USER MANUAL
Special thanks DIRECTION Frédéric Brun Kevin Molcard DEVELOPMENT Stefano D'Angelo Germain Marzin Baptiste Le Goff Benjamin Renard Samuel Limier Corentin Comte Pierre Pfister Valentin Lepetit Baptiste Aubry Mathieu Nocenti Pierre-Lin Laneyrie Glen Darcey Yannick Bonnefoy Morgan Perrier Sebastien Rochard Greg Vezon DESIGN SOUND DESIGN Glen Darcey Chris Pittman Celmar Engel Victor Morello Clay Duncan Klaus Schulze Goeff Downes Klaus Peter Rausch Boele Gerkes Charlotte Métais Jason
Introduction Thank you for purchasing our virtual synthesizer, Mini V! We are certain it will give you many hours of inspiration and enjoyment. Mini V is one of the pillars of our extensive family of instruments that recreate hard-to-find classic keyboards and synths.
Table Of Contents 1. History of the original instrument ..................................................................................................................... 3 1.1. Arturia’s secret ingredient: TAE®................................................................................................................................... 5 1.1.1. Aliasing-free oscillators ..................................................................................................................................
4.7. The Motion Recorder........................................................................................................................................................ 44 4.7.1. The Motion Recorder activation/deactivation ......................................................................................................................................... 44 4.7.2. Playing recorded Motion curves.......................................................................................................
1. HISTORY OF THE ORIGINAL INSTRUMENT “Mind you, neither of us had any idea where this was leading” - Bob Moog, quoted by Mark Vail, in his book Vintage Synthesizers © Miller Freeman 1993 Robert A. Moog was born in May 1934 in New York. With a passion for music (he took piano lessons for 12 years), he was introduced to electronics by his father, an engineer.
In 2003, Arturia has released a software emulation of the famous modular synthesizers designed by Bob Moog under the name of Modular V. However, the sales would rapidly decrease, because the gigantic proportions of modular units put a damper on the interest of most musicians and also prevents the instrument from entering most music shops, and therefore from being known. Furthermore, a serious competitor, ARP, has just arrived on the market.
Bob Moog’s monosynth, Model A prototype Courtesy of Roger Luther, MoogArchives.com Model D Courtesy of Roger Luther, MoogArchives.com The iconic monosynth knew an unparalleled success during the 1970’s. Artists and bands like Tangerine Dream, Kraftwerk, Depeche Mode, Keith Emerson, Jean-Michel Jarre, Klaus Schulze, and Rick Wakeman used the synthesizer, notably for the typical sound and its very warm quality, which is excellent for basses and lead sounds.
TAE® enables the generation of oscillators which are completely free of aliasing in all contexts (PWM, FM…), and at no extra CPU cost.
1.1.2. 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.
1.1.3. 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.
2. ACTIVATION AND FIRST START 2.1. Register and Activate Mini 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 Mini V as an Audio Units, AAX, VST2 or VST3 instrument. Once Mini 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.
2.2. Initial setup 2.2.1. Audio and MIDI settings: Windows At the top left of the Mini V application is a pull-down menu. It contains various setup options. Initially you will need to go to the menu and choose the Audio Settings option to get sound and MIDI flowing in and out. Mini 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: 11 • 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.
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. The difference is that OS X uses CoreAudio to handle audio routing and the audio device selection is made in the second dropdown menu. Apart from that, the options work the same way as described in the Windows section.
2.2.3. Using Mini V in plug-in mode Mini V comes in VST, AU and AAX plug-in formats for use in all major DAW software such as Cubase, Logic, Pro Tools and so on. You can load it as a plug-in instrument and its interface and settings work the same way as in standalone mode, with a couple of differences. 13 • You can automate numerous parameters using your DAW’s automation system. • You can use more than one instance of Mini V in a DAW project. In standalone mode you can only use one at once.
3. USER INTERFACE Mini V is packed with great features, and in this chapter we’ll make sure you know what each one does. We think you’ll be amazed by the huge range of sounds that can be made with this instrument. And while Mini V is very flexible, there’s nothing complicated about it. That will always be the main focus of every Arturia product: to unleash your creativity while remaining easy to use. 3.1.
3.2. Toolbar The toolbar that runs along the top edge of the instrument both in standalone and plug-in mode provides access to many useful features. Let’s look at them in detail. The first seven of these options can be found by clicking on the Mini V section at the very top left hand corner of the instrument window. 3.2.1. Save Preset The first option lets you save a preset. If you select this you are presented with a window where you can enter information about the preset.
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 .minix format. After selecting this option, the default path to these files will appear in the window, but you can navigate to whichever folder you are using. 3.2.4. Export preset You can export and share a single preset using this command.
3.3. Resize window options The Mini 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. On a larger screen or a second monitor you can increase the size to get a better view of the controls. The controls work the same at any zoom level but the smaller ones can be harder to see at the smaller magnification values. The Resize Window menu 3.3.1.
3.3.2. 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 3.3.3. Open and Close Advanced section The Advanced section can be revealed by clicking on the button with the two downward arrows at the right of the toolbar.
3.3.4. 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.
3.3.4.2. 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.
3.3.5. 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.
3.3.6. The lower toolbar 3.3.6.1. Current control Value At the left hand side of the lower toolbar you will see a readout showing the value or state of whatever control you are modifying. It will also display the current value of a parameter without editing it: just hover the cursor over the related control and the value will appear as pictured below. Displaying the current control’s value 3.3.6.2. MIDI Channel setting At the right hand side of the lower toolbar are three small windows.
3.3.6.3. 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. The CPU meter is used to monitor how much of your computer’s CPU is being used by the instrument. 3.3.6.4. Play mode The play mode allows to select which note is hear when several keys are pushed simultaneously while the Mini V is in monophonic mode.
3.4. The Preset Browser The preset browser is how you search, load and manage sounds in Mini 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 3.4.1. 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.
3.4.2. 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.
3.4.3. 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.
3.4.4. 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.
3.4.5. Playlists In the lower left corner of the Preset Browser window is a feature titled Playlists. This is used to collect presets into different groups for different purposes, such as a set list for a particular performance or a batch of presets related to a particular studio project. 3.4.5.1. Add a playlist To create a playlist, click the plus sign at the bottom: Give the playlist a name and it will appear in the Playlists menu.
3.4.5.4. 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 3.4.5.5. Delete a playlist To delete a playlist, click the x directly to the right of the playlist name.
3.5. The synthesizer panels The Mini V offers two panels: The “Classic” mode allows using the original configuration of the original model. Some additional features: the oscillator 2 can be synchronized to the oscillator1, the oscillator 2 can be disconnected to the keyboard following circuit, poly/mono/unison switches have also been added.
3.5.1. Overview of the “Classic” mode The “Classic” mode holds 50 synthesis settings, which will allow you to conceive an infinite variety of sounds. The knobs and switches associated to these parameters are found regrouped on the panel above the keyboard. These parameters are composed of: 3 oscillators (VCO) which deliver the base audio signal thanks to 6 wave forms (triangle, sawtooth 1 and 2, square, rectangle 1 and 2) and manage the height of the sound (the frequency).
3.5.2. The “Extended” mode When the Mini V is at the “Extended” position, you access an extension panel to the parameters of synthesis. It is displayed in the form of a modulation matrix, a Low Frequency Oscillator (LFO) which was brought in be substituted for oscillator 3 which was being used to this effect. An arpeggiator, a chorus and stereo delay complete this extension. 3.5.2.1.
3.5.2.3. The arpeggiator section The “Arpeggiator” section lets you easily create an arpeggio from a chord played on the keyboard. An arpeggio is a series of single notes of the same length that spell out a chord, and play one after the other. Arpeggiator settings are available on the right of the modulation matrix.
3.5.2.4. The effects section The effects section lets you add chorus or delay to your sound. The chorus: The Chorus effect enables to double and slightly detune your sound in order to make it deeper and livelier. 3 types of stereo chorus are available. The chorus The delay: The delay effect adds stereo echoes to the sound. It has independent settings for the speed and the number of echoes on the right and left sides. It is also possible to create a great number of rhythmic combinations between the echoes.
4. THE SYNTHESIZER When it is set to “Classic” mode, the Mini V remains very close to the original synthesizer. It is composed of two parts, one containing the synthesis parameters, the other being the keyboard and the modulation wheels. The synthesis panel is separated into several subgroups, corresponding to the usual modules for subtractive synthesis: Oscillators, Mixer, Filter and Envelopes.
Oscillators Each of these oscillators can produce different waveforms which are selected using the knob on the right. The first two generate, from left to right, a triangle, an asymmetric triangle, an ascending sawtooth, a square, asymmetric square and impulse. The third oscillator replaces the asymmetric triangle with a descending sawtooth. By right clicking on these selectors, it is possible to adjust the impulse width of certain waveforms: square, rectangular, impulse, triangle and asymmetric triangle.
4.2. The mixer The section situated on the right of the “Oscillator Bank” sub-group mixes the different signals available before applying the filtering. Mixer There are five sound sources available: the three oscillators, a noise generator and external audio in. The level of the three oscillators is set with each of the “Volume” knobs, the external signal level with the “External Input Volume” knob, the noise level with the “Noise Volume” knob.
Activation of the overload circuit - soft clipping The switch corresponding to the external signal has three positions. The first disconnects this input from the mixer. The second position connects the output of the Mini V to the mixer. This allows, thanks to the particular distortion brought by the overload circuit, to obtain a typical sound. The third connects the external input to the mixer.
4.3. The filter and its envelope The result of the mixing of different sources of sound is directed towards a resonant filter with a slope of 24dB per octave. Filter parameters The “Cutoff frequency” knob sets the cut-off frequency. The “Emphasis” knob sets the level of resonance and “Amount of Contour” the action of the envelope generator associated to the filter.
A supplementary key follow can be connected with the modulation matrix. These two key follows combine. The key follow connected by the modulation matrix has a maximum slope of two octaves, which can be set with the amount knob of the matrix. When a key follow is connected, the cut-off frequency is equally influenced by portamento, when it is active. 4.4.
4.5. The polyphonic mode, the playing modes The original model was a monophonic synthesizer. The Mini V offers the possibilities of polyphonic playing where the number of voices can be set from 2 to 32 with the “Voices” menu. The “Unison” switch: lets you to play all of the voices at the same time. The “Voice detune” knob lightly detunes each of the polyphonic voices. Number of polyphonic voices The “Polyphonic” switch: activates or deactivates the polyphonic playing mode.
In “Low” mode we will hear the lowest note, in “High” mode the highest note, and in “Last” mode the last note played on the keyboard. In the two first modes, when the note is released, we will hear the lowest note (or respectively the highest) without triggering the envelopes. In the last mode, the envelopes are always active. It is possible to prevent the triggering of envelopes with the “Legato” switch which is on the left of the keyboard.
4.6. The pitch bend and modulation wheels On the left of the keyboard we find two wheels, one for modifying the oscillator frequency, the other for varying the amplitude of the modulation brought by the third oscillator, either on the oscillator frequency, or the filter cut-off frequency. When the modulation wheel is at zero, the window displays “no modulation”. This means that it is not possible to modulate the value given by this wheel with the modulation matrix (see underneath).
4.7. The Motion Recorder The Motion Recorder allows recording in real time some parameters motions on the fly. Four dedicated tracks containing each one parameter motion are available. Those recording curves can be quantized to a MIDI tempo or not. The different motion curves can also be “manually” modified thanks to a dedicated edition interface including drawing tools (pen, rubber, curve, lines…) The Motion Recorder main interface 4.7.1.
4.7.3. Quantizing a motion curve The Motion Recorder allows you to quantize a recorded motion curve in relation to the internal Mini V tempo or to a host MIDI tempo. Click on the “Quantize” menu, situated under the Motion Recorder main screen and select the quantization factor you wish on the dedicated menu. Click on the 'Quantize' menu Some steps appear on the curve according to the chosen quantization.
4.7.4. Setting the modulation amount of a motion curve You can set the output modulation amount for each motion curves to refine the modulation results as you wish. Select the desired motion track thanks to this button: Click on the amount potentiometer situated under the Motion Recorder main screen and set the desired amount of modulation.
4.7.5.
Choose a modulation destination Arturia - User Manual Mini V - THE SYNTHESIZER 48
4.7.6. Editing a motion curve You can edit in real-time your motion curves thanks to the dedicated “CURVE EDITOR” interface. This editor includes an ensemble of tools which will help you to draw or erase a part or the whole of the selected curve. The 'CURVE EDITOR' interface Let’s take a look on the “Curve Editor” interface: 4.7.6.1. The Edit tools • Drawing tool Tool for drawing a freehand curve. • Eraser tool Tool for erasing an existing curve. • Line tool Tool for drawing a straight line.
4.7.6.2. The Curve Editor screen The Curve Editor screen allows you to edit a recorded curve or to draw a new curve from scratch. To open the Motion Recorder screen editor, click on the middle of. A new bigger screen is now opened showing the current motion curve. Two locators bars determine the input and output loop points of a recorded curve.
4.8. The vocal filter The Vocal Filter is a formant filter which can be applied to the output signal of the Mini V or to an external audio signal. The main interface of the Vocal filter, located on the central TV style screen, shows an ensemble of five vowels (A, E, I, O and U).
Re-arrange the order of the vowels On the bottom of the main screen, three potentiometers and a button allow setting additional parameters as follow. The Vocal Filter parameters From left to right: • Gain Sets the balance between the dry signal coming from the Mini V (or from an external audio source) and the vocal filter signal. • Q Sets the band width of the 5 band pass filters of the Vocal Filter. At the right top, it result a very thin audio signal close to a whistle sound.
4.9. The low frequency generator The Mini V brings a new module which allows the generation of a very low frequency to modulate any off the synthesis parameters. It is situated in the extension panel which appears when the Mini V is in open position. Low frequency generator • “Rate” knob Sets the frequency, the “Waves” knob selects the waveform, • “Midi Sync” switch Synchronize the frequency of the generator to the tempo of the host application.
4.10. The modulation matrix The Mini V increases the original possibilities of modulation thanks to the presence of the modulation matrix in the extension panel. This panel appears when the Mini V is in open position. Modulation matrix This matrix can be activated or deactivated with the selector in the top-right corner of the modulation matrix interface. Activation of the modulation matrix The matrix allows 8 modulation connections.
55 • VCO1 FM Frequency of oscillator 1 • VCO1 PWM Impulse width of oscillator 1 • VCO1 AM Output level of oscillator 1 • VCO2 FM Frequency of oscillator 2 • VCO2 PWM Impulse width of oscillator 2 • VCO2 AM Output level of oscillator 2 • VCO3 FM Frequency of oscillator 3 • VCO3 PWM Impulse width of oscillator 3 • VCO3 AM Output level of oscillator 3 • Noise AM Output level of noise generator • Ext.
4.11. The arpeggiator Situated in the Mini V extension panel which appears when in “Extended” mode, the arpeggiator allows for each note the activation of an arpeggio. Arpeggiator The “Speed” knob sets the speed of the arpeggio. The “Midi Sync” switch lets you synchronize delay return time with the host application. The “Play” switch triggers the arpeggiator which, when a note is played, activates the notes one after the other, and stops when there are no more active notes on the keyboard.
4.12. The chorus and stereo delay In the Mini V extension panel which appears when it is in open position, we find two effects, chorus and stereo delay. Chorus and stereo delay The chorus has three knobs: “Rate” “Depth” and “Dry/Wet” which respectively set the speed, the depth and the relationship between the original signal and the modified signal. The “type” buttons allow the selection of chorus types, from the simplest to the deepest.
5. 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, Yamaha, Buchla, Oberheim, Sequential Circuits (Prophet series), Roland, Korg (MS and PS series) and many others.
• The waveform, which determines the harmonic richness of the audio signal. On the Mini V, 6 waveforms are available: • triangle • saw-triangle • sawtooth • square (duty cycle: 48%) • wide rectangular (duty cycle: 29%) • narrow rectangular (duty cycle: 17%) The Mini V waveforms 5.1.1.1. Triangle The triangle can be considered like a very filtered (and soft) square signal. It is very low in harmonics (odd only) and will be very useful for creating sub basses, flute sounds, etc.
5.1.1.2. Sawtooth The saw tooth presents the richest audio signal of the 4 waveforms (it contains all of the harmonics at decreasing volume levels in high frequencies). Its sound is ideal for brass sounds, percussive bass sounds or rich accompaniments. Time and spectral representations of the sawtooth waveform 5.1.1.3.
5.1.1.4. Pulse Width Modulation The PWM (Pulse Width Modulation) is a setting that allows you to modify the duty cycle of the square waveform. This can be done through a modulation only (with an envelope or a LFO). This pulse width variation translates to a spectrum modification, resembling a waveform change. Unlike classic analog synthesizers, the Mini V lets you change the impulse width not only for the square waveform but also for the triangle.
5.1.1.6. Frequency modulation A frequency modulation (FM) can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator. On the Mini V, if you turn the modulation rate ring, you will obtain a sound richer in harmonics. If you introduce a square or sawtooth signal, the result can be quickly distorted… but interesting for inharmonic sonorities like bell sounds or special effects for example.
5.1.3. The Mixer The audio signal generated from an oscillator is generally directed to a module filter (VCF). It will be first useful to individually set the volume of each oscillator, external audio source or noise, thanks to the “Mixer”. The external audio signal could be, for instance, a recorded vocal track or a drums loop.
5.1.4. 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 control the sound by filtering (by subtraction, which explains the name given to this type of synthesis) the harmonics situated around a cut-off frequency. It can be considered to be a sophisticated equalizer that reduces, depending on the case, the high or low frequencies of a sound. 5.1.4.1.
5.1.4.2. The resonance A second setting to compliment the cut-off frequency: the resonance. You will also find it called “Emphasis” or “Q” – for Quality of filtering. The resonance amplifies frequencies close to the cut-off frequency. The other frequencies remaining are either unchanged (below the cut-off frequency) or reduced (above the cut-off frequency). On the Mini V, you can increase the rate of resonance through the “emphasis” knob.
5.1.5. The amplifier or VCA The amplifier (Voltage Controlled Amplifier) receives the audio signal coming from the filter to be adjusted before the volume is sent to the speakers.
5.2. Other modules 5.2.1. 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.
5.2.3. The low frequency oscillator The LFO (Low Frequency Oscillator – or LFO on the Mini V) 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.
A complete Mini V synthesis voice 69 Arturia - User Manual Mini V - THE BASICS OF SUBTRACTIVE SYNTHESIS
6. A FEW ELEMENTS IN SOUND DESIGN Here is a series of examples designed to guide you through the creation of a sound and a sequence. They are classed 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.
You will notice that the sound is particularly linear and without life. The sawtooth signal from the first oscillator goes through a filter where the cut-off frequency is set to the maximum. This minimalist configuration will let you easily perform some simple experiments with this basic sound. Start by changing the waveform of this oscillator to appreciate some of the tones it can produce. Change the waveform of oscillator1 Progressively lower the cut-off frequency of the low pass filter.
Change the range of oscillator1 Increase the decay time for the filter envelope (“Decay”) to a value somewhere around 400ms so that the cut-off frequency progressively decays when you press a key. You will thus obtain a simple yet efficient bass sound. Increase the decay time for the filter envelope You can now save your sound by clicking on the “Save As” situated on the left of the toolbar. It will be useful as a base template for programming lots of other sounds.
6.1.2. A 3 oscillators lead sound Keeping the current sound and we will now go a little further and create a rich lead sound. It will be composed of: • 3 oscillators • A low-pass filter (Filter) • An output VCA (Output) • The envelope corresponding to the filter • The envelope corresponding to the output amplifier (Loudness Contour) Start by again increasing the “Decay” time for the filter envelope so as to prolong the fall of the cut-off frequency.
6.1.3. A polyphonic accompaniment Unlike the original synthesizer which offered just a monophonic playing (one note at a time), the Mini V allows you to play chords with the “Polyphonic” playing mode located in the “Output” module on the right of the synthesizer. Let’s see how to create a powerful evolving accompaniment.
Lower the tuning to -48 (-4 octaves) by turning the central knob to the left with a left click on the mouse. This oscillator will not produce audible sound (if only light “clicks” marking the oscillation cycle), it will be used to modulate the filter cut-off frequency. Click on the “Filter Modulation” switch to activate the filter cut-off frequency modulation by oscillator3. Click on the Filter Modulation switch Raise the modulation wheel to maximum to set the modulation frequency.
6.2. The modulation matrix We will discover a few of the many additions to the Mini V: the modulation matrix, the LFO and the velocity. For this, let’s again use the preset “Attack Long” in the “Templates” bank. This preset offers an ideal starting point for an accompaniment sound (the amplitude envelope is already calibrated for this type of use).
Choice of source Do the same thing for the first destination by clicking on the display situated on the right of the first line: choose “VCO2 PWM” (square width of oscillator2). Choice of destination Increase the rate of modulation by turning the “Amount” knob between the two displays. Place it at a value of 0.0480. The square width of oscillator2 lightly varies in a manner so as to create a detuning between the 2 oscillators.
Turn the “Amount” knob For the 2nd source of modulation, choose the “Velocity” to modulate the filter “Cutoff”. Turn the “Amount” knob to a value of 0.31. The velocity to modulate the “Cutoff” Place the “Range” knob of oscillator3 to Low mono (the last position on the left). It will oscillate in low frequencies (like a LFO) Lower the tuning to –48 ( -4 octaves) by turning the central knob to the left with a left click on the mouse.
Play a chord between C4 and C6, the notes will be played one after the other in the order in which you have placed them. (it is possible to changing the playing order by clicking on the linear “mode” knob) If you want, it is possible to keep the chord continuous by clicking on the “Hold” switch. Two types of playing are available in this mode: “Hold” (central position) lets you add notes to an existing chord and “Memory” (low position) allows the change of chord type freely.
6.3. The effects of the Mini V The Mini V offers two additional effects letting you add another color and more space to your sound. The Chorus and Delay effects 6.3.1. The stereo chorus For this example, take the sound of the accompaniments from the previous paragraph 8.1.3. Add chorus by clicking on the button on the right of the chorus section. Add chorus Chorus is used to create an effect of doubling the sound, which gives more width and “thickness”.
Set the modulation speed by turning the “Rate” knob. The faster the speed, the faster the detuning. Here again, use values situated around 0.50 Hz if you wish to have a slight detuning. The “Chorus Rate” knob Place the “Dry/Wet” knob to the center (Dry:50.00%, Wet: 50.00%) to obtain a balance between the gain applied to the signal without effect (“Dry”) and the setting of the gain applied to the treated signal (“Wet”).
6.3.2. The stereo delay This module allows you to repeat the incoming signal in an independent manner for the left and right tracks so as to create stereo echo. The speed of repetition is set for the left and the right with the “Time left & right” knobs, the number of repetitions heard can be set with the “Feedback Left & Right” knobs and the mixing between the initial sound and the treated sound with the “Dry/Wet” knob.
Synchronization of delay to MIDI tempo Now set the number of repetitions for both sides by turning the “Feedback Left & Right” knobs. The “Feedback Left” setting To finish, as for the chorus effect, place the “Dry/Wet” knob to the center (Dry:50.00%, Wet: 50.00%). You will obtain a balance between the gain setting applied to the signal without effect (“Dry”) and the gain setting applied to the treated signal (“Wet”).
7. 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.
2.4 Any Products labelled or otherwise provided to you as an “Educational” version grants the Licensee a non-exclusive right to use the Product in perpetuity. The Product shall only be used by students or those working in educational institutions. This definition includes students, faculty, staff and administration attending and / or working at an educational institutional facility: private / public schools, colleges, universities and similar.
Arturia warrants that the physical media on which the software is provided is free from defects in materials and workmanship under normal use for a period of thirty (30) days from the date of purchase. The Licensee’s invoice shall be evidence of the date of purchase. Any implied warranties on the software are limited to thirty (30) days from the date of purchase. Some states do not allow limitations on duration of an implied warranty, so the above limitation may not apply to the Licensee in this case.
