USER MANUAL ARTURIA – Matrix-12 V – USER MANUAL 1
Direction Frédéric Brun Kevin Molcard Development Pierre-Lin Laneyrie (project manager) Toby Carpenter (lead) Stefano D'Angelo Baptiste Aubry Corentin Comte Baptiste Le Goff Valentin Lepetit Samuel Limier Germain Marzin Mathieu Nocenti Pierre Pfister Benjamin Renard Vincent Travaglini Design Glen Darcey Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean Michel Blanchet Glen Darcey Richard Devine Ed Ten Eyck Boele Gerkes Frank Greiner Victor Morello Erik Norlander Gr
Table of Contents 1 INTRODUCTION ................................................................................................................. 7 1.1 1.2 Oberheim: an overview ........................................................................................................................ 7 1.1.1 Prelude .............................................................................................................................................. 7 1.1.2 Lord of the Ring Modulators ...........
3.3 3.2.9 MIDI controller configuration.......................................................................................................... 30 3.2.10 The lower toolbar............................................................................................................................ 30 The Preset Browser ................................................................................................................................ 31 3.3.1 Searching presets ..............................
4.2.2.1 4.2.3 4.3 4.4 Filter FM .................................................................................................................................................................... 49 Filter ................................................................................................................................................. 50 4.2.3.1 Filter Frequency (Freq) .....................................................................................................................
5.5 6 Multi Mode: the Main page ............................................................................................................... 80 END USER LICENSE AGREEMENT ..................................................................................
1 INTRODUCTION Arturia would like to thank you for purchasing our synthesizer model: the Matrix-12 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. Matrix-12 V is no exception to this rule.
It was then Tom Oberheim first made a name for himself through his version of an electronic device called a ring modulator. These somewhat simple circuits had been used in radio receivers for a long time, but when applied to a signal in the audio range the results were often other-worldly. Case in point: if you have watched enough of the popular BBC show Doctor Who, you probably know about his nemeses, the Daleks.
But after becoming the official Los Angeles dealer for ARP synthesizers, Tom set out to change this. His early discoveries with the ARP 2500 and later modifications of the 2600 allowed duophonic performance on these synths (i.e., two notes could be played at once). After this a “voice race” began, with two, then four, then five or six, and eventually eight voices becoming the standard for commercially available analog synthesizers.
1.1.3.3 Presets A famous, perhaps apocryphal story about a well-known multi-keyboardist puts the early days of analog synthesizers in perspective: it is said that whenever he came up with a sound he really liked on one of his Minimoogs, he would leave the controls on that synthesizer exactly as they were and go buy another Minimoog.
The Oberheim DMX and DX drum machines So the Linn LM-1 may have arrived first, but the features, the Prommer and the price point quickly established Oberheim drum machines as a significant presence in the music industry. 1.1.3.5 MIDI Yep. MIDI. Tom Oberheim helped drive the development of the Musical Instrument Digital Interface protocol, a.k.a. MIDI, in three ways. First, he brought the concept to life by implementing a digital communication bus for his own products (the Parallel Buss).
afford a second modular synth, not to mention the added bulk and complexity of carrying around two systems. So Tom realized that a small, self-contained module could provide a cost-effective solution, complete with oscillators, filter and input/output connections. This unit could be connected to the sequencer while the user played the main synth. And so the Oberheim Synthesizer Expansion Module, better known as the SEM, came into being.
1.2.2 The polysynths: rapid growth Synth followed synth in quick succession, each standing on the other’s shoulders: the two-voice TVS-1 (1975), the four-voice FVS-1 (also 1975), and the Eight-voice (1977), which are pictured below (note the inclusion of the Programmer on the left side of the two larger models): The TVS-1 The FVS-1 The last of the Great White Synths: the Oberheim 8-voice Not pictured are the increasingly popular OB-1 (1978), OB-X (1979), OB-Xa (1980), OB-8 (1983), and Xpander (1984).
The Oberheim Matrix 12 To maintain basic patch compatibility with the Xpander, each of the Matrix 12’s dual-oscillator voices boasted the same 15-mode voltage controlled filter (VCF), five envelopes and five low-frequency oscillators (LFOs) as well as a Lag processor (for portamento, etc.), three tracking generators and four ramp generators (i.e., modulation delays), which added up to a lot of programming options.
board for a couple of years and then struck out on his own, founding another company called Marion Systems. Then in 2009 he announced he would be revising and reissuing some of his most famous early synthesizers, starting with the SEM. He followed that in 2014 with the Two Voice Pro. Look for these products and more at tomoberheim.com. 1.
Linear frequency spectrum of an oscillator modeled with TAE® 1.4.2 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). TAE® reproduces the result of this capacitor discharge in software.
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. TAE® reproduces the instability of oscillators, resulting in a fatter and “bigger” sound. 1.4.
Comparison of harmonics generated by the filter circuits in self-oscillation of TAE® and a hardware synthesizer So here’s the bottom line: when you bring together a bunch of music lovers who also have a deep understanding of the characteristics of electronic circuits, you wind up with Arturia. And Arturia now offers you our most impressive software model yet, the Matrix-12 V. 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 Matrix-12 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 Matrix-12 V as an Audio Units, AAX, VST2 or VST3 instrument. Once Matrix-12 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.
Matrix-12 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.
Play Test Tone helps you to troubleshoot audio issues by confirming whether sound can be heard through the correct device. 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, Matrix-12 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.
3 USER INTERFACE In this chapter we will give an overview of the features available to you with Matrix12 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 Matrix-12 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 .matrix 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 Matrix-12 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.
The Preset Browser 3.2.8 MIDI Learn assignment The MIDI plug icon at the far right side of the toolbar places the instrument into MIDI learn mode. Parameters that can be assigned to MIDI controls will be shown in purple, and the idea is that you map physical buttons, knobs, faders or pedals from hardware MIDI controllers to specific destinations inside the instrument.
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 Matrix-12 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.
The CPU meter is used to monitor how much of your computer’s CPU is being used by the instrument. 3.3 The Preset Browser The preset browser is how you search, load and manage sounds in Matrix-12 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.
3.3.2 Using tags as a filter You can also search using different tags. Clicking on a Type field shows only presets that match that tag. The tag fields can be shown or hidden by using the small down arrow buttons in their title fields. Results columns can be sorted by clicking the same arrow button in their own section. You can use multiple search fields to perform narrower searches.
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.
3.3.4 Preset selection: other methods The pull-down menu to the right of the Search menu provides a different way to select presets. The first option in this menu is called Filter, and it will display the presets 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.
3.3.4.1 Selecting a preset by its Type Clicking on the name field in the center of the toolbar will show you a list of all available presets. The list will also take into account any selections you have made 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.
Give the playlist a name and it will appear in the Playlists menu. You can rename the playlist at any time; just click the pencil icon at the end of its row. 3.3.5.2 Add a preset You can use all of the options in the Search window to locate the presets you want to have in your playlist. Once you have found the right preset, click and drag it onto the playlist name. 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.
3.4 Overview of the main window components Matrix-12 V has many features and several modes of operation. But it is helpful to know that each mode has things in common with the others. So let’s take a look at the broad picture first. 3.4.1 Page bar Beneath the tool bar is another strip called the Page bar. The Main, Voices and Program Chain pages are accessed through their respective labels.
An example of the Page bar in Multi mode And of course the name of the current preset is always in the middle of the Page bar. If you see an asterisk after the name it means the preset has been edited. In this case, be sure to save your changes before selecting a new preset. 3.4.2 Parameter window The center section in each mode is called the Parameter window. It has a very different appearance depending on the page and mode you have selected: 3.4.2.
An example of the Voices page in Single mode An example of the Voices page in Multi mode 3.4.3 Nameplate The nameplate is the springboard for bottom panel functions when Matrix-12 V is on the Main page. Cutaway view of the nameplate Each button on the right side of the nameplate will change what is seen in the bottom panel. 3.4.4 Bottom panel The nameplate has four buttons which alter the contents of the bottom panel (Main page only): KBD: Keyboard.
3.5 The tool bar: Managing presets Presets can remember the settings for any Single or Multi you create with Matrix-12 V. When saving a preset you have the opportunity to designate the “bank” and “type” to which it belongs, so make as many banks as you need and fill each one with as many types and presets as you like. The “type” designation can help you categorize your presets into groups such as “Leads”, “Pads”, etc.
4 SINGLE MODE Single mode is where it all begins, and it's really important to understand the available features. So now we’re going to take a look at each parameter group and how they interact with one another. 4.1 Front Panel Functions At first glance Matrix-12 V seems deceptively simple compared to modular synthesizers. There are no patch cables, for one thing.
The VCO1 and Filter parameter groups In the pictures above the Frequency, Detune, Pulse Width, waveform and Volume parameters are all part of the VCO1 parameter group. Likewise, the Filter frequency, Resonance, Mode, and both VCA settings are part of the Filter parameter group.
The Envelope parameter group: Tab 2 is selected; the other tabs are circled A quick glance around the Matrix-12 V parameter window will show that tabs are also available for the LFOs (5 per Voice) and the Tracking generators (3 per Voice). There is no shortage of programming options here! 4.1.1.3 Parameters with and without mods The foundations of each parameter group are the parameters themselves. But you’ll notice some parameters have buttons containing their names and some do not.
The Matrix-12 V virtual keyboard and Levers Note also the Levers to the left of the virtual keys. Lever 1 is available as a modulation source, while spring-loaded Lever 2 is usually dedicated to pitch bend purposes. Either can be routed to other destinations on the Modulation Page, though. 4.1.3.2 FX When the FX button is pressed the bottom panel will reveal the two FX modules associated with the current preset, if any. If none are present, it’s a simple thing to add them.
There are tabs here too, meaning the envelope modes can be set differently for each of the five envelopes in the Voice, for example. 4.2 Parameter groups Let's start by focusing on one of Matrix-12 V's parameter groups and get a feel for how Single mode works. Note: For the examples in the rest of chapter 4 we will assume you have already selected a Voice in Single mode, not from the Main page in Multi mode. 4.2.
The Page 2 parameters for VCO 1 & 2 We’ll cover these at the same time as the other VCO parameters. Here’s what they do: 4.2.1.1 VCO Frequency (Freq) The fundamental pitch of the oscillator is set here, with a range of 0-63 semitones (chromatic steps). Click the button just below the value and the VCO frequency parameter will come into focus on the Modulation Page. Any one of 27 mod sources can then modulate the oscillator frequency, a lot or a little, in a positive or negative direction. 4.2.1.
4.2.1.5 VCO Volume This governs the output level of the oscillator. And it’s equipped with a Mod button so the VCO can fade in and out as desired. This effect can cause a subtle tremolo or an intermittent chorusing, for example, depending on how the two VCOs are interacting. It can also cause subtle or radical timbral shifts if VCO 2 is also synced to the frequency of VCO 1. More about that in the next section. 4.2.1.
Amp: The amount of the FM effect being sent to VCO 1 or the Filter FM Dest: Selects the destination for the FM effect: VCO 1 or the Filter This is where things become a bit more complicated to describe. But it will help to take another look at the Parameter window, specifically the thin blue lines connecting VCO 1 and VCO 2 to the FM parameter group. We’re going to take a close look at what is meant by Oscillator FM.
Here’s a larger picture that traces the path of the FM signal to VCO 1 after raising the Amp amount: FM output being fed into VCO 1 That, ladies and gentlemen, is how Oscillator FM works. The frequency of VCO 2 affects the VCO 1 waveform in ways that are impossible with normal additive synthesis or even Oscillator sync.
In a nutshell, Filter FM in Matrix-12 V uses the VCO 2 Triangle waveform to turn the filter into an oscillator. This effect is best heard with a high Filter Resonance value, and you may want to try different filter types and filter frequencies to get a feel for what is happening. You may enjoy hearing the direct output of VCO 2 at the same time, but for now leave it set to zero. There’s a particular “grunge” caused by Filter FM that you’ll want to hear clearly.
The Matrix-12 V Filter mode selection window, with Band Pass 4P selected The graphic helps illustrate the concept that a 2-pole filter is “steeper” than a 1-pole filter of the same type, and a 3-pole filter is steeper than a 2-pole filter, and so on. The 4-pole LP filter, labeled “Low Pass 4P”, rolls off the audio frequencies more quickly than the Low Pass 1P, for example. A High Pass filter scoops out the audio starting at the bottom, and the 3-pole HP filter has the strongest impact that way.
Though these are basic on/off controls, you can see that their settings can have a significant impact on the overall sound and responsiveness of a Voice. 4.2.3.5 VCAs As with the VCOs, VCA 1 and VCA 2 are basically identical so we’ll cover them both in this section. The main difference between them is that they are “wired” in series; in other words, VCA 1 comes first in the signal path and VCA 2 comes last.
These are the Lag parameters: Input: Select the source with the knob or click the value field and select one that way Rate: Sets the rate of the Lag effect. The mod button allows a source to vary the Lag rate. = Time: Only functions when Linear response is selected. It works like this: “Equal time” is selected with keyboard as the input. When middle C is played and then the C one octave up is played, let’s say the time it takes the pitch to reach the upper C is 1 second.
4.2.6 Envelopes (Env) If it weren’t for envelopes it would be very difficult to achieve any subtlety when programming; every sound would simply turn on and off. (There’s a way to do that, too, when needed: that’s what a Gate does.) Every sound in the universe has an envelope.
One way to visualize their function is to think of them like an FX insert: when configured correctly they will exist between the source and destination of a mod routing. Let’s say you have set up a simple mod route with LFO 1 as the source and VCO 1 Frequency as the destination. Now instead of this direct connection, choose LFO 1 as the Track 1 input and change the mod source from LFO 1 to Track 1. Now the LFO will pass through the Tracking generator on its way to VCO 1 Frequency.
Let’s go through all of the other LFO group parameters now: Speed: Controls the rate of the LFO waveform, except for Noise. Input: Only available when LFO Wave is set to Sample, with 27 source options. Retrig: Allows you to specify the starting point of the LFO for the first five waveforms. A setting of 0 means the LFO will start from the beginning of its cycle, while values of 1 or higher will cause the LFO to be triggered from somewhere in the middle of its cycle.
We’ll take each of the Effect menu choices one at a time, starting from the top. The first one is labeled None. Selecting this option will close the current FX module and the Effect menu, removing that FX device from the signal path. But None isn’t the option to use when you want to hear the sound without the FX unit temporarily. You’ll notice every FX device also has a bypass button in its upperleft hand corner, which is the quickest way to remove the FX module from the mix.
4.3.2 Dual-stage Phaser The following parameters are available independently for both Stage 1 and Stage 2: Rate: Sets the speed of the phaser Depth: Sets the depth of the phaser activity Feedback: Controls the amount of phaser resonance Shape: Sine vs. noise Stages 1 and 2 share these parameters: Sync: Locks both stages to the current tempo of the DAW and/or the rate of the delay. (These are the only two FX modules with a Sync button.
4.3.3 Analog Delay Delay: Sets the delay time. (The delay is mono for authenticity.) FB Tone: Changes feedback filtering FB Amount: Adjusts Feedback LFO Depth: Sets the amount of delay time modulation (which follows a sine wave) LFO rate: Controls the modulation rate Mix: Alters wet/dry mix This analog-style delay reproduces the sound of the old solid state units that used analog bucket brigade circuits. The Delay knob allows you to select a time between 4.5ms and 1000ms.
A flanging effect is created by combining two identical signals, delaying one of the signals by a small amount, and then modulating the delay time. The recombined output produces a sound that sweeps up through the harmonics of the original signal and back down. Flanging can create both subtle and extreme effects, depending on the Rate and Depth of the modulation. With higher Depth settings you will begin to hear changes to the pitch of the sound.
4.3.
In the above picture the VCO 1 Frequency mod button has been selected, bringing that parameter into focus in the Modulation Page. We can see that both LFO 1 and Tracking Generator 1 are selected as modulation sources, although the mod level for the Track 1 mod is set to 0 so it is having no impact on VCO 1. These assignments and values can be altered or removed, and more can be added if mod routings are available. In the example above there are four unused mod routes.
Modulation routings 21-40 The controls are arranged in groups of three: Source, Amount and Destination. There are a lot of Sources and Destinations, so when you click one of them a window will open to show you the options: The Mod Source list The Mod Destination list Some sources like Envelope have more than one option. So do some destinations, such as VCO 1. For these you need to be more specific about which source or destination to use, so you’ll have to click a second item, like ENV1 or VCO1 FREQ.
To reset the modulation amount, not the source or destination, double-click one of the following: the value field on the Modulation Page the related AMT knob in the bottom panel’s Mod field (pictured in the next section) the SRC knob immediately below the value on the Modulation Page. 4.4.1.
4.5 Page 2 The Page 2 nameplate button reveals important settings such as VCO keyboard tracking, LFO trigger modes and pitch bend/vibrato assignments for the levers, to name a few features. Most of what Page 2 offers are on/off parameters, with buttons that light when activated. When a parameter is “on” its name will be underlined in the display; if it is not underlined the parameter is “off”.
4.6.2 The Voice page The Voices page has fewer features in Single mode than it does in Multi mode, which is to be expected since you can only work with one Voice at a time. But it still is capable of enhancing that Voice quite a bit! Options include independent panning and transposition for each of the 12 voices, the ability to have two mono voices stacked on the right side of the keyboard with the other 10 voices layered and detuned on the left side, etc.
4.6.3 Voices The Voices parameter group in Single mode Note: unless otherwise indicated, click and drag to edit a parameter value; doubleclick to reset. Play: Normally on (red) by default, these turn green when a particular voice has been triggered. You can also click them to disable a voice so it will not play. Zone: This field is used to assign a voice to one of the six Zones, where its note range, keyboard mode, and other settings can be defined.
4.6.4 Zones The Zones parameter group in Single mode The first thing to notice are the Zone numbers in the left-most column (1-6), indicating which Zone will be edited by the parameters to the right. The per-voice Zone assignments themselves are handled in the Voices parameter group over to the left. Here’s what’s possible with the Zone parameter group: Input Ch.: Assign the Zone to MIDI Channel 1-16 or Omni. Mode: Determines how voices will be triggered.
Reassign: Checks each new note to see if any voice in that Zone is already playing it. If so, the note will be retriggered using the same voice. If not, it’ll grab the next higher voice if it’s available. Reset: Plays the voices assigned to the Zone in numerical order, always starting with the first voice. If consecutive staccato notes are played it’ll use the first voice each time; if two legato notes are played it will use the first voice, then the second, and so on.
Speed: A rate control with a range of 0 to 63; click and drag to edit the value. A simple mod routing Is provided. Source: Modulate VIB speed from one of two sources: Mod Wheel or Pedal. Click the field to reveal the choices: Mod sources for VIB rate Mod Amt: The amount of control the Source will have on the VIB speed. Click and drag to edit the value. The modulation can be positive or negative, with a range +/63. Wave: Six options: Triangle, Up/Down Saw, Square, Random and Noise (no Sample & Hold).
Mod sources for VIB output Mod Amt: The amount of control the Source will have on the VIB output. Click and drag to edit the value. The modulation can be positive or negative, with a range +/63. One more thing: as with almost every Matrix-12 V parameter, everything in the VIB parameter group is MIDI-assignable.
5 MULTI MODE So you want to play synth bass with your left hand and some funky riffs with the other? How about multi-timbral sequences, or layering two Voices to create The Pad To End All Pads? Whatever your musical requirements may be, Multi mode is the place to go when your plans call for Matrix-12 V to have two or more Single mode presets active at the same time. 5.1 How to switch modes There are two main modes in Matrix-12 V: Single and Multi.
The Voices page in Single mode In Multi mode the Voices page has several more options, so it should be easy to tell in that case. But eventually you’ll know at a glance that Matrix-12 V is in Multi mode even when you’re on the Main page. The only difference is in the Page bar: The Main page view of the Page bar in Multi mode Note the word “MULTI” and the name of a Multi in the middle of the Page bar, plus the term “G1” and the name of a Single preset surrounded by blue arrows.
An example of the Voices page in Multi mode Notice the Group column and the green “Save” button, neither of which are there in Single mode. All of the other features are the same in each mode, except for the ability to select a new Single preset for each Voice: Multi mode has this and Single mode does not. We’ll go over those features carefully in this section of the manual. The Voices page is divided into three parameter groups (Voices, Zones, VIB), with each section offset by a thick blue line.
The focus here will be mainly on the features that are unique to Multi mode. Follow the links to the sections where these are covered in greater detail. Note: unless otherwise indicated, click and drag to edit a parameter value; double-click to reset. Play: The buttons enable/disable Voices and indicate Voice activity. Group: Only available in Multi mode, this function links multiple Voices for quicker edits. Voice name: Show the names of the Single mode Presets used for the Voice(s).
They retain their individual Transposition and other settings, but they move together when a new preset is selected. The default Multi has all 12 Voices assigned to the same group, so it is necessary to reassign them. To do this, click on the Group field next to the Voice you want to change: The Group menu in Multi mode There’s only one group available so far, so click “Create New group” at the bottom of the list.
The Voices parameter group in Multi mode Voices 1 and 2 are in group 1, so they share the same Single mode preset. But Voice 1 is an octave lower than Voice 2 and slightly quieter. They’ve been assigned to Zone 1 also. Voices 3-7 (5 Voices) are in group 2 and sharing one Single mode preset. But each Voice is slightly detuned from the others and panned to a different location in the stereo field. All five Voices are assigned to Zone 2.
Selecting a new preset for a Voice After that it’s very similar to selecting one from the tool bar: just navigate to the bank and type you want and make a selection from the presets inside that type. You can also use the small vertical arrows next to the Voice name to select a new preset inside the current bank and type. 5.3.4 Zones The Zones parameter group allows you to specify MIDI channel response, MIDI note range, monophonic and polyphonic keyboard modes, and enable voice stealing.
Drop-down menus to select a new bank or type for the preset Or if you would like to create a new bank or type, just highlight the appropriate field and type in a new name. Rename the preset and click OK to complete the process. 5.3.6 Saving a Voice into a Single Preset If at some point while programming a Multi you went over to the Main page and made a few tweaks to one of the Voices, an asterisk will appear next to its name on the Voices page.
After this, be sure to save the Multi itself! 5.3.7 Saving a Multi The Multi is embedding all the informations of the voices into itself. It means that modifying a single preset affected to a voice will not impact the multi. Just open the Save As dialog as usual to define your preset. Save the edited Single Preset also! Click the OK button and your work will be preserved. 5.
The center of the Page bar on the Main page in Multi mode Difference #1: The word “MULTI” is followed by the name of the current Multi preset. Difference #2: The name of the Voice being edited is between a pair of blue “Previous/Next” arrows. The “G1” stands for “Group 1”, the group to which the Voice has been assigned (see section 5.2.2 for information about this). The cool thing is that those blue arrows will switch the selection from Group 1 to Group 2, etc.
6 END USER LICENSE AGREEMENT 1. General 1.1 In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right for the use of software including related media, documentation (for example program descriptions, manuals) and other documents and materials manufactured by Arturia SA ("Product(s)"). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”). 1.
not be resold or transferred. The Licensee can activate the Product on up to five computers, as long as only one installation is used at any given time. The Licensee must register the Product to Arturia to get access to client support, and to activate his Product. (An internet connection is required to register and activate the Product, either on the computer on which the Product is installed, either on another device able to exchange files with the computer on which the Product is installed).
the third party agrees in writing with this EULA and Licensee ceases all use of the software, completely removes all installed copies of the software from his computers and – if the software was not purchased via download – deletes or transfers the original media delivered with the software to the third party. In addition, Licensee is required to de-register the purchased software with Arturia (more information available on www.arturia.com). 5.
previously advised of the possibility of such damages. Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages, so the above limitation or exclusions may not apply to the Licensee in this case. This warranty gives the Licensee specific legal rights, and the Licensee may also have other rights which vary from state to state.
