choose between two types of chorus Chorus and Tremolo The Tremolo oscillations are slower than those of the Chorus This effect is ideal for auto pan effects E T Oe Se H SPEED DEPTH SPEED DEPTH MIK ay BEBE fome Cup L SELECT Bn Bs Pona r TREM CHOR io na amp n SUST POATA SUST BUSS GUSS MODE The effects section Of course all of the settings that we have modified during these chapters will be saved in the preset that you have created ARTURIA CS 80V USER S MANUAL 29 4 THE INTERFACE 4 1 USE OF PRESETS Presets let you memorize the sounds of the CS 80V A preset contains all of the information pertaining to the reproduction of a sound In the program the presets are classed in banks and sub banks Each bank contains a certain number of sub banks which generally determine a type of sound sub bank basses sub bank sound effects etc Each sub bank contains within itself a certain number of presets The CS 80V is shipped with several factory banks But it is possible to create new user banks of sounds each containing a number of sub banks and presets For security the factory banks cannot be directly modified It is nonetheless possible to create a sound based on a factory preset by saving it as a user preset 4 1 1 Choice of a bank sub bank preset The bank sub bank and preset in use by the CS 80V are perma
58. he sliders are the most frequently used controllers on the CS 80V They are simple to move with a click on the cursor and a vertical mouse movement It is also possible to use finer settings with a right click on PC or Shift Click on Mac r RING MODULATOR ATTK DECAY DEPTH SPEED MOD Sliders 4 2 2 Knobs Generally the sequencers offer several knob control modes The default mode of control for knobs with the mouse is the circular mode click on the knob and turn around it in order to change the value of the controller The circular mode gives high precision in the manipulation of controls The further the mouse goes from the knob the higher the precision of the setting a a Circular knob In linear mode the knob can be set only by vertically moving the mouse not going around it Like the sliders it is possible to obtain a higher precision by right clicking or Shift Click on the knob concerned The linear mode can sometimes be simpler to use than the circular mode although we can loose in precision the precision is limited by the number of vertical pixels on the screen on which the mouse movements are being evaluated Movement to linear mode is available in the options of your sequencer In Cubase for example this choice can be found via the Edit Preferences menu and is found in the General tab of the window 4 2 3 Switches The CS 80V has several types of switches Simply click on these switches to c
59. ill use needs to be selected By clicking on the SINGLE PATCH display we can select one of the singles of the current preset or a new single For a given preset there can be up to 8 singles one per voice It is important to note that the choice of zones and the choice of sounds are independent Two zones can manage cards using the same sound and one zone can manage voices with different sounds The ACTIVE indicator shows the polyphonic voices that are currently active Four knobs set for each voice the range two octaves by semi tone fine tune a semi tone volume and the position in the stereo field pan In this section it is also possible for each voice to use or not to use the portamento or glissando the ring modulator or the effects chorus and delay with the PORTA R MOD or FX buttons 48 ARTURIA CS 80V USER S MANUAL The EDIT button is to edit the sound or single assigned to the polyphonic voice This updates the graphical interface controls so that they display the single settings The Multi mode possibilities are extremely varied It is possible to separate the keyboard into different zones each zone with a different sound to widen an accompaniment sound with the stereo image or fine tuning for a large chorused effect Another example would be to use the ring modulator only on one voice in order to limit intermodulation effects and so forth In order to listen to a pa
60. illiance knob As you have previously read the CS 80V has a large number of controllers acting on the tuning tone brilliance or the volume of a sound gt The keyboard receives velocity and polyphonic after touch information gt A ribbon controller lets you continuously control any synthesizer parameter through a modulation matrix the base assignment being oscillator frequency 3 7 THE EFFECTS SECTION The effects section lets you add Chorus Stereo Delay or even a Ring Modulator to your sound You can also impose a portamento glissando to what you play on the keyboard Settings concerning sustain and expression pedals are also available in this section Let s keep the spliti example and see how to use the effects within Multi mode gt Deactivate the FX button for single1 We won t place effects on the base sound 28 ARTURIA CS 80V USER S MANUAL BINGLE ZONE PATCH ACTIVE EDIT TRANSP a gt Leave the FX button activated on the other singles It is important to know that effect settings are the same for all singles gt Activate the ON OFF button for Chorus and Delay in the effects section on the left of the virtual keyboard gt Set the Mix knob for Delay in order to counterbalance the raw of the Singles and the return of the delay gt Next turn the Speed knob of the delay to set the speed of the repetitions gt Finally set the chorus depth by turning t
61. ine offered an approach that inspired musicians moving a potentiometer modifying a wheel can be enough to radically transform a sound But this synthesizer reproduced identically despite its particular structure would bring little innovation to today s musical landscape Arturia has thus brought new life to the myth remaining faithful to the sound and the functionality but also taking it several steps further As you will see these new additions bring a new lease of life to the CS 80V The possibility to affect a different sound to each of the polyphonic voices an independent keyboard management positioning in stereo space and particular tuning allow the amplification of the unique presence and the sonorities of this polyphonic synthesizer New combinations have emerged and the Multi mode will open enormous perspectives for those who take the time to discover its characteristics To this we have added a modulation matrix which widens the possibilities of creative combinations A new version which respects the past while bringing the possibilities of the present and future this was our vision for this CS 80V 10 ARTURIA CS 80V USER S MANUAL 1 3 A BETTER EMULATION THANKS TO TAE TAE True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits used in vintage synthesizers When implemented in software code TAE s algorithms guarantee the respect of hardware specification
62. lowering the linear Modulator slider lever while increasing Speed the sound will become more and more rich in harmonics The result can quickly become distorted but interesting for inharmonic sounds like special effects or bells for example RING MODULATOR Amplitude Amplitude Harmonic number 1 2 3 4 5 6 7 8 Frequency gt The noise module The noise signal spectrum has all frequencies at an equal volume level often referred to a white noise For this reason the noise module is used to create different noises like the imitation of wind or special effects White noise is the richest of noises Pink noise is also regularly present on synthesizers It is less rich in the high frequencies than white noise Also note that the audio output of noise can also be used as a modulation signal especially when strongly filtered to create random cyclic variations On pre cabled synthesizers the noise module is either integrated into the oscillator its audio output being placed to compliment the waveform outputs or within the mixer directing the signals towards the filter On the other hand on modular synthesizers it is an independent module ARTURIA CS 80V USER S MANUAL 53 6 1 2 The filter or VCF The audio signal generated by an oscillator the waveform is next generally directed to a filter module Voltage Controlled Filter It is this module that we use to model the sound by filtering by subtraction which ex
63. ly the seventh and eighth for zone 4 C6 to C7 Each of the 4 zones has a different single sonority the singles named 1 2 3 and 4 These singles can be detuned given panoramic and mixed In this example the 8 voices all have the same settings Change the panoramic of the first voice Place the sound to the right of stereo space turn the Pan potentiometer fully to the right value 1 00R gt Also detune it by lightly turning the Detune potentiometer to the right value of 1 00 Now change the panoramic of the second single fully to the left value 1 00L Detune the third set the Detune potentiometer to a value of 0 99 Use pan to position this single lightly to the right value 0 78R Detune the fourth put the Detune potentiometer to a value of 1 00 Place these 4 voices to Unison play mode by selecting the UniLast function in the play mode menu of the edit zone v v v v v 64 ARTURIA CS 80V USER S MANUAL The sound of single 1 will be fattened thanks to the detuning of the 4 voices and widened thanks to the panoramic settings between all of the voices By performing these first settings you have modified the Multil preset You can now save it in your own bank After this put the fourth zone to UniLast unison mode Lightly detune voices 7 and 8 to fatten the sound Separate the stereo position of these 2 voices to the right and to the left Finally
64. mation works with the CS 80V like any other VST plug in see the VST sequencer documentation for more details on plug in automation Preset changes however cannot be automated ARTURIA CS 80V USER S MANUAL 73 8 3 PRO TOOLS 8 3 1 Installation During the installation select the RTAS HTDM plug in RTAS only for PC among the choice of plug ins offered Then when you are asked indicate the folder where the other RTAS and HTDM plug ins are installed Generally the access is gt for Mac OS 9 System Folder DAE Folder Plug Ins gt for Windows C Program Files Digidesign DAE Plug Ins Whether your system can or cannot use HTDM plug ins see next section the installation is the same For Mac OS 9 you need to increase the memory allocated to DAE see the Pro Tools manual for the procedure by around 15 megabytes 8 3 2 RTAS and HTDM standards The CS 80V can function with the Digidesign audio engine DAE in two manners gt As an RTAS plug in Real Time Audio Suite All Pro Tool systems are compatible with this standard the sound treatment is done completely by the central unit and therefore does not require any specific extension card TDM type system On the TDM systems the RTAS plug ins can only be loaded on an audio track before the TDM plug ins They cannot be loaded to an Aux Input or a Master Fader gt Asa HTDM plug in Host Time Division Multiplexing Only TDM Systems so with at least one
65. me r 4r Attack Decay Rekase time tims time E S J Key Down Key Up On the VCF of the CS 80V the envelopes include 2 additional settings gt gt The initial level IL is the initial level of the filter opening that we obtain when a key is pressed The Attack Level is the attack level of the filter opening that we obtain when a key is pressed LONG LONG 10 LONG S a SHOAT R SH The CS 80V ADSR envelope 6 2 3 The low frequency oscillator The LFO Low Frequency Oscillator or Sub oscillator on the CS 80V possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz In other words you won t hear the pitch of its sound It will create a cyclic modulation on the setting to which it is connected For example ARTURIA CS 80V USER S MANUAL 57 gt If the sinusoid waveform of an LFO modulates the volume of an amplifier the sound will increase in volume then disappear in a varying manner following the speed the frequency of this LFO This will produce a tremolo effect gt A sinusoid waveform on an LFO modulating the frequency of an oscillator would produce a vibrato effect The frequency of this oscillator will thus be modulated up and down gt With an LFO sinusoid wave modulating the cut off frequency of a lightly resonant low pass filter you will obtain a wah wah effect amplitude
66. mentary group of four lines The two first groups set each of the eight voices while the last set the MIDI message control zones 70 F EEYE AANGE IDICH LOW HIGH WOICE MODE Control zones The zones allow the independent control of the polyphonic voices Each zone responds to a MIDI channel which can be assigned to the same or a differing channel When a note comes through the selected channel it is only taken into account if it is between the limits of the KEYB RANGE display The zone will therefore activate the polyphonic voices associated with it depending on the choice in the VOICE MODE display To modify the KEYB RANGE limits double click on the display and choose the low note with a left click and the high note with a right click Shift click for Mac ARTURIA CS 80V USER S MANUAL 47 There are 6 polyphonic voice modes possible CsAssign This mode of voice control is identical to the original CS 80 The zone plays a voice randomly among the voices that have been affected to it The portamento or the glissando is reinitialized when the time between the arrival of this note and the release of the previous note exceeds a certain value in the area of 170 ms Thus in the case of chords all of the voices will start their portamento or glissando from the same note Rotate The polyphonic voices are used in a rotating assignment The zone uses the next free available voice When the last voice is reached
67. menu for this in Cubase 72 ARTURIA CS 80V USER S MANUAL Projet Cubase SX Sans Titre Paean tor PENDS MIDI 01 J Boo as Sie xs IMA pi Le ja LR jw 100 e xis IA 0 ja LR w 0 7 o xis Tiny IDI Inputs xis IMA Lo Hea fi Rw MIDI 06 E e LR jw MiDio7 ee Mappeur MIDI Microsoft e Rw Synth SW table de sons G5 Mic LAL Synth SW table de sons GS Mic Non Connect Connection of a MIDI track to the CS 80V The MIDI events played on a MIDI keyboard are then transmitted by your sequencer to the CS 80V It is of course possible to record these MIDI events and use the entire MIDI editing options of the sequencer 8 2 4 Saving presets When the session is saved the state of the CS 80V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the CS 80V will load the preset BassOne plus the changes The drop down menu offered within the VST sequencer which saves the settings of a plug ins is of course compatible with the CS 80V Nonetheless it is strongly recommended that you use the internal menu of the CS 80V the presets saved in this manner can be used in any other mode standalone or other sequencer and can be exported as a separate file 8 2 5 Automation Auto
68. n the sequencer Just click on a virtual key to hear the corresponding sound 4 2 7 MIDI control Most of the knobs sliders and switches on the CS 80V can be manipulated with external MIDI controllers Before anything else make sure that the MIDI device that you wish to use is correctly connected to the computer and that the sequencer or the CS 80V application is correctly configured to receive MIDI events coming from the device Every instance of the CS 80V receives MIDI events transmitted on a given channel This reception channel is defined in a global manner for the synthesizer either in your sequencer or in the independent CS 80V application see the corresponding chapters On the reception channel the CS 80V can receive up to 120 different MIDI controls It is possible to choose a reception control for each knob For this click on the knob that you wish to control while holding down the Ctrl key A configuration window appears and will allow you to choose a MIDI control number You can also click on the Learn button and move one of your physical MIDI controllers In this case the control number will be detected and configured automatically To deactivate the MIDI control of a knob simply uncheck the Active option in the MIDI control window ARTURIA CS 80V USER S MANUAL 35 HighPass1 Cutoff O Active Control 0 Learn MIDI configuration of a knob 36 ARTURIA CS 80V USER S MANUAL 5 U
69. ne 2 Siev3Dc Decay time for the envelope of the filters on line 2 Siev3Re Release time for the envelope of the filters on line 2 Siev4At Attack time for the envelope of the VCA on line 2 Siev4Dc Decay time for the envelope of the VCA on line 2 Siev4Re Release time for the envelope of the VCA on line 2 Siev4Su Sustain level for the envelope of the VCA on line 2 SiFrHil Line 1 high pass filter cut off frequency S1FrLoi Line 1 low pass filter cut off frequency S1FrHi2 Line 2 high pass filter cut off frequency S1FrLo2 Line 2 low pass filter cut off frequency SiInBri Brilliance of line 1 controlled by the velocity SiInLel Volume of line 1 controlled by the velocity SiInBr2 Brilliance of line 2 controlled by the velocity SiInLe2 Volume of line 2 controlled by the velocity SiLevi Line 1 VCA level SiLev2 Line 2 VCA level SiLevF1 Line 1 filter output level SiLevF2 Line 2 filter output level S1LfiSp Line 1 LFO speed SiLfiPw Line 1 impulse width modulation amplitude S1Lf2Sp Line 2 LFO speed SiLf2Pw Line 2 impulse width modulation amplitude SiMixe Mixing of line 1 and line 2 SiM0iAm Modulation amplitude for line 1 of the matrix S1M02Am Modulation amplitude for line 2 of the matrix 82 ARTURIA CS 80V USER S MANUAL SiMO03Am SiM04Am SiMO5Am S1iMO6Am S1M07Am S1MO8Am SiMO9Am SiM10Am Siolnoi Siolsin Sioiwid Sio2noi Sio2sin Sio2wid SiReHil SiReLol
70. nently displayed in the synthesizer tool bar Display of current bank sub bank and preset To choose a preset in the current sub bank click on the button and a dropdown menu appears with a list of the presets of the same sub bank You can choose another preset by selecting the corresponding line in the dropdown menu As soon as the preset has been chosen you can play the new sound on your MIDI keyboard or from your sequencer one_osc saw three_single two_pwm two_single New preset Delete preset one_osc E Choice of a preset in the same sub bank To choose a preset in the same main bank but a different sub bank click on the button iam and a dropdown menu appears with a list of the sub banks contained in the same main bank Each sub bank listed in the menu allows you to open a sub menu containing its presets A click on a preset allows you to directly choose a preset in the new sub bank 30 ARTURIA CS 80V USER S MANUAL bassl test New preset New subbank Delete sub bank test Choice of a preset in another sub bank To choose a preset in another main bank click on the button and a dropdown menu appears with a list of the main banks available with the sub banks corresponding to the sub banks defined in each main bank and to the presets contained in each sub bank You can thus freely choose a preset by clicking on its name HELICOPT 01 KEYBOARD HELICOPT 02 LEAD NOISE
71. nges The dropdown menu offered by Digital Performer to save the settings of a plug in does work with the CS 80V Nonetheless we recommend that you use the internal menu of the CS 80V This is for several reasons gt Presets saved in this manner can be used in any other sequencer making the exchange between users easier gt They will be compatible with the different versions of the CS 80V that will appear later on 8 5 5 Automation Automation works with the CS 80V like any other MAS plug in refer to the Digital Performer documentation for more details on the automation of plug ins The changes in presets an so the movement of cables cannot be automated 80 ARTURIA CS 80V USER S MANUAL 9 APPENDICES 9 1 LIST OF ABBREVIATIONS FOR GENERAL PARAMETERS FOR ALL POLYPHONIC VOICES atavcf Pressure action setting after touch on the amplitude of the sub oscillator action on the VCF atavco Pressure action setting after touch on the amplitude of the sub oscillator action on the VCO atinit Velocity action setting on the glissando for the start of the note atspeed Pressure action setting after touch on the frequency of the sub oscillator bend Tuning wheel pitch bend brill General synthesizer brilliance depcho Chorus depth depdel Delay depth drydel Level of mixing of the part treated by the delay exp Expression pedal kbbrhi Key follow setting for the superior section on the on th
72. nk to create a new bank of sounds You can then change the name of this bank by clicking on its name in the tool bar and entering the new name To create a new sub bank just click on the button ES and select New subbank You can also change the name of the new sub bank Finally to create a new preset click on the button and select New preset The new preset is created recording the current settings of the CS 80V You can thus work on the settings of a sound and save the sound again with the same preset name by clicking on the save button see the following paragraph You can also change the name of the new preset by clicking on its name 4 1 3 Saving a user preset To save your setting modifications in the current preset click on the Save button in the tool bar of the CS 80V SAVE fall Save button in the tool bar If you want to save your settings under another preset name click on the Save As button in the tool bar A dropdown menu appears and lets you choose an existing preset in this case the contents of the existing preset will be replaced with the current settings or to save your settings as a new preset in this case click on New preset in the sub bank of your choice 32 ARTURIA CS 80V USER S MANUAL one_osc saw three_single two_osc two_pwm two_single New preset Save As button and save menu in the tool bar When you are working from a factory
73. ns a MOOULATIO SOURCE AMOUAT DESTINATION LFO 1 Pict F oT e oT ot eC oT Modulate the frequency of the low pass filter LPF1 with the LFO Sub 1 gt Between the LCD screens is a knob Amt It allows you to set the level of modulation by applying positive values by turning to the right or negative values by turning to the left AMOUNT DESTINATIC f r mount Mod0 0 13 Turn the knob to the right for a positive value After this modulation is set the cut off frequency will vary in a cyclic manner to the frequency of LFO1 ARTURIA CS 80V USER S MANUAL 25 3 5 OVERVIEW OF MULTI MODE The CS 80V allows the creation of 8 parallel voices and thus in theory 8 different sounds played at the same time On the original CS 80 a note was controlled by a card that was filled with electronic circuits that represented the complete synthesis architecture It is for this reason that we could for example obtain notable differences in the settings of a sound between the notes played and the tuning of the oscillator The CS 80V conserves this ideal you can program eight different sounds eight voices which are assignable in a multitude of applications With Multi mode it is possible for you to assign each of these 8 voices to 4 keyboard zones and to 4 different MIDI channels These 8 voices can also be superimposed across the entire keyboard in order to create a composite sound th
74. ope modulates the signal going through the amplifier gt Velocity and after touch settings on volume VCA and brilliance VCF v v v v v HIGH HIGH HIGH 6 5 LONG LONG LONG 10 LONG LONG 10 LONG 10 2 z 2 53 2 mio LFO WAVE SLOW o Dx o ac ou g g SHORT SHORT O SHORT O o 0 o g RES A gt lt A D 5 a LEVEL BRILL LEVEL BAILL LEVEL SYNC RODE FORM SPEED PWE PY J ee ey INITIAL S AFTER LINK S E 0 E a vr ooo _ TOUCH REBPONBE f aE WCF c INITIALS AFTER WAVE SPEED PWR PWE I II HOISE gt HPF lt RE L A D LEVEL gt eu lt A D 5 A LEVEL BAILL LEVEL BAILL LEVEL FORN FAST 10 10 HIGH 10 LONG LONG 10 Lone 10 10 10 10 10 Pap lt i 4 u w _ THE e al n aE nit man ae z m oa a aa a a a aa an Je 4 4 SYNC SLOW oO s i i O SHORT SHORT b SHORT 5 The synthesis parameters A series of 24 buttons of factory presets will give you base examples for the programming of synthesis parameters These presets are found on the control panel They offer the presets of the original CS 80 HE 00080 00 i 0 HE gt Gaeees Synthesis line presets Let s see how to quickly create a polyphonic sound that evolves through time gt To really understand the programming of the CS 80V let s take a very simple sound Select the preset 1_voice in the User Temp sub bank The structure of this sound is ver
75. or example is presented with a single active synthesis line an oscillator is directed to the low pass filter the signal is then routed towards the VCA It is also possible to visualize the totality of presets corresponding to a type of sub bank by choosing the option All in the bank For example to see all bass presets click on All gt in the bank selections and then on Bass 3 1 1 Modifying this preset For this we ll begin with a simple manipulation gt Modify the brilliance of the Brass 1 sound with the Brilliance controller on the synthesizer For this increase or decrease the green linear brill knob on the control panel above the virtual keyboard The tone of the sound will become more or less brilliant Set this knob to your convenience gt In the same manner you can change the range of the oscillator by decreasing the linear Feet I knob to one of the 6 values expressed in Feet like organs The lower the number the higher the pitch The standard tuning can be found at the value 8 I HOBO og EEBBHeoo Brilliance h 0 47 Change the brilliance of the sound With these first settings you have already modified the preset 1 voice You can now save the sound that you have just created gt To save a user preset user click on the save icon in the tool bar The settings of the current sound will be saved in the preset being used without changing its name
76. ors A i Amount Mod0 g 0 01 Turn the modulation rate potentiometer Amt gt For the 2nd source of modulation choose LFO2 to modulate the LP1 Cutoff for Low Pass filter1 cutoff gt Turn the Amt potentiometer to 0 20 to have a positive modulation on the frequency of filter LP 1 For the 3rd source of modulation choose Sub2 to modulate the LP2 Cutoff Turn the Amt potentiometer to a value of 0 20 to have a negative modulation on the frequency of filter LP 2 These 2 modulations will cross paths gt Next add the velocity to modulate the attack time of the VCA1 envelope EG VCA1 A Turn the Amt potentiometer to a value of 0 40 Do the same for the attack time of the VCA2 envelope Turn the Amt potentiometer to the same value as previously To finish this sound add after touch to the frequencies of high pass filters 1 and 2 Set the Amt potentiometer to 0 20 vv v v v v v 1 10 10 10 Hooutation SELECT _ SOURCE AMOUI ATION j SOURCE AMOUNT DESTINATION tow Low Low tow o O O SHORT O ee Dih eT RE RES LO AL o R v K 5 A LEVEL BRILL LEVEL BRILL LEVEL INITIAL AFTER aa mA Son N MODE FOAN SPEE svh NOISE 24an LINK J i FJ ven a unue se eo pwu pun Y ie NOISE 10 Low Low SHORT SHORT O O SHORTS O SHORT oO DETUNE AING MODULATOR FUNCTION g 2V8 OSCILLATOR 1 FEET 2 x TOUCH RESPONSE KEYS CONTRO
77. ower the volume of the amplifier gt To start and stop the sound and this at the tone that we require we use a keyboard that is connected to the oscillator This will play the sound as soon as a key is pressed and mute it when released Of course this connection is made through MIDI it replaces the gate type of connections on analog synthesizers which trigger the note when a key is pressed and stop it when released On analog synthesizers the key provides a gate which is often used to open and close the volume of the amplifier gate The key position provides a control voltage that tells the oscillator what pitch level to play when the gate opens 56 ARTURIA CS 80V USER S MANUAL 6 2 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the volume of the sound when we press a key on the keyboard and ends after the note is released The most common modules developed use 4 settings that we can vary gt The Attack is the sound that the sound will take to reach its maximum volume once we have pressed a key on the keyboard gt The Decay fall is the time that the sound will take to diminish when a note is pressed gt The Sustain hold is the maximum volume level that the sound will reach when a key is pressed gt The Release is the time that the sound will take to diminish once the key has been released Level Sustain level Ti
78. plains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be considered like a sophisticated equalizer that reduces depending on the case the high or low frequencies of a sound The removal of undesirable frequencies with a cut off frequency is not done suddenly but progressively this depending on the filtering slope This filtering slope is expressed in decibels per octave or dB Oct The filters used in classic analog synthesizers have 24 dB Oct or 12 dB Oct slopes The CS 80V offers 2 types of slope where the CS 80 had only the 12 dB Oct slope amplitude amplitude GF amplitude frequency frequency frequency rough signal low pass filter filtred signal CF Cutoff Frequency On the CS 80V you have access to 3 different types of filtering Let s have a look at some of their properties The low pass LPF deletes high frequencies going from a frequency limit the famous cut off frequency and only lets low frequencies through Depending on the setting we will here the sound becoming more or less brilliant more or less dampened This is the type of filtering that you will find more often than not on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synthesizers iTA i Cea Hz 20 00 40 00 80 00 160 0 320 0 640 0 1280 2660 5120 10240 The low pass filter e The high pass HPF unlike the low pass elimin
79. preset which cannot be deleted clicking on the SAVE button will not replace the current factory preset but will instead automatically open the SAVE AS menu to save the current settings as a user preset 4 1 4 Import Export of a bank of presets It is possible to import new banks of presets conceived for the CS 80V To import a new bank of presets click on the preset bank import button on the tool bar IMPORT aE Preset bank import button on the tool bar When you click on this button a window will appear allowing you to choose the preset bank file for the CS 80V AYS file on PC Acys file on Mac Choose the file that you want to import and click on Open The new bank of presets will automatically appear among the available banks The CS 80V equally offers the possibility to export your own sounds to save them to use them on another machine or to make them available to other users It is possible to export a preset a sub bank or a complete bank To export the current bank sub bank or preset click on preset bank export button in the tool bar of the program Preset Current preset bank export button in the tool bar Select the type of export that you want to perform bank sub bank or preset and a window will appear giving you access to a choice of destination folder and file name for the bank that you are exporting ARTURIA CS 80V USER S MANUAL 33 4 2 USING CONTROLLERS 4 2 1 Sliders T
80. r you can play several instruments on the same keyboard each one on a different zone To activate this function check the zone option in the tool bar You can then limit the keyboard zone to be used by setting the lowest and highest notes to be applied to this instrument 8 1 3 3 Configuration on the octave The octave lets you move the notes of your keyboard by one or several octaves This function is interesting if your keyboard doesn t cover the octave that you want to play or if you have activated the keyboard zone option 8 1 3 4 Configuration of the audio output The last part of the tool bar lets you select the audio channel on which you wish to play the instrument If the sound car that you have selected offers several audio outputs you will find a list of available audio outputs Just choose the pair of outputs that you want to use to play this instrument 8 1 4 Information on rate of processor use The processor usage gage lets you control the processor power dedicated to sound synthesis in real time On PC this gage is directly visible in the instruments tool bar On Mac you can display it from the application menu Window gt Cpu or through the shortcut 98 L Attention this information only corresponds to the processor rate dedicated to sound synthesis which is not the same as global system load 8 1 5 Panic If the notes remain active without reason it is possible to send a MIDI message to the inst
81. resonance of each of these filters can be set with the green and red HPF and LPF faders above or below the labels HIGH HIGH HIGH HIGH u Setting the filters By clicking on these labels it is possible to activate or deactivate a filter in order to save on calculation power The 24dB button lets us go from a 12dB filter to a 24dB filter The two low pass and high pass filters are simultaneously modified LONG LOWS LONG BOAT SHORT SHOEI MESSA Filter envelope settings The filters are modulated by an envelope where the IL Initial Level AL Attack Level A Attack D Decay and R Release settings function in the following manner IL represents the start of the envelope relative to the frequency of the filter The filter frequency will be modulated starting with a frequency inferior to the frequency setting The more IL is increased the lower the starting frequency will be 38 ARTURIA CS 80V USER S MANUAL AL represents the maximum level attained by the envelope A the attack time meaning the time that the envelope takes to go from the IL level to the AL level D the decay time meaning the time that the envelope takes to go from the AL level to zero and finally R gt the release time meaning the time that the envelope takes to go from the zero level to the IL level The output of the filters is controlled by a volume VCF LEVEL
82. rticular sound just close the Multi hatch The sound used is thus the sound being currently edited The closing of the hatch corresponds to solo mode with a voice control using the CsAssign mode on the entire of the keyboard Certain settings are the same for all voices This is the case for settings that control the effects chorus delay ring modulator pedals sustain and portamento It is also the case for the settings controlling the sub oscillator the pressure on the keys that affect the sub oscillator the key follows and finally the general brilliance and resonance of the synthesizer ARTURIA General settings The other settings affect each sound independently of the others setting the different parameters of a single voice ma 2 JEM Ts gt s FTES fe Polyphonic Settings ARTURIA CS 80V USER S MANUAL 49 6 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all forms of sound synthesis subtractive synthesis is one of the oldest and still certainly one of the most employed today It is this method that was developed toward the end of the 60 s on analog synthesizers like the Moog ARP Yamaha Buchla Oberheim Sequential Circuits Prophet series Roland Korg MS and PS series and many others This concept of synthesis is still used on most current digital synthesizers complementing sample reading or wave tables which have progressively replaced the analog oscillators of the first synth
83. ruments to cut all of the notes that haven t stopped On PC click on the S icon in the tool bar of the instrument On Mac this command is found in menu Help gt Panic or with the shortcut 9 P 8 1 6 Saving an instrument This allows you to save the state of an instrument which is to say the sound settings but also the MIDI and audio configuration To save a configuration simply select the menu File gt save or File gt Save as to save under a different name Attention Saving a configuration in the CS 80V application saves the sound settings on the instrument this has nothing to do saving the sound presets of the instrument itself cf 4 1 3 Saving a user preset Saving in the application does not imply saving the current preset ARTURIA CS 80V USER S MANUAL 71 8 2 VST 8 2 1 Installation 8 2 1 1 For Windows During the installation check the VST option among the plug in formats proposed The installer will automatically detect the VST instrument folder used by your VST host such as Cubase In the case of another VST compatible sequencer like Logic Audio for example you need to manually copy the plug in file to the appropriate folder You can find this file after installation in the folder C Program Files Arturia CS 80V The file is named CS 80V dll gt 8 2 1 2 For Mac OS 9 During the installation check the VST option among the plug in formats proposed Next the installer
84. s This is why your CS 80V offers an unparalleled quality of sound In detail TAE regroups four major advances in the domain of synthesis 1 3 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and also when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM and at no extra CPU cost 42 dB at 9 705 Hz aa ee Aliasing Sam at 6 034 Hz 6837 Linear PeaUeney PEA 7 T CS 80V PeEIatOr made with TAE ARTURIA CS 80V USER S MANUAL 11 1 3 2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a condenser in the circuits The discharge of the condenser results in a light bend in the original waveform notably for saw tooth triangular and square waveforms TAE allows the reproduction of this condenser discharge Underneath is the analysis of a waveform from the original CS 80 original and that of the CS 80V They are both equally deformed by the CS 80 low pass and high pass filtering Temporal representation of a saw tooth waveform deformed by high pass and low pass filtering of the CS 80V Temporal representation of a saw tooth waveform deformed
85. s and low pass filters gt 2 output VCAs gt The filter and VCA envelopes are active The modulation matrix will be active for Sub oscillatori LFO1 modulates the frequency of Oscillateur1 Sub oscillator2 LFO2 modulates the cut off frequency of low pass filter1 Sub oscillator2 LFO2 modulates the cut off frequency of low pass filter2 Velocity modulates the attack of VCA1 envelope Velocity modulates the attack of VCA2 envelope After touch modulates the cut off frequency of high pas filters 1 and 2 vvrovrovrTive wv The settings concerning the 2 lines of synthesis having already been programmed we will concentrate on the use of the modulation matrix gt On the matrix begin by choosing the first source of modulation LFO1 for low frequency oscillator1 gt Repeat for the first destination choose VCO1 Freq pour Voltage Controlled Oscillator1l Frequency ARTURIA CS 80V USER S MANUAL 61 EEEE SIE DOOR ELEC SOURCE AMOUNT DESTINATION SOURCE AMOUNT DESTINATION B CO1 PW EG YCF 1D Noise 1 vol EGYCFIR orn on J Noise 2 vol EG YCF 2 IL X VCO 2 Freq EG YCF 2 AL VCO 2 PW EG YCF2A HP 1 cut EG YCF 2D HP 1 res EG YCF2R Choose destination VCO1 Freq or gt Slightly turn the modulation rate potentiometer Amt towards the right use a value around 0 01 The oscillator frequency lightly varies up and down to create a gap in tuning between the 2 oscillat
86. sine first validate that the linear slider it must light on and then set its volume with this slider The square and triangle signals are affected by the pulse width settings noted PW The fader is used to choose a pulse width from 50 to 90 This pulse width can be modified by a low frequency oscillator LFO The modulation rate is set with the PWM fader and the speed with the speed fader ARTURIA CS 80V USER S MANUAL 37 s TRIG mol MORO Stat PWM Settings Unlike the original CS 80 LFO where only the sine waveforms were available the wave can be set with the WAVE FORM selector The waveforms available are sine saw up saw down square noise and random This LFO can function in three modes chosen on the LFO MODE selector FREE meaning that all LFOs of each of the polyphonic voices function independently of the others TRIGG meaning that the LFO restarts at the beginning of its waveform each time that the polyphonic voice is activated and finally MONO where only the LFO of the first polyphonic voice is used The latter allows us to bring a general effect to all of the voices at the same time like the original CS 80 It is possible to synchronize the LFO speed with the tempo of the host application with the MIDI SYNC button The signal from the oscillators then goes through two filters in a series one high pass and one low pass The cut off frequency and the
87. t with the SPEED fader The lower ARTURIA CS 80V USER S MANUAL 43 the fader is positioned the higher the sine frequency The generated harmonics will then move away from harmonics of the treated sound Three other faders modulate this effect These set an envelope applied to the frequency of the sine ATTK gives the time taken for the sine to go from the initial frequency set by SPEED to the frequency set by DEPTH while DECAY sets the time for the return to the initial frequency 5 7 CHORUS TREMOLO Chorus tremolo is an effect that allows a variety of effects from simulation of an ensemble to that of a rotary speaker It is activated with the CHOR switch fa ft SPEED DEPTH conus Setting chorus tremolo The TREM switch takes us from chorus mode to tremolo mode While the rotary SPEED and DEPTH knobs respectively set the speed of rotation and depth of the effect 5 8 STEREO DELAY Delay is an effect that simulates an echo It is activated with the DEL switch A w Fa SPEED DEPTH MIN L DEL Te l Setting Delay The rotary SPEED DEPTH and MIX knobs set the time between each echo the echo decay time and finally the output level for the effect The SYNC button is used to obtain echo times as a multiple or sub multiple of the host application tempo You choose the multiple or sub multiple with the SPEED knob 44 ARTURIA
88. the note make sure that the arpeggiator Hold button is deactivated ARTURIA CS 80V USER S MANUAL 67 24 Jmni HIGH HIGH HIGH HIGH 5 5 LONG LONG LONG 40 10 LONG rs i 5 peruwe RING MODULATOR mx KEY CONTR ee Te Ae PORE eee Coens INITIAL SUB OSC AFTER LOW HIGH LOW HIGH TREW CHOR DEL mor SYNC The final sequence note the various knob settings for each voice in the Multi section 7 3 2 Stereo sound without the effects If you use a preset with one of the 3 Unison modes High Low Last it is possible to make the sound fatter and heavier without using a chorus effect Remember that in this mode all of the voices assigned to that zone play at the same time when we press a note gt Start by slightly detuning all of the voices used in this sound gt Separate the stereo position of each voice You will get a sonority that is naturally large and nearly identical to what can come from a chorus effect It should be noted that the more voices you use the richer the sound x Voice2 Detune m 0 99 Detune all of the singles 68 ARTURIA CS 80V USER S MANUAL 8 MODES OF USE OF THE CS 80V 8 1 STAND ALONE The CS 80V application can be used as an instrument independently of a sequencer stand alone mode This lets you open one or several instruments and to play with a master MIDI keyboard Attention The stand alone application is only
89. the sound card that you want to use gt Frequency Here choose the sampling frequency among those offered by your sound card Latency Here you can set the optimal audio latency depending on the performance of your sound card and your system Attention latency too weak can cause the sound to jump gt Knob control type Here choose the mode of instrument potentiometer control 8 1 3 Configuration of an instrument the tool bar Each instrument has a tool bar allowing the setting of MIDI event input routing and the output of the sound Midi in EWS88 MT MIDI v Chan fAl v Key range we Eir Octave LH Audio Creative Sound Blaster PCI vj Cpu xi e Panic Bl The PC tool bar e9 Untitled oO Port A All H O Split o oe 127 0 z Built in audio controller Midi input Midi channel Keyboard range Octave Audio channel The Mac tool bar 8 1 3 1 Configuring MIDI routing The first part of the tool bar lets you select the MIDI input that will be applied to the instrument Choose the MIDI port to which your keyboard is connected as well as the channel that you want to use You can choose to select a particular channel or all of the channels of this port by selecting All in the choice of MIDI channels 70 ARTURIA CS 80V USER S MANUAL 8 1 3 2 Configuration of the keyboard zone The keyboard zone lets you use just one section of your keyboard to command the instrument In this manne
90. their respective owners TABLE OF CONTENTS 1 INTRODUCTION 1 1 The birth of the Yamaha CS 80 7 1 2 Why a virtual CS 80 10 1 3 A better emulation thanks to TAE 11 1 3 1 Aliasing free oscillators 11 1 3 2 A better reproduction of analog oscillator waveforms 12 1 3 3 A better reproduction of analog filters 13 1 3 4 Ring modulator 13 2 INSTALLATION 2 1 Windows 14 2 2 Mac OS X 16 2 3 Mac OS 9 17 3 QUICK START 3 1 Use of presets 19 3 2 Methods of playing 21 3 3 Overview of Single mode 23 3 4 The modulation matrix 25 3 5 Overview of Multi mode 26 3 6 The real time controllers and MIDI assign 28 3 7 The effects section 28 4 THE INTERFACE 4 1 Use of presets 30 4 1 1 Choice 30 4 1 2 Creation 32 4 1 3 Saving 32 4 1 4 Importation Exportation 33 4 2 Using controllers 34 4 2 1 Sliders 34 4 2 2 Knobs 34 4 2 3 Switches 34 4 2 4 Ribbon 34 4 2 5 Setting keyboard zones 35 4 2 6 Keyboard 35 4 2 7 MIDI control 35 5 USING THE CS 80V imal The Single mode 37 5 2 Two lines of synthesis 37 5 3 The modulation matrix 40 5 4 The sub oscillator 42 5 5 The keyboard modulations 43 5 6 The ring modulator 43 5 7 Chorus Tremolo 44 5 8 Stereo delay 44 5 9 The pedals 45 5 10 The arpeggiator 46 5 11 The pre selection buttons 46 5 12 The ribbon 46 5 13 General settings 47 5 14 The Multi mode 47 6 THE BASICS OF SUBTRACTIVE SYNTHESIS 6 1 The 3 main elements 50 6 1 1 The oscillator 50 6 1 2 The filter 54 6 1
91. u to modify the waveform cycle or wave length This can be done manually with the help of a knob PW or by modulation with an envelope or LFO This impulse width variation translates to a spectrum modification resembling a waveform change requency Unlike many other classic analog synthesizers the CS 80V lets you change the impulse width not only for the square waveform but also for the triangle This brings a large number of additional sound possibilities to compliment the base signal The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillator1 oscillator2 will restart a new period every time the first oscillator completes a period even if oscillator2 has not completed a complete period this signifies that it is not tuned to the same tonality The more you tune oscillator2 upwards the more you will encounter composite waveforms 52 ARTURIA CS 80V USER S MANUAL One Period Oscillator 1 Oscillator 2 synchronized In the above image oscillator2 is synchronized with the first and tuned to with double the tonality The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering A ring modulator can be created when an oscillator modulates another oscillator On the CS 80V you can find the Ring Mod module above and to the left of the ribbon controller By
92. uency Q resonance ARTURIA CS 80V USER S MANUAL 55 With a high resonance level the filter will begin to produce a sound close to a sine waveform At this stage the use of a key follow is very important as you can create a melody by tuning the cut off frequency of the filter with the frequency of the oscillators HIGH HIGH HIGH HIGH 6 5 LONG LONG LONG O SHORT SHORT Biuh AL A 0 A The filter settings of the CS 80V 6 1 3 The amplifier or VCA The amplifier Voltage Controlled Amplifier receives the audio signal coming from the filter or directly from the oscillator if it is not being filtered to adjust the before the volume is sent to the outputs 10 i0 LONG LONG 10 LONG 40 gt O O SHORTSHORT SHORT O yi ea F gt N v A LEVEL LEVEL VCA The CS 80V VCA In conclusion here is a diagram that should help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER gt LOUD SPEAKERS audio signal 6 2 OTHER MODULES 6 2 1 The keyboard If we stop here the sound that you will obtain will be uniform without life and without an end The oscillator delivers a sound signal the audio output of a waveform of a fixed pitch in a continuous manner In the diagram above the only way to stop this quickly disagreeable sound is to lower the filter cut off frequency so that it becomes more and more damp until it finally disappears or simpler yet l
93. will offer to automatically look for the folder containing the virtual instruments used by your sequencer Cubase or Logic Audio and may ask you to confirm its choice It is possible that the installer fails to automatically find your sequencers installation folder In this case you can still manually copy the plug in file which is found after installation in Applications Arturia CS 80V VSTPlugin gt to the appropriate folder of your sequencer 8 2 1 3 For Mac OS X During the installation check the VST option among the plug in formats proposed The VST plug in will automatically be installed in the system folder corresponding to VST instruments allowing it to be used by your VST host applications 8 2 2 Using the instrument in VST mode The opening of the CS 80V VST plug in is like any other VST plug in please consult the host sequencers user manual for more information For Cubase SX open the menu Devices VST Instruments and choose the CS 80V in the rack thier Edition Projet Audio MIDI Partitions Biblioth que Transport P riph riques Fen tre E 0001 01 01 000 f v Pas d Instrument VST R _0001 01 01 000 Be Cubase 5 Instruments gt E Drums d Synths Moog Opening the CS 80V in Cubase SX for PC 8 2 3 Connection to a MIDI track So that the CS 80V can play information coming from a MIDI track you need to choose a MIDI track and select the CS 80V as MIDI output of this track by using the
94. y basic the oscillatori saw tooth waveform is active and the signal is directed through the low pass filter the high pass filter is deactivated and then the output amplifier Oscillator VCO Filter VCF Amplifier Sortie audio N En VCA Ga 2 TEER Envelope gt Audio signal H ADSR The route of the preset sound 1_voice ARTURIA CS 80V USER S MANUAL 23 gt Start by reducing the cut off frequency of the low pass filter LPF This will make the sound more muted For this set the linear green LPF knob Set the cut off frequency Note that the filter cut off frequency is modulated by an ADR envelope Attack Decay and Release gt To really hear the effect from the ADR envelope on the filter cut off frequency increase the value for the resonance ResL This will amplify the filtering effect and the sound will start to make the cutoff frequency more pronounced producing a whistle effect gt Change the length of attack for this envelope A so that the brilliance increases slower or faster when a note is played gt In the same manner change the value for the decay D gt The brilliance will also decrease faster or slower while you are holding the note 6 LONG LONG LONG The parameters of the filter envelope You have probably noticed that a different envelope can also modulate the amplitude of the sound VCA gt Increase the attack time A so that the volume of th

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