USER MANUAL ARTURIA – CS-80 V – USER MANUAL 1
Direction Frédéric Brun Kevin Molcard Development Stefano D'Angelo Samuel Limier Baptiste Aubry Germain Marzin Corentin Comte Mathieu Nocenti Baptiste Le Goff Pierre Pfister Pierre-Lin Laneyrie Benjamin Renard Valentin Lepetit Design Glen Darcey Sebastien Rochard Yannick Bonnefoy Greg Vezon Morgan Perrier, Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Manual Jason Valax Special Thanks Alejandro Cajica Sergio Martinez Denis Efendic Shaba Martinez, Ruary Galbraith Miguel Moreno
Table of Contents 1 INTRODUCTION ................................................................................................................. 6 1.1 The birth of the Yamahatm CS-80......................................................................................................... 6 1.2 Why a virtual CS-80? .............................................................................................................................. 8 1.3 Arturia’s secret ingredient: TAE ® .....................
3.4 3.5 3.6 4 3.3.5.1 Add a playlist .......................................................................................................................................................... 30 3.3.5.2 Add a preset ........................................................................................................................................................... 30 3.3.5.3 Re-order the presets ...................................................................................................
.2.3 5.3 6 Introduction of the arpeggiator in a Multi preset .......................................................................... 67 Other sides of the CS-80V ................................................................................................................... 69 5.3.1 A step sequencer ........................................................................................................................... 69 5.3.2 Stereo sound without the effects ...............................
1 INTRODUCTION Arturia would like to thank you for purchasing our synthesizer model: the CS-80 V. We are confident it will prove to be an extremely valuable addition to your music production studio. If you’ve purchased our products before, you know we pride ourselves in faithfully recreating the sound and feel of the original instruments, down to the smallest detail. CS-80 V is no exception to this rule.
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, Yamahatm introduced the CS-80, which has the same circuits as the GX-1. The price tag ($6,900) put it out of the reach of most musicians, and the weight (83 kg with stand) made it sometimes hard to use on stage.
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.
Why such a success? With two independent lines of synthesis, the CS-80 offers an original structure, at the same time simple and rich. The ergonomics of the machine offered an approach that inspired musicians: moving a knob, modifying a wheel can be enough to radically transform a sound. But this synthesizer, reproduced identically, despite its particular structure would bring little innovation to today’s musical landscape.
Aliasing Linear frequency spectrum of a current well-known software synthesizer Linear frequency spectrum of an oscillator modeled with TAE ® 1.3.2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are affected by the presence of a capacitor in the circuits. The discharge of a capacitor results in a slight ‘bend’ in the original waveform (most notably for sawtooth, triangular and square waveforms).
Temporal representation of the “sawtooth” waveform of a hardware synthesizer Temporal representation of a “sawtooth” waveform reproduced by TAE ® What’s more, the hardware analog oscillators were unstable. In fact, their waveforms vary slightly from one period to another. If we add to this the fact that the starting point for each period (in Trigger mode) can vary with the temperature and other environmental conditions, we see why vintage synthesizers have such a typical sound.
1.3.3 Direct Filter Circuit Modeling Due to advances in computer processing power, TAE® can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of a hardware synthesizer’s filter. By modeling the operation of the individual hardware components of the filter circuit, the warm nuances synonymous with analog sounds are recreated. The following graph shows a single example of direct circuit modeling in action.
We take great satisfaction in knowing this great synthesizer will help you explore previously unknown musical territory.
2 ACTIVATION AND FIRST START 2.1 Register and Activate CS-80 V works on computers equipped with Windows 7 or later and Mac OS X 10.8 or later. You can use the stand-alone version or use CS-80 V as an Audio Units, AAX, VST2 or VST3 instrument. Once CS-80 V has been installed, the next step is to register the software. The registration process will require you to enter the serial number and the unlock code you received with the product.
CS-80 V main menu You will then see the Audio MIDI settings window. This works in the same way on both Windows and Mac OS X, although the names of the devices available to you will depend on the hardware you are using.
Audio and MIDI settings window Starting from the top you have the following options: Device lets you choose which audio driver you want to use to route sound out of the instrument. This might be your computer’s own driver like Windows Audio, or an ASIO driver. The name of your hardware interface may appear in this field. Output Channels lets you select which of the available outputs will be used to route audio out. If you only have two outputs, only two will appear as options.
Your connected MIDI devices will appear in the MIDI Devices area. Click the check box to accept MIDI from the device you want to use to trigger the instrument. In standalone mode, CS-80 V listens for all MIDI channels so there’s no need to specify a channel. You can specify more than one MIDI device at once. 2.2.2 Audio and MIDI settings: Mac OS X The process is very similar to initial setup for Windows and the menu is accessed in the same way.
3 USER INTERFACE In this chapter we will give an overview of the features available to you with CS-80 V. As with every Arturia product, we have gone to great lengths to make the use of this software instrument as simple and as much fun as possible, while also striving to make sure you never run out of new things to do with it as your knowledge expands. After reading this chapter you should be ready to delve as deeply into the workings of CS-80 V as you would like. 3.
The Save Preset window 3.2.2 Save Preset As… This works in the same way as the Save command, but lets you save a copy of the preset instead of saving over the original. It’s useful for creating variations on patches but still keeping individual copies of each one. 3.2.3 Import preset This command lets you import a preset file, which can be either a single preset or an entire bank of presets. Both types are stored in the .csx format.
3.2.4 Export preset You can export and share a single preset using this command. The default path to these files will appear in the window, but you can create a folder at another location if you like. 3.2.5 Resize window options The CS-80 V window can be resized from 60% to 200% of its original size without any visual artifacts. On a smaller screen such as a laptop you might want to reduce the interface size so it doesn’t dominate the display.
The Resize Window menu 3.2.6 Audio settings Here you manage the way the instrument transmits sound and receives MIDI. See section 2.2 of the manual for full details on this. 3.2.7 Preset browser overview The Preset browser is invoked by clicking the toolbar button that has four vertical lines. See section 3.3 of the manual for full details on this. The Filter, name field and left / right arrows in the toolbar all assist with preset selection. 3.2.
MIDI Learn mode 3.2.8.1 Assigning / unassigning controls If you click on a purple area you’ll put that control into learning mode. Move a physical knob or fader and the target goes red, indicating that a link has been made between the hardware control and the software parameter. There’s a popup window that displays which two things are being linked and a button to unassign the two from each other.
3.2.8.2 Min / Max value sliders There are also minimum and maximum value sliders that you can use to restrict the parameter change range to something other than 0%-100%. For example, you might want the filter cut-off be controllable via hardware from 30% to 90%. If you made this setting (Min set to 0.30 and Max set to 0.90) your physical knob would be unable to alter the volume lower than 30% or higher than 90%, no matter how far you turned it.
All other MIDI CC numbers may be used to control any assignable parameter in CS80 V. 3.2.9 MIDI controller configuration There’s a small arrow at the far right hand side of the toolbar that deals with MIDI controller configurations. This allows you to manage the different sets of MIDI maps you may have set up for controlling the instrument’s parameters from MIDI hardware. You can copy the current MIDI assignment setup or delete it, import a configuration file or export the currently active one.
3.2.10.2 Midi Channel Setting At the right hand side of the lower toolbar are three small windows. The first one on the left indicates the current MIDI Channel setting. Click on it and it will expand to show the full range of values you can select (All, 1-16). 3.2.10.3 Panic button and CPU meter The Panic button can be pressed to reset all MIDI signals in the event of stuck notes or other issues. The Panic button is also MIDI-assignable.
3.3 The Preset Browser The preset browser is how you search, load and manage sounds in CS-80 V. It has a couple of different views but they all access the same banks of presets. To access the search view, click on the browser button (the icon looks a bit like books on a library shelf). The Preset Browser button 3.3.1 Searching presets The Search screen has a number of sections. By clicking on the Search field at the top left you can quickly enter any search term to filter the preset list by patch name.
You can use multiple search fields to perform narrower searches. So by entering a text search and also specifying type, bank and characteristics options you could see only the presets that match those exact criteria. Deselect any tag in any area to remove that criteria and widen the search without having to go back and start again. Using “Ctrl + click” (Windows) or “Cmd + click” (Mac) will allow you to select multiple elements in the same area.
3.3.3 The Preset Info section The Info column on the right of the search field shows you information about any preset. The information for User presets may be changed here: Name, Type, Favorite, etc. However, if you want to alter the information for a Factory preset you must first use the Save As command to re-save it as a User preset. After this the Info section will gain Edit and Delete buttons at the bottom of the window.
that fit the search terms you used in the Search field. So if you searched for “Love” in the main search area, the results of that search will appear here. Similarly, if you previously selected a Type in the Search field you would see the results of that search in this area instead. Filter results may differ based on Search criteria Selecting the All Types option in the pull-down menu will bypass the Search criteria and show the entire list of presets.
in the Search field. So if you have pre-selected a Characteristic such as “Funky” this shortcut menu will only show you presets that match that tag. The left and right arrows in the toolbar cycle up and down through the preset list: either the full list, or the filtered list that resulted from the use of one or more search terms. 3.3.5 Playlists In the lower left corner of the Preset Browser window is a feature titled Playlists.
Click and drag from the Search Results list onto one of the playlists To view the contents of a playlist, click on the playlist name. 3.3.5.3 Re-order the presets Presets may be reorganized within a playlist. For example, to move a preset from slot 2 to slot 4, drag and drop the preset to the desired location. This will move the preset into the new location. 3.3.5.4 Remove a preset To delete a preset from a playlist, click the x at the end of the preset row. Click the X to remove a preset from a playlist 3.
3.4 Overview of the CS-80 V sections The CS-80V offers 2 playing modes: The Single mode allows you to play a single sound (here we will call it timbre) redistributed across the keyboard. 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).
To get to the Multi mode, click on the button to open the hatch situated above the synthesis parameters. A on/off button next to the tab Multi now indicates Multi mode is active. To go back to Single mode, simply click on the close hatch button. The LCD display now indicates Single. Opening the Multi mode hatch 3.4.1 Overview of the Single mode (CS-80) The single mode contains 62 synthesis parameters, which will allow you to create a nearly infinite variety of sounds.
Synthesis line presets 3.4.2 Overview of the Multi Mode The CS-80V allows the creation of 8 parallel voices and thus, in theory, 8 different sounds played at the same time. 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 low and high notes (from C2 to C8) The playing mode (rotating polyphonic trigger, reassigned, reinitialized, monophonic unison) Arpeggio activity If you wish to preserve CPU power, avoid using the Rotate mode, rather place the zone on ReAssign mode. 3.4.3 Overview of 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.
3.5 Single mode in details 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. 3.5.1 Two lines of synthesis The original CS-80 has a particular structure.
To select the sine, first validate that the linear ~ slider is lit and then set its volume with this slider. The square and triangle signals are affected by the pulse width settings noted PW. The fader is used to choose a pulse width from 50% to 90%. This pulse width can be modified by a low frequency oscillator (LFO). The modulation rate is set with the PWM fader and the speed with the SPEED fader.
By clicking on these labels, it is possible to activate or deactivate a filter in order to save on calculation power. The 24dB button allows us go from a 12 dB filter to a 24 dB filter. The two low-pass and high-pass filters are simultaneously modified.
Setting the VCA envelope Four faders set the action of the velocity and of the pressure of the keys on the frequency of the filters and the level of the VCA. The green faders to control the frequency, the gray ones to control the volume.
3.5.2 The modulation matrix The original CS-80 possessed no other sources of modulation than those described above. To increase the possibilities of synthesis, a new modulation matrix is available. To activate it, open the left hatch. (On the original CS-80 this hatch held four mechanical preset selectors.) Open modulation hatch There are ten modulation controls available.
LP 2 cutoff : Low-pass filter cut-off frequency of the second line LP 2 res : Resonance of the low-pass filter of the second line VCA 1 Level : VCA level of the first line VCA 2 Level : VCA level of the second line SIN 1 Level : Level of the sine of the first line SIN 2 Level : Level of the sine of the second line LFO 1 Speed : Frequency of the LFO of the first line LFO 1 Level : Level of LFO output for the first line LFO 2 Speed : Frequency of the
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. Setting the modulation through aftertouch The VCO and VCF modulation rate can also be modified through aftertouch with the faders under the TOUCH RESPONSE label. The SPEED control also modulates the speed of the sub-oscillator through aftertouch. 3.5.
Key follows 3.5.5 The ring modulator The ring modulator is an effect that creates a number of harmonics in the sound through the multiplication of the input signal with a sine wave. Setting the ring modulator Dry and wet mixing is set with the >M< fader. Dry sound is at maximum in the high position. The frequency of the multiplying sine is set with the SPEED fader. The lower the fader is positioned, the higher the sine frequency.
The 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. 3.5.7 Stereo delay Delay is an effect that simulates an echo. It is activated with the DEL switch. 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.
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 §6.
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 number of cycles repeated for each octave. Arpeggiator settings 3.5.10 The original preset buttons These buttons, like on the original CS-80 allow the selection of pre-set sounds.
Brilliance and Resonance 3.6 General volume The Multi mode When the Multi mode hatch is open, the playing mode is called “multiple”. In this mode, each of the eight polyphonic voices available can take a different sound and can be commanded by four zones of MIDI control. Opened Multi mode hatch Under the Multi mode hatch are two identical groups of four lines of settings and a supplementary group of four lines.
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.
effect. Another example would be to use the ring modulator only on one voice in order to limit intermodulation effects, and so forth. In order to listen to a particular sound, just close the Multi hatch. The sound used is thus the sound being currently edited. The closing of the hatch corresponds to solo mode with a voice control using the CsAssign mode on the entire of the keyboard. Certain settings are the same for all voices.
4 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all forms of sound synthesis, subtractive synthesis is one of the oldest and still certainly one of the most employed today. It is this method that was developed toward the end of the 60’s on analog synthesizers like the Bob Moog’s ones, ARP tm, Yamahatm, Buchlatm, Oberheimtm, Sequential Circuitstm (Prophet series), Rolandtm, Korgtm (MS and PS series) and many others.
Time and spectral representations of a sawtooth signal o The square possesses a more hollow sound that the sawtooth (it only contains odd harmonics) but none the less, its rich sound (notably in low frequencies) can be used for sub-bass sounds that will come out well in the mix (the square oscillator is often set an octave below that of the sawtooth), wood sounds (clarinet, if the square signal is a little filtered), etc. Time and spectral representations of a square signal, and with modulated pulse width.
o The triangle can be considered like a highly filtered (and so soft) square signal. It is very low in harmonics (odd only) and will be very useful for creating sub basses, flute sounds, etc. Time and spectral representations of a triangle signal o The sinusoid is the purest of all. It is a unique harmonic and produces a much “damped” sound. It can be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that don’t exist in the original waveforms.
The CS-80V waveform The synchronization of an oscillator with another creates more complex waveforms. If for example, you synchronize oscillator2 with oscillator1, oscillator2 will restart a new period every time the first oscillator completes a period, even if oscillator2 has not completed a complete period (this signifies that it is not tuned to the same tonality.) The more you tune oscillator2 upwards, the more you will encounter composite waveforms.
Ring modulation The noise module: the noise signal spectrum has all frequencies at an equal volume level, often referred to a “white noise”. For this reason, the noise module is used to create different noises like the imitation of wind or special effects. White noise is the richest of noises. Pink noise is also regularly present on synthesizers. It is less rich in the high frequencies than white noise.
The filter settings The CS-80V offers 2 types of slope (where the CS-80 had only the 12 dB/Oct slope). On the CS-80V, you have access to 3 different types of filtering. Let’s have a look at some of their properties: The low-pass filter (LPF) deletes high frequencies going from a frequency limit (the famous cut-off frequency) and only allows low frequencies through. Depending on the setting we will hear the sound becoming more or less “brilliant”, more or less “dampened”.
The high-pass filter The band-pass filter (BPF) eliminates frequencies situated on either side of the cut-off frequency. It is in fact the addition of a low-pass and a high–pass filter. Use it to focus on a particular band of frequencies that you wish to emphasize. This will make the sound more “pinched”. On the CS-80V, you obtain this type of filtering by combining the actions of a high-pass filter and a low-pass filter as there is technically speaking no separate band-pass filter.
a melody by tuning the cut-off frequency of the filter with the frequency of the oscillators. The resonance 4.1.3 The amplifier or VCA The amplifier (Voltage Controlled Amplifier) receives the audio signal coming from the filter (or directly from the oscillator if it is not being filtered) to adjust before the volume is sent to the outputs. The CS-80V VCA In conclusion, here is a diagram that should help you to understand the composition of a basic sound: Audio signal path 4.2 Other modules 4.2.
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, lower the volume of the amplifier. To start and stop the sound, and at the tone that we require, we use a keyboard that is connected to the oscillator. This will play the sound as soon as a key is pressed, and mute it when released.
The CS-80V ADSR envelope 4.2.3 The low frequency oscillator The LFO (Low Frequency Oscillator – or SUB OSCILLATOR on the CS-80V) possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz. In other words, you won’t hear the pitch of its sound, but rather use it as a cyclic modulation on the setting to which it is connected.
An LFO sinusoid waveform modulating the frequency of an oscillator would produce a vibrato effect. The frequency of this oscillator will thus be modulated up and down. With an LFO sinusoid waveform modulating the cut-off frequency of a slightly resonant band-pass filter, you will obtain a wah wah effect.
5 A FEW ELEMENTS OF SOUND DESIGN Here is a series of examples designed to guide you through the creation of various sounds as well as a vintage analog styled note sequence. They progress in order of difficulty going from the easiest to the most difficult and are organized into 3 parts: The first part will help you to grasp subtractive sound synthesis.
Decrease the frequency of the low-pass filter 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. Change the range of the oscillator from 8” to 16” with the FEET 1 fader. Change the range of the oscillator Now increase the release time (R) of the VCA1 to the value 1000 ms so that the sound persists after the release of the keys.
Open the Modulation Matrix Now set the LFO1 as a source in the first modulation source area, and the VCO 1 Freq as destination. The LFO1 speed can be changed with the speed button: Set the LFO Speed The VCO1 frequency is now modulated by the LFO1. It creates a kind of detune, if you set the amount to the maximum, the sound becomes much more pronounced. Matrix amount For the second modulation, we will now modulate the filter by the suboscillator.
Your sound is now modulated by different parameters, adding unique complexity. Try different matrix settings to see how the CS-80V can become an effective solution to design your own sounds. 5.1.3 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. 5.1.3.
Activate the ring modulator Increase the release time (R) on the envelope of VCA1 towards 440 ms. The SPEED setting of the ring modulator allows you to very quickly increase the number of secondary harmonics in order to create a bell sound (around 150 Hz, barely the halfway mark for the knob), or a simple beating identical to a tremolo (around 2 Hz). To get a bell sound, the oscillation frequency must be high, set this knob around 2,000 Hz. The SPEED setting Lightly lower the >M< lever (around 0.
5.2.1 Four different sounds on the keyboard Choose the preset Multi Sequence in the bank Templates. On launch the 8 voices are assigned to the voice1 (C0 to C8). Each of the 4 zones has a different single sonority (the singles named 1, 2, 3 and 4). These singles can be detuned, assigned to a pan position and mixed. In this example, voices 1 to 8 are the same and have the same settings such as Pan and volume. Change the pan position of the first voice.
successively to each note played. They are all assigned to zone 1 which covers the whole keyboard. Deactivate the VOICE ARP next to the voice mode: Deactivate the arpeggiator Begin by placing zone1 to UniLast unison mode. All of the singles should be played by the same note. Placing zone1 to UniLast unison mode Detune them with the DET knobs. The global sound will achieve more complexity. Also change the pan position of each of the singles in order to form a very large stereo sound.
A single bass sound on zone 1, from C0 to B2, which will be played in ARP mode; A lead accompaniment single on zone 2, from C3 to C8. The arpeggiator will act on zone1. Click on the arpeggiator PLAY button and set a speed next to 160 ms, or Tempo*4 if you have clicked the MIDI sync button. The arpeggiator PLAY button Play a chord between C0 and B2, the notes one after the other on the order that you placed them. It is possible to change the playing order by clicking on the MODE slider.
The arpeggiator settings 5.3 Other sides of the CS-80V When we move away from the conventional methods of play, the CS-80V offers programming options that help you to go further. Here are a few examples… 5.3.1 A step sequencer By conjointly using the arpeggiator and Multi mode settings, it is possible to obtain an 8-note step sequencer. Load the preset Multi Sequence, from the Templates bank: the 8 voices are on the same zone (the first) and the same single 1.
By choosing the UniLast mode for zone1 you will get a series of notes. If you wish to transpose the note, make sure that the arpeggiator HOLD button is deactivated. 5.3.2 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.
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