USER’S MANUAL Version ARTURIA CS-80V2 USER’S MANUAL 2.
Programming: Robert Bocquier (Lead Developer V2) Nicolas Bronnec (Lead Developer V1) Pierre-Jean Camilieri Sylvain Gubian Xavier Oudin Graphics: Thomas & Wolfgang Merkle [Bitplant] Manual: Antoine Back (V2) Silvère Letellier (V2) Houston Haynes (V2) Tomoya Fukuchi (V2) Yasu Tanaka (V2) Jean-Michel Blanchet Yuji Sano Sound Designers: Jean-Michel Blanchet Sylvère Letellier A. Gonzales Christian Giudicelli Howard Scarr Jaime Newman Ludovic Llorca M.
TABLE OF CONTENTS 1 INTRODUCTION .................................................................................................................................................... 4 1.1 THE BIRTH OF THE YAMAHATM CS-80.................................................................................................................. 4 1.2 WHY A VIRTUAL CS-80? ..................................................................................................................................... 6 1.
7.1 THE THREE MAIN ELEMENTS .............................................................................................................................. 51 7.1.1 The oscillator (VCO) ................................................................................................................................ 51 7.1.2 The filter or VCF....................................................................................................................................... 54 7.1.3 The amplifier or VCA.......
1 INTRODUCTION 1.1 THE BIRTH OF THE YAMAHATM CS-80 Yamahatm was created at the end of the 19th century, in Hamamatsu, Japan. The first electronic instrument, the Electone D-1 electronic organ, was designed and built in 1959. But the history of the CS-80 began when, in 1974, the GX-1 was released. The GX-1 The GX-1 was an analog polyphonic synthesizer that was built in order to test the market. It costed $60,000 and was premiered in the US in 1973 at the NAMM convention.
The CS-80 The CS-80 was made popular in the late 70’s and early 80’s by a number of pop groups, including Electric Light Orchestra, Toto, Paul McCartney and Wings. Other artists and bands like Vangelis, Bon Jovi, Jean-Michel Jarre, Geoffrey Down, Stevie Wonder and some others managed to turn the CS-80 into a real myth. Let us quote Matt Friedmann from the Vintage Synth Explorer website: “No synth sounds greater.
The 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.
Arturia has thus brought new life to the myth, remaining faithful to the sound and the functionality, but also taking it several steps further. As you will see, these new additions bring a new lease of life to the CS-80V2. The possibility to affect a different sound to each of the polyphonic voices, an independent keyboard management, positioning in stereo space and particular tuning allow the amplification of the unique presence and the sonorities of this polyphonic synthesizer.
Linear frequency spectrum of the CS-80V2 oscillator made with TAE® 1.3.2 A better reproduction of analog oscillator waveforms The waveforms produced by the oscillators in analog synthesizers are marked by the presence of a condenser in the circuits. The discharge of the condenser results in a light bend in the original waveform (notably for sawtooth, triangular and square waveforms). TAE® allows the reproduction of this condenser discharge.
What’s more, the original analog oscillators were unstable. In fact, their waveform lightly varied from one period to another. If we add to this the fact that the starting point for each period (in Trigger mode) can vary with the temperature and other environmental conditions, we find one of the characteristics that participated in the typical sound of vintage synthesizers. TAE® reproduces the instability of oscillators, bringing a “fatter” and “bigger” sound. 1.3.
2 INSTALLATION 2.1 WINDOWS INSTALLATION (XP / VISTA) Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the CS-80V2 Setup PC.exe icon. It is always a good idea to first check if a more up-to-date version is available online; if so, it is safe to install directly from the latest update: http://www.arturia.com/evolution/en/downloads/updates.html At the first step in the installation, choose the folder to install the CS-80V2.
Choosing the protocols For the VST and RTAS protocols, you need to choose the installation folder to allow the host application to use the CS-80V2 as a plug-in. If you do not know how to make this choice, go to chapter 9. Installation folder choice for the VST plug-in The installation program now has enough information to complete the installation. When the installation process is completed, please proceed to authorization step (chapter 3).
2.2 MAC OS X INSTALLATION Insert the CD-ROM into the drive. Explore the content of the CD-ROM, and then double click on the icon named CS-80V2 Setup. Follow these steps: Read and accept the End User License Agreement, Select a destination. When prompted, enter the administrator name and password of your computer in the Authentication window. Authentication window The CS-80V2 can not only be installed as a standalone application, but also as VST, AU and RTAS plug-ins.
3 AUTHORIZATION Now your CS-80V2 has been installed, you have to authorize the synthesizer. Previous versions used an “original CD + license number” protection scheme; however the CS80V2 uses the Soft-eLicenser full-software solution. Avoiding the use of a USB port by default, this system allows using the synthesizer on one machine which must be connected to the Internet during the authorization process.
When prompted, enter the 32-digit Activation Code; this code is written on the plastic card attached to your User’s Manual. Click on Continue to activate your software. Enter the activation code The eLicenser Control Center is now ready to download the software license that will allow you to use the CS-80V2. Click on Continue, the progress bar should advance until download completion. A popup window will confirm, just click Close, then Finish.
License is installed and activated It’s now time to launch the CS-80V2 synthesizer.
4 QUICK START This chapter will help you to familiarize yourself with the general usage of the CS-80V2. You will be presented with an overview of the different sections of the synthesizer as well as the Single voice and Multi mode settings. You will find a precise and detailed description of all settings and controllers in the chapters that follow.
Select a preset The CS-80V2 is shipped with about 800 presets, which will allow you to get to know the sounds of the synthesizer. A bank called Templates proposes a selection of presets which allow you to work from a basic template when programming a sound. It is also possible to view sounds by sub-bank by choosing the option All in the bank. For example, to see all bass presets, click on All in the bank selections and then on Bass. Let’s modify this preset.
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).
You also have the option to only keep the keyboard and its assignable controllers visible on the screen by clicking on the KBD icon. The advantage being quick access to real time controllers and sound presets while having a reduced work area. You can activate this reduced mode by clicking on the KBD icon, which is on the right of the tool bar. The reduced mode 4.
Synthesis line presets Let’s see how to quickly create a polyphonic sound that evolves through time: To really understand the programming of the CS-80V2, let’s take a very simple sound. Select the preset 2VCO_1VCF_Link from the Templates / Filters sub-bank. First, set the mix output to first voice as the image below: Start by reducing the cut-off frequency of the low-pass filter (LPF). This will make the sound more muted. For this, set the linear green LPF knob.
The ADSR envelope controllers 4.4 OVERVIEW OF THE MULTI MODE The CS-80V2 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.
Here you can see the zone assignment: The keyboard zone assignment Before changing the different mode parameters, please deactivate the tremolo effect (TREM) in the effect zone. Now let’s apply some change to our sound: Start by changing the pan position of the first voice. Place the sound on the right: turn the knob PAN fully to the right (value of 1.00R). Detune this voice by slightly turning the detune knob (DET) to the right (value of +1.40).
For each of the 8 voices, you can set: The choice of zone (from 1 to 4 or no zone) Transposition (in semitones) Fine tuning Volume Pan position Portamento/Glissando Ring modulator Chorus and delay effects To quickly isolate a voice (where the EDIT button is lit) and play it across the whole keyboard, just close the Multi panel.
4.6 THE EFFECTS SECTION The effects section lets you add Chorus, Stereo Delay or even a Ring Modulator to your sound. You can also impose a Portamento/Glissando to what you play on the keyboard. Settings concerning sustain and expression pedals are also available in this section. Let’s keep the Tremolo example and see how to use the effects within Multi mode: Deactivate the FX button for Single1. We won’t place effects on the bass sound.
The modulation matrix The choice of source and destination is done by clicking on LCD screens. The individual matrix positions will offer 12 modulation sources and 38 destinations, with an attenuation control in between. Let’s apply 2 supplementary types of modulation to the preset 2VCO_1VCF_Link: Open the hatch of the matrix to access the parameters. Among the modulation sources, choose the first low frequency oscillator (LFO 1).
5 THE INTERFACE 5.1 USE OF PRESETS Presets let you memorize the sounds of the CS-80V2. A preset contains all of the information pertaining to the reproduction of a sound. In the program, the presets are classed in banks and sub-banks. Each bank contains a certain number of sub-banks, which generally determine a type of sound: sub-bank Basses, sub-bank Effects, etc. Each sub-bank contains within itself a certain number of presets. The CS-80V2 is shipped with several factory banks.
5.1.2 Creation of a bank, sub-bank, preset To create a new bank, click on the left names of all of the existing banks of bank... to create a new bank of sounds. on its name in the tool bar and entering sided arrow button. The dropdown menu displays the sounds, and a line called New bank... Click on New You can then change the name of this bank by clicking the new name. To create a new sub-bank, just click on the middle sided button, and select New sub-bank...
When you click on this button, a window appears allowing you to choose the preset bank file for the CS-80V2 (as AYS file format). Choose the file that you want to import, and click on Open. The new bank of presets will automatically appear among the available banks. The CS-80V2 equally offers the possibility to export your own sounds to save them, to use them on another machine, or to make them available to other users. It is possible to export a preset, a sub-bank, or a complete bank.
which the mouse movements are being evaluated). Movement to linear mode is available in the options of your sequencer. In Cubasetm, for example, this choice can be found via the Edit > Preferences menu, and is found in the General tab of the window. 5.2.3 Switches The CS-80V2 has several types of switches. Simply click on these switches to change their state. Switches The rocker type switch is On when in the lowered position. 5.2.4 Ribbon The ribbon by default controls the pitch bend of the synthesizer.
5.2.6 Virtual Keyboard The keyboard allows you listen to the synthesizer sounds without the need for an external master MIDI keyboard, and without programming a melody in the sequencer. Just click on a virtual key to hear the corresponding sound. 5.2.7 MIDI control One of the major points of evolution when compared to the original is the possibility to assign any CS-80V2 knob to an external MIDI controller. Let’s look at an example: Click on the BRILL knob while holding the [Ctrl] key down.
by ticking the NRPN box (see above). If you have difficulty with the NRPN setup, please contact the technical support of your MIDI device. 5.3 THE SOUND MAP The sound map is an innovative preset explorer which offers an easy and funky way to locate and choose a preset on a map area to simplify the preset management and to quickly find the appropriate sounds. The sound map also offers brand new interface for creating new sounds thanks to a morphing feature between four presets.
5.3.1 The MAP main interface The sound map interface shows a map where are shared out all the presets of the CS-80V2 organized for their types of sound and their own audio characteristics.
Select a preset You can create new presets thanks to an exclusive real time morphing feature: Click between a group of presets and hold the left button of the mouse on this point. Four red arrows drawing a cross appear linking the group of four presets. Morphing between a group of presets You can now drag your mouse between those presets. The green arrow shows you the starting point of your motion.
The map overview interface To navigate into the map, click inside of the red square and drag it on the map area to view other sections of the Sound map. To zoom in the view on the sound map, click on the Zoom slider, under the overview window, and drag it on the right to increase the size of the map. To zoom out the view on the sound map, click on the Zoom slider, and drag it on the left to decrease the size of the map.
To select an individual or a group of instrument types: First click on the All button, on the bottom of the type filter window: this will hide all the instrument types from the sound map. The ALL button Then, select the type(s) you want to see by clicking on the corresponding square box(es). A nock appears on the selected box(es) and the type(s) of presets appears on the map interface. Show pad presets This is a good way to simplify and to refine the preset search.
Click on the LIST button The list preset interface is very simple, you can see three columns showing, from left to right: The preset names The instrument type The name of the sound designers Preset list interface All those data are classified by alphabetical order. To select a preset, simply browse the list and click on the name of a desired preset. You can inverse the order (from A to Z or from Z to A) by clicking on the column title: an ascendant or descendant arrow shows you the order type.
5.3.3 The COMPASS morphing interface The Morphing page is an independent module allowing you to quickly create some new sounds thanks to a real time morphing from the four selected presets saved on the snap memories. The four presets are placed on the four cardinal points of the compass. The Morphing interface To open the Morphing page, click on the COMPASS button, situated on the toolbar of the Sound map.
Create a new sound If you wish, you can save it on a User bank of the CS-80V2 memory.
6 USING THE CS-80V2 6.1 SINGLE MODE When the Multi mode hatch is closed, the CS-80V2 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. 6.2 TWO LINES OF SYNTHESIS The original CS-80 has a particular structure.
PWM Settings Unlike the original CS-80 LFO where only the sine waveforms were available, the wave can be set with the WAVE FORM selector. The waveforms available are sine, saw-up, saw-down, square, noise and random.
Setting the filter envelope The output of the filters is controlled by a volume VCF LEVEL before being added to a sine wave (>~<). The signal can thus be treated by the output amplifier (VCA) controlled by an envelope. The LEVEL control sets the volume at the end of line of the synthesis.
The LINK button connects the oscillator of the second line toward the filters of the first. The filters and amplifier of the second line are not used and therefore deactivated to conserve calculation power. 6.3 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.
SIN 1 Level : SIN 2 Level : LFO 1 Speed : LFO 1 Level : LFO 2 Speed : LFO 2 Level : EG VCF1 IL : EG VCF1 AL : EG VCF1 A : EG VCF1 D : EG VCF1 R : EG VCF2 IL : EG VCF2 AL : EG VCF2 A : EG VCF2 D : EG VCF2 R : EG VCA 1 A : EG VCA 1 D : EG VCA 1 S : EG VCA 1 R : EG VCA 2 A : EG VCA 2 D : EG VCA 2 S : EG VCA 2 R : Off : Level of the sine of the first line Level of the sine of the second line Frequency of the LFO of the first line Level of LFO output for the fi
6.5 THE KEYBOARD MODULATIONS The INITIAL fader performs a slight frequency modulation on the oscillators. This modulation is a linear ramp that depends at the same time on the fader setting and the velocity. Initial tuning Fader at the top, there is no modulation; at the bottom, the modulation is set to the maximum. About the orientation of these faders, the original CS-80 operates in that way, which can be confusing. But we chose to reflect the original character of the machine.
6.7 CHORUS/TREMOLO Chorus/Tremolo is an effect that allows a variety of effects, from simulation of an ensemble to that of a rotary speaker. It is activated with the CHOR switch. Setting chorus/tremolo The TREM switch takes us from chorus mode to tremolo mode. While the rotary SPEED and DEPTH knobs respectively set the speed of rotation and depth of the effect. 6.8 STEREO DELAY Delay is an effect that simulates an echo. It is activated with the DEL switch.
Expression pedal The EXP and WAH buttons, when activated, allow the use of a pedal expression MIDI message (0x04) either on the amplification of the volume (expression), or on a sweeping filter (whawha). 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.
played as long as it is active. The arpeggiator in HOLD mode is stopped through the use of the PLAY button. The MODE selector chooses the arpeggio mode: increasing, decreasing, back and forth, random, and in the order that the notes appear. The OCTAVE selector presents the choice of the number of octaves that the arpeggiator will traverse for each cycle. The REPEAT selector is to choose the number of cycles repeated for each octave. Arpeggiator settings 6.
Brilliance and Resonance General volume 6.14 THE MULTI MODE When the Multi mode hatch is open, the playing mode is called “multiple”. In this mode, each of the eight polyphonic voices available can take a different sound and can be commanded by four zones of MIDI control. 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.
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.
General settings The other settings affect each sound independently of the others, setting the different parameters of a single voice.
7 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 Moogtm, ARPtm, Yamahatm, Buchlatm, Oberheimtm, Sequential Circuitstm (Prophet series), Rolandtm, Korgtm (MS and PS series) and many others.
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.
Time and spectral representations of a sinusoid signal PWM (Pulse Width Modulation) is a setting that allows you to modify the waveform cycle (or wave length). This can be done manually with the help of a knob PW or by modulation (with an envelope or LFO). This impulse width variation translates to a spectrum modification, resembling a waveform change.
become richer in harmonics. The result can quickly become distorted but interesting for inharmonic sounds like special effects or bells for example. 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.
The CS-80V2 offers 2 types of slope (where the CS-80 had only the 12 dB/Oct slope). On the CS-80V2, 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 band-pass filter A second setting to compliment the cut-off frequency: the resonance. You will also find it called “Emphasis”, or even “Q” – for “Quality of filtering” – on many synthesizers. The resonance amplifies frequencies close to the cut-off frequency; the other frequencies remaining are either unchanged (before the cut-off frequency) or reduced (after the cut-off frequency). On the CS-80V2, you can increase the rate of resonance through the RES slider.
In conclusion, here is a diagram that should help you to understand the composition of a basic sound: Audio signal path 7.2 OTHER MODULES 7.2.1 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.
ADSR envelope On the VCF of the CS-80V2, the envelopes include 2 additional settings: The initial level (IL) is the start level of the envelope relative to the frequency of the filter. The filter frequency will be modulated starting with a frequency inferior to the frequency setting. The attack level (AL) is the maximum level of the filter envelope. The CS-80V2 ADSR envelope 7.2.
Low frequency oscillator modulation For example: If the LFO sinusoid waveform modulates the volume of an amplifier, the sound will increase in volume then disappear in a varying manner following the speed (the frequency) of this LFO. This will produce a tremolo effect. 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.
A complete CS-80 synthesis voice ARTURIA – CS-80V2 – USER’S MANUAL 60
8 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.
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. Be sure to set the level of the general sustain fader (S) to 0, so that the changes on the release time can be effective. Increase the VCA release time Now you can add all the parameters you want, like changing the oscillator waveform, activate the sine waveform, change the filter attack. 8.1.
Matrix amount For the second modulation, we will now modulate the filter by the sub-oscillator. For that, select the SubOsc as source and the HP1 cut as destination. Set the amount you prefer and listen to the sound. You can choose the threshold of the filter by lowering the filter frequency. And to finish this part, connect the modulation Wheel to the LFO2 speed, and the LFO2 to the LP1 cut: Your sound is now modulated by different parameters, adding unique complexity.
Apply aftertouch on the VCA volume The ring modulator The ring modulator is essentially used to add a variety of harmonics to a sound. Let’s use the example of the sound from a bell: Start by activating the ring mode by clicking in the >M< logo: Activate the ring modulator Increase the release time (R) on the envelope of VCA1 towards 440 ms.
8.2.1 Four different sounds on the keyboard Choose the preset Multi_Sequence in the bank Templates, sub-bank Sequences_arp. 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.
Choose the preset Multi_Sequence in the bank Templates, sub-bank Sequences_arp. This preset contains 8 different singles but they are played successively to each note played. They are all assigned to zone 1 which covers the whole 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.
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 linear MODE slider If you wish, you can hold the chord by clicking on the HOLD switch.
When the arpeggiator is playing, you can set the decay time (D) on the VCA1 and 2 amplitude envelopes. The shorter the time, the more percussive the sound. Of course the effect produced will only be heard correctly if the sustain level (S) is 0. So that the arpeggio plays alone, click on the arpeggiator HOLD switch. Set the height of each of the 8 notes by turning the HOLD transposition knob among the single voice settings.
9 USING THE CS-80V2 IN DIFFERENT MODES 9.1 STANDALONE The CS-80V2 application can be used as an instrument independent of a sequencer (stand alone mode). It allows you to open one or several instruments, and to play with a master MIDI keyboard. 9.1.1 Launching the application To launch the CS-80V2 application from Windows, go to Start > Arturia > CS-80V2 and choose CS-80V2. On Mac OS X, open the Finder > Applications > Arturia CS-80V2 folder and double click on the CS-80V2 application icon.
The configuration window under Mac OS X Audio protocol (Windows only): select the audio protocol that you want to use. If you have ASIO drivers for your sound card, it is highly recommended that you use the ASIO protocol; the ASIO drivers propose a higher performance rate in relation to the DirectX driver. Audio driver: select the driver corresponding to the sound card that you want to use. Sample rate: choose a sample frequency among those offered by your sound card.
Configuration of the octave The octave allows you to transpose the notes of your keyboard by one or several octaves. This function is useful if your keyboard doesn’t cover the octave in which you wish to play or if you have activated the keyboard zone option. Configuration of the audio input and output The two last parts of the toolbar are used to select the audio channel on which you wish to play this instrument, and the one that will provide audio input.
9.2.2 Saving a preset When the session is recorded, the state of the CS-80V2 is recorded as is, even if the programming does not correspond to any preset. For example, if you were working on preset P1 on which you had modified the parameters (without having saved them under the name P2), the next time the song is opened, the CS-80V2 will load preset P1 with the modifications. The drop down menu offered by the VST sequencer to save plug-in settings can of course be used with the CS-80V2.
Connection of a MIDI track to the CS-80V2 The events played on a MIDI keyboard are then transmitted by your sequencer to the CS80V2. It is of course possible to record these MIDI events, and use all of the sequencers MIDI editing possibilities. You can also create an instance of the CS-80V2 instrument by creating an Instrument Track in Cubase. Simply right/command click in the track listing of the project and select Add Instrument Track.
All MIDI inputs drive the CS-80V2 Opening the instrument To open the CS-80V2, please click on the little keyboard logo located below the instrument track output, as shown hereunder: Open the VST Instrument 9.3.2 Ableton Live Check plug-in setup Opening the CS-80V2 plug-in is done like any other plug-in, please consult the user manual of the host sequencer for more information.
Insert an Instrument Track To insert an instrument track, open the left sided folder. All your plug-in devices are listed as below. Then, double click on your Instrument will create a MIDI track which include your CS80V2. List of the plug-in devices Opening the instrument To open your instrument, display the Live detail view by double clicking on the MIDI track, or press [Cmd]+[Alt]+L on Mac OS, or [AltGr]+L on Windows. The detail view show you the device and an assignable X-Y control.
Inserting a virtual synth track The program will ask you for Track option, press OK or make your own configurations. Opening the instrument To open your Virtual CS-80V2, please double click on the MIDI logo on your MIDI track as below: Open the virtual instrument 9.4 AUDIO UNIT 9.4.1 Logic Studio Check plug-in setup Opening the CS-80V2 plug-in is done like any other plug-in, please consult the user manual of the host sequencer for more information.
Go to Audio Unit Manager The Audio Unit Manager gives information about all the plug-ins detected by Logic. Please scroll to the CS-80V2 and check that the Logic Box is ticked: Audio Unit list You are now ready to create a new instrument track. Insert an Instrument Track To insert an Audio Unit track please proceed that way: Click on the ‘+’ logo next to Global Tracks as below : Create an instrument track On the popup window, select Software Instrument and press Create.
Input field Select AU Instruments > Arturia > CS-80V2 > Stereo: Select the CS-80V2 Opening the instrument In order to open the CS-80V2 you must click on the previous grey field now replaced by the CS-80V2: Open the Instrument You setup is now functional and your CS80 is ready to be played. 9.4.2 Digital Performer Insert an Instrument Track Opening the CS-80V2 plug-in is done like any other plug-in, please consult your host sequencer user’s manual for further information.
Insert an instrument track Connection to a MIDI track So that the CS-80V2 can play the information coming from a MIDI track, you must choose a MIDI track and select the CS-80V2 as the MIDI output for this track using the adequate menu in Digital Performer: Connecting a MIDI track to the CS-80V2 The events played on a MIDI keyboard are then transmitted by your Digital Performer to the CS-80V2.
9.5.1 Installation During the initial installation, select Install as a RTAS/HTDM plug-in. Then, when you are asked, indicate the folder in which the other RTAS and HTDM plug-ins are placed. By default, the path is: for Mac OS X: /Library/Application Support/Digidesign/Plug-Ins for Windows: C:\Program Files\Digidesign\DAE\Plug-Ins Whether your system can use the HTDM plug-ins or not (see the next section), the installation is the same. 9.5.
Insert the CS-80V2: click on Window > Mix View, and the window shows the empty instrument track with its Inserts field. Click on an empty Insert field and select multichannel plug-in > Instrument > CS-80V2 (stereo). Insert the CS80V2 To open you instrument click on the same Insert area: Open the RTAS plug-in Protools is now ready to play the CS-80V2.
10 APPENDICES 10.
volv2 volv3 volv4 volv5 volv6 volv7 volv8 Volume Volume Volume Volume Volume Volume Volume of of of of of of of track2 track3 track4 track5 track6 track7 track8 10.
S1M04Am S1M05Am S1M06Am S1M07Am S1M08Am S1M09Am S1M10Am S1o1noi S1o1sin S1o1wid S1o2noi S1o2sin S1o2wid S1ReHi1 S1ReLo1 S1ReHi2 S1ReLo2 Modulation amplitude for line 4 of the matrix Modulation amplitude for line 5 of the matrix Modulation amplitude for line 6 of the matrix Modulation amplitude for line 7 of the matrix Modulation amplitude for line 8 of the matrix Modulation amplitude for line 9 of the matrix Modulation amplitude for line 10 of the matrix Oscillator 1 noise level Oscillator 1 sinusoid level
CS-80V2 END USER LICENSE AGREEMENT 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 to use this copy of the minimoog V program (hereinafter the “SOFTWARE”). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
completely adjust the nature of the support (hotline, forum on the website etc.), upgrades and updates at any time. The product registration is possible during the activation process or at any time later through the Internet. In such a process you are asked to agree to the storage and use of your personal data (name, address, contact, email-address, and license data) for the purposes specified above.
You may also not sell the Syncrosoft key separately as a license; the usage rights always remain with the software, in particular with the original software data carrier (e.g. CD). 8.
