Arturia CS-80V User manual

USER MANUAL
_CS-80 V

Special Thanks
DIRECTION
Frédéric Brun Kevin Molcard
DEVELOPMENT
Baptiste Aubry
Mathieu Nocenti
Raynald Dantigny
Marie Pauli
Alexandre Adam
Corentin Comte
Samuel Limier
Fanny Roche
Rasmus Kürstein
Kevin Arcas
Alessandro De Cecco
Hugo Caracalla
Mauro De Bari
Geoffrey Gormond
Marius Lasfargue
Marc Antigny
Pierre-Lin Laneyrie
Yann Burrer
Loris De Marco
Cyril Lepinette
Patrick Perea
Stéphane Albanese
Pascal Douillard
Christophe Luong
Pierre Mazurier
Stefano D'Angelo
DESIGN
Edouard Madeuf
Callum Magill
Pierre Pfister
Maxence Berthiot
Florian Rameau
Shaun Ellwood
Morgan Perrier
Heloise Noir
SOUND DESIGN
Lily Jordy
Jean-Michel Blanchet
Quentin Feuillard
Maxime Audfray
Florian Marin
TESTING
Germain Marzin
Arnaud Barbier
Matthieu Bosshardt
Aurélien Mortha
Julien Viannenc
Roger Schumann
Thomas Barbier
Adrien Soyer
Bastien Hervieux
Benjamin Renard
Nicolas Stermann
Enrique Vela
MANUAL
Jason Valax
Mike Metlay
Jimmy Michon
Gala Khalife
Minoru Koike
Holger Steinbrink
Justin Trombley
BETA TESTING
Gary Morgan
Mat Herbert
Lysandrix Rasay
Are Leistad
Stephen Wey
Chuck Zwicky
Davide Puxeddu
Neil Hester
Peter Tomlinson
Chuck Capsis
Andrew Capon
Terry Marsden
George Ware
Fernando Manuel Rodrigues
Andrew Macaulay
Jeremy Rice
Marco Correia Koshdukai
Luis Rodriguez
TJ Trifeletti
Jeffrey M Cecil
Olivier Malhomme
Guillaume Hernandez-
Panier
Paolo Apollo Negri
Product version: 4.0.0
Revision date: 7 November 2022

Thank you for purchasing CS-80 V4!
This manual covers the features and operation of Arturia’s CS-80 V4, one of our many
powerful virtual instruments.
Be sure to register your software as soon as possible! When you purchased CS-80 V4, you
were sent a serial number and an unlock code by e-mail. These are required during the
online registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update the hardware that has been purchased.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia's CS-80 V4!
We’d like to thank you for purchasing CS-80 V4, a virtual instrument recreation of the
Yamaha CS-80 analog synthesizer: a groundbreaking keyboard that introduced the world
to incredible new sonic horizons, with a massive sound that no synth – well, no hardware
synth – has ever managed to mimic.
We've carefully studied and modeled every nuance of the original CS-80 to fully recreate
the rich sound of this legendary keyboard. We then took things one step further, by adding
expanded features for the modern studio, as well as entirely new sound programming
options that take the CS-80 experience to a new level.
As with all of our products, we believe in offering the best of both worlds in a single package
and letting you choose how you want to use it. You can choose to focus on the Main Panel
and get a (slightly improved) vintage CS-80 experience, or pop open the Advanced Panel
and discover a universe of sounds that the original CS-80 designers could only dream of.
Here's to a beautiful blend of the old and the new – and the beautiful music you'll make with
it!
Peace, love, and music,
The Arturia team
Be sure to visit the www.arturia.com website for information about all of our other great
hardware and software instruments. They have become indispensable, inspiring tools for
musicians around the world.

Table Of Contents
1. Introduction...................................................................................................................................................................... 3
1.1. The CS-80: its birth and its parent .............................................................................................................................. 3
1.2. Why a virtual CS-80?......................................................................................................................................................... 5
1.3. Arturia’s secret ingredient: TAE®.................................................................................................................................. 6
1.3.1. Aliasing-free oscillators............................................................................................................................................................................................. 6
1.3.2. A better reproduction of analog oscillator waveforms....................................................................................................................... 7
1.3.3. Direct Filter Circuit Modeling................................................................................................................................................................................. 8
2. Activation and First Start ........................................................................................................................................ 9
2.1. Register, Activate, and Install CS-80 V4................................................................................................................. 9
2.2. Initial setup for standalone use................................................................................................................................. 11
2.2.1. Audio and MIDI settings: Windows ................................................................................................................................................................. 11
2.2.2. Audio and MIDI settings: macOS................................................................................................................................................................... 13
2.2.3. Using CS-80 V4 as a plug-in ............................................................................................................................................................................. 14
2.3. Playing CS-80 V4 for the First Time ...................................................................................................................... 15
3. The User Interface .................................................................................................................................................... 16
3.1. Overview ................................................................................................................................................................................... 16
3.2. The Upper Toolbar ............................................................................................................................................................. 18
3.2.1. The CS-80 V menu.................................................................................................................................................................................................... 18
3.2.2. Preset Browser .......................................................................................................................................................................................................... 22
3.2.3. Advanced Panel Access....................................................................................................................................................................................... 23
3.2.4. Side Panel Settings ................................................................................................................................................................................................. 23
3.3. The Lower Toolbar ............................................................................................................................................................ 24
3.4. The Side Panel..................................................................................................................................................................... 25
3.4.1. Settings Tab................................................................................................................................................................................................................... 25
3.4.2. MIDI Tab ........................................................................................................................................................................................................................ 28
3.4.3. Macro Tab...................................................................................................................................................................................................................... 33
3.4.4. Tutorials .......................................................................................................................................................................................................................... 35
4. The Preset Browser ................................................................................................................................................. 36
4.1. Search and Results............................................................................................................................................................ 37
4.2. Using Tags as a Filter...................................................................................................................................................... 38
4.2.1. Types ................................................................................................................................................................................................................................. 38
4.2.2. Styles................................................................................................................................................................................................................................ 39
4.2.3. Banks................................................................................................................................................................................................................................ 39
4.3. Search Results window................................................................................................................................................ 40
4.3.1. Sorting the Preset Order...................................................................................................................................................................................... 40
4.3.2. Clearing Tags ............................................................................................................................................................................................................. 40
4.3.3. Liking Presets .............................................................................................................................................................................................................. 41
4.4. Sidebar ..................................................................................................................................................................................... 42
4.4.1. My Sound Banks ........................................................................................................................................................................................................ 42
4.4.2. My Favorites ................................................................................................................................................................................................................ 43
4.4.3. My Playlists .................................................................................................................................................................................................................. 44
4.5. Preset Info Section ........................................................................................................................................................... 45
4.5.1. Editing Info for Multiple Presets ...................................................................................................................................................................... 46
4.6. Preset Selection: Other Methods ............................................................................................................................. 47
4.7. Macro Knobs......................................................................................................................................................................... 47
4.8. Playlists .................................................................................................................................................................................... 48
4.8.1. Create your first Playlist....................................................................................................................................................................................... 48
4.8.2. Add a Playlist .............................................................................................................................................................................................................. 48
4.8.3. Add a Preset ................................................................................................................................................................................................................ 49
4.8.4. Re-order the Presets.............................................................................................................................................................................................. 50
4.8.5. Remove a Preset...................................................................................................................................................................................................... 50
4.8.6. New Song and Playlist Management........................................................................................................................................................... 51
5. The Main Panel ........................................................................................................................................................... 52
5.1. Overview .................................................................................................................................................................................. 52
5.1.1. Channels I and II....................................................................................................................................................................................................... 53
5.1.2. The Controller Panels ............................................................................................................................................................................................. 54
5.1.3. The Left-Hand Section............................................................................................................................................................................................ 55
5.1.4. The Service Panel...................................................................................................................................................................................................... 55
5.2. Controls and parameters............................................................................................................................................. 56
5.2.1. Channels I and II...................................................................................................................................................................................................... 53

5.2.2. The upper Controller Panel............................................................................................................................................................................... 60
5.2.3. The lower Controller Panel ................................................................................................................................................................................ 65
5.2.4. The Left-Hand Section........................................................................................................................................................................................... 68
5.2.5. The Service Panel ...................................................................................................................................................................................................... 71
6. The Advanced Panel ............................................................................................................................................... 72
6.1. The Modulations tab .......................................................................................................................................................... 72
6.1.1. Functions........................................................................................................................................................................................................................... 73
6.1.2. The Modulation Mixer .............................................................................................................................................................................................. 76
6.2. The Keyboard tab............................................................................................................................................................. 80
6.2.1. Velocity ............................................................................................................................................................................................................................ 80
6.2.2. Aftertouch..................................................................................................................................................................................................................... 80
6.2.3. Mod Wheel .................................................................................................................................................................................................................... 81
6.2.4. Keyboard Tracking ................................................................................................................................................................................................... 81
6.3. The Effects tab .................................................................................................................................................................... 82
6.3.1. Effects Routing ............................................................................................................................................................................................................ 82
6.3.2. Presets and FX Copy ............................................................................................................................................................................................. 84
6.3.3. FX Sync........................................................................................................................................................................................................................... 85
6.3.4. Meet The FX Types .................................................................................................................................................................................................. 86
6.4. The end (for now)........................................................................................................................................................... 109
7. The Basics of Subtractive Synthesis........................................................................................................... 110
7.1. The Signal Path and its elements: VCO, VCF, VCA....................................................................................... 110
7.1.1. The Voltage Controlled Oscillator (VCO)..................................................................................................................................................... 110
7.1.2. The Voltage Controlled Filter (VCF) ................................................................................................................................................................ 114
7.1.3. The Voltage Controlled Amplifier (VCA) and the full signal path ............................................................................................... 116
7.2. Modulation: making the sound change............................................................................................................... 117
7.2.1. The envelope generator ........................................................................................................................................................................................ 117
7.2.2. The keyboard .............................................................................................................................................................................................................. 118
7.2.3. The Low Frequency Oscillator (LFO)........................................................................................................................................................... 119
7.3. Seeing the whole picture... ........................................................................................................................................ 120
8. Software License Agreement........................................................................................................................... 121

1. INTRODUCTION
Arturia would like to thank you for purchasing our modeling synthesizer, CS-80 V4. We're
confident that it will become a valuable addition to your music production studio.
If you've purchased our products before, you know we take great pride in recreating the
sound and feel of the original instruments – and then we add 21st Century features these
products might have had, if only the technology had been available at the time. And if this
is the first of our products you have owned, well, you're in for a treat!
The Yamaha® CS-80, the synthesizer upon which this model is based was the absolute
pinnacle of analog synthesizer technology at the time, light-years ahead of the competition.
There's never been anything like it, before or since, and it's a legend among legends, with
working units commanding astronomical prices today. Here's some history to explain how
this legend came to be.
1.1. The CS-80: its birth and its parent
Yamaha, Japan's oldest musical instrument manufacturer, was born at the end of the 19th
century in Hamamatsu, Japan.
The first Yamaha electronic instrument, the Electone D-1 electronic organ, was designed and
built in 1959. But the history of the CS-80 began in 1974, when Yamaha released the GX-1.
Like the many flagship Electone organs that came before and after it, the GX-1 was a testbed
for new technologies under development. However, the GX-1 was far more than an organ:
it was an analog polyphonic synthesizer that was unlike anything that came before it, and
(almost) anything that came after it.
Everything about the GX-1 was larger than life. It was a triple-manual monster that weighed
almost a half ton, when you included its seat, stand, bass pedals, and the gigantic speaker
towers that were purpose-built to go with it. It was 18-voice polyphonic, and its small Solo
manual was sensitive to velocity, aftertouch, and side-to-side motion for vibrato. It was
famously delicate and difficult to move safely despite its bulk, and cost $60,000 (in 1974
dollars – enough to buy a small house at the time).
No one knows precisely how many were made, but units were quickly purchased by the
likes of Keith Emerson, Rick Wright of Pink Floyd, Benny Andersson of ABBA, John Paul
Jones of Led Zeppelin, Jurgen Fritz of Triumvirat, and Stevie Wonder, who bought two of
them and called the GX-1 his "Dream Machine".
The GX-1
Arturia - User Manual CS-80 V - Introduction 3

Yamaha refined the technology in the GX-1 to create three (somewhat) more affordable
versions, which were released in 1976. The CS-50 and CS-60 were impressive on their own,
but the CS-80 offered far more than they did in terms of sound and playability.
It was far cheaper than the GX-1, but its $6,900 price tag put it out of the reach of most
musicians, and its 83 kg weight made it hard to set up and hard to transport, a problem
complicated by the fact that if it was tilted too far or turned on its back or side, it would
go out of tune. But even with all of those issues, the CS-80 was considered by many to be
Japan's first truly great synthesizer. It immediately became famous, and its fame only grew
over the years.
The CS-80 was made popular in the late 1970s and early 1980s by a number of A-list
pop groups and master keyboardists. Famous artists and bands included Electric Light
Orchestra, Paul McCartney & Wings, Toto, and Bon Jovi. Eddie Jobson played for UK and
Jethro Tull with the CS-80 as his only keyboard other than a piano and Minimoog. Jean-
Michel Jarre used one heavily, as did Geoffrey Downes of Asia, Jon Tout of Renaissance,
and of course Stevie Wonder. But ultimately, the musician most responsible for its iconic
status all over the world was Vangelis, whose early albums were rich with CS-80 sounds.
He bought several of them, and made the CS-80 the center of his studio... and the sound of
the legendary film Blade Runner among other soundtracks.
With two analog oscillators per voice, the CS-80 has the potential for incredible sounds.
Independent highpass and lowpass resonant filters, a powerful yet musical ring modulator,
and plenty of modulation controls further enhance its sonic potential. There are 22 preset
sounds, selected from bright colored buttons above the keyboard, with pairs of them (called
Lines) mixable to form layered timbres. A three-octave ribbon controller runs along the top
of the weighted 61-note keyboard, which is sensitive to velocity and polyphonic aftertouch –
the first of its kind and the last for years afterward.
The first edition of the service manual has a lot of hand-drawn pages, including the main
panel layout.
In the legendary reference book, The A-Z of Analogue Synthesizers (Susurreal, 1996), Peter
Forrest says of the CS-80:
The CS-80
The CS-80 Service Manual
4 Arturia - User Manual CS-80 V - Introduction

"When it comes to trying to decide which of the top-flight synths is the best ever, it's not
easy. From almost any practical viewpoint, and in terms of versatility of sound, there are a
lot of instruments which wipe the floor with the CS-80. But if you are looking at richness of
sound coupled with performance power, and sheer overkill, maybe nothing can touch it."
In a more modern reference, SYNTH GEMS 1 (Bjooks, 2021), Mike Metlay writes:
"The keyboard not only has Initial Touch (velocity) but polyphonic After Touch, with one
sensor under each key so subtle changes in pressure can emphasize different notes in a
chord. This level of hands-on synth control was unheard of at the time, and is what makes
the CS-80 such a welcoming synth to play. Combined with all this, there is the sound itself,
which is stunningly rich and deep, capable of everything from chiming highs to thundering
lows, the keyboard and other controls rendering each note exquisitely expressive."
CS-80 V4 provides all the features of the original CS-80, and adds many new features to
bring this iconic synthesizer into the 21st Century. We hope you'll enjoy it as much as some
of the world's greatest musicians enjoyed the original.
1.2. Why a virtual CS-80?
Only 3,000 CS-80s were manufactured. Even though few have had the opportunity to play
one, much less own one, it remains a favorite among musicians and amateurs alike. Some
famous artists have gone as far as buying several, so as to have a permanent stock of spare
parts, and there are repair technicians around the world whose overall expertise is judged
by how well they can repair and tune a CS-80.
Why was it such a success? With two independent Lines of synthesis, the CS-80 offers
an original sound structure that's simple yet rich. Its ergonomics offered an approach that
inspired musicians: moving a knob or touching one of its unique lever controls a tiny bit can
be enough to radically transform a sound.
Many musicians have lamented the fact that nobody's building the CS-80 anymore, and
argue over whether any of the attempts to recreate its sound are any good. But even if it
could be precisely reproduced – in hardware or software – how would it fare in a modern
studio?
Arturia has remained faithful to the CS-80's sound and functionality, but has then taken its
capabilities far beyond anything its creators could have imagined, giving it a new lease on
life in the world of plug-ins and DAWs.
Multi mode, the ability to assign a different sound to each of the polyphonic voices, an
onboard effects chain to supplement the original's built-in effects, independent keyboard
management, positioning in stereo space and controllable detuning and circuit
characteristics – all lead to a new presentation of this unique keyboard's presence and
sonority. This is our vision for CS-80 V4: respecting the past while looking toward the
possibilities of the present... and the future.
Arturia - User Manual CS-80 V - Introduction 5

1.3. Arturia’s secret ingredient: TAE®
TAE® (True Analog Emulation) is Arturia's outstanding technology dedicated to the digital
reproduction of the analog circuits used in vintage synthesizers.
TAE®'s software algorithms result in spot-on emulation of analog hardware. This is why
CS-80 V4 offers an unparalleled quality of sound, as do all of Arturia's virtual synthesizers.
TAE® combines three major advances in the domain of synthesis:
1.3.1. Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, especially when using
Pulse Width Modulation (PWM) or Frequency Modulation (FM).
TAE® enables the generation of oscillators which are completely free of aliasing in all
contexts (PWM, FM...), and at no extra CPU cost.
Linear frequency spectrum of a current well-known
software synthesizer
Linear frequency spectrum of an oscillator modeled with
TAE®
6 Arturia - User Manual CS-80 V - Introduction

1.3.2. A better reproduction of analog oscillator
waveforms
The waveforms produced by the oscillators in analog synthesizers are affected by the
presence of a capacitor in the circuits. The discharge of a capacitor results in a slight 'bend'
in the original waveform (most notably for sawtooth, triangular and square waveforms).
TAE® reproduces the result of this capacitor discharge in software.
Below is the analysis of a waveform from one of the five original instruments Arturia's
software emulates, followed by one made by TAE®. They are both equally deformed by the
low-pass and high-pass filtering.
What's more, hardware analog oscillators were and are unstable: in fact, their waveforms
vary slightly from one period to the next. 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 unique character.
TAE® reproduces the instability of oscillators, resulting in a fatter, richer, and overall "bigger"
sound.
Temporal representation of the slightly
distorted sawtooth waveform of a
hardware synthesizer
Temporal representation of that same
synthesizer's sawtooth waveform as
reproduced by TAE®
Arturia - User Manual CS-80 V - Introduction 7

1.3.3. Direct Filter Circuit Modeling
Due to advances in computer processing power, TAE® can now employ direct filter modeling
techniques to achieve unprecedented accuracy in the emulation of a hardware synthesizer's
filter. By modeling the operation of the individual hardware components of the filter circuit,
the warm nuances synonymous with analog sounds are recreated.
The following graph shows a single example of direct circuit modeling in action. The peaks
represent the generation of harmonics at multiples of the resonant frequency when a
particular filter is in self-oscillation mode. These harmonics are characteristic of hardware
synthesizer filters; they come from the non-linear behavior inherent to their analog circuitry.
Anomalies such as these add to the richness and warmth of the sound produced by the
filter.
Notice there are two lines on the graph. Those are the superimposed frequency domain
plots for one of Arturia's virtual instrument filters, and of the hardware filter it's emulating.
They are practically indistinguishable, both on the graph and to the human ear. The direct
recreation of this analog circuitry causes the same characteristics of the sound to be
present, thus giving the user a truly analog sound.
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 when Arturia decides to honor the colorful history and stunning sound of one of the
most famous synthesizers ever, you wind up with CS-80 V4.
We take great satisfaction in knowing this great synthesizer will help you explore previously
unknown musical territory, and we can't wait to hear what you do with it!
8 Arturia - User Manual CS-80 V - Introduction

2. ACTIVATION AND FIRST START
2.1. Register, Activate, and Install CS-80 V4
CS-80 V4 works on computers equipped with Windows 8.1 or later and macOS 10.13 or later.
You can use it as a standalone version or as a plug-in for your favorite DAW, in Audio Units,
AAX, VST2, or VST3 format.
Before you install or register the software, you'll need to create a My Arturia account
here, using an email address and password of your choice: https://www.arturia.com/
createanaccount/
While it's possible to handle registration, activation, and other tasks manually online, it's far
simpler to download and use the Arturia Software Center app, which can be found here:
https://www.arturia.com/support/downloads&manuals
You'll enter your email address and password to set up Arturia Software Center, which acts
as a central location for all of your Arturia software registrations and activations. It also
helps you install and update your software by keeping tabs on current versions.
You can register, activate, and install your product inside Arturia Software Center by
pressing the Register a new product button, and clicking the boxes to Activate and then
Install your software. The registration process will require you to enter the serial number
and the unlock code you received when you bought your software.
Arturia Software Center
Arturia - User Manual CS-80 V - Activation and First Start 9

You can also do this online by logging into your account and then following the instructions
here: http://www.arturia.com/register
Once you've registered, activated, and installed CS-80 V4, it's time to get it to talk to your
computer.
10 Arturia - User Manual CS-80 V - Activation and First Start

2.2. Initial setup for standalone use
If you would like to use CS-80 V4 in standalone mode, you will need to ensure that MIDI
input and audio output are being routed properly to and from the software. You'll generally
only need to do this once, unless you change your MIDI controller or audio/MIDI interface.
The setup process is the same on both Windows and macOS.
! This section only applies to readers that plan to use CS-80 V4 in standalone mode. If you are only
going to use CS-80 V4 as a plug-in inside a host DAW or other music software, you can safely ignore
this section – your host music software handles these settings.
2.2.1. Audio and MIDI settings: Windows
At the top left of the CS-80 V4 application is a pull-down menu. It contains various setup
options.
Click on Audio Midi Settings to open the following window. This works in the same way on
both Windows and macOS, although the names of the devices available to you will depend
on the hardware you are using. Remember, this option is only available (and needed) in the
standalone version of CS-80 V4.
CS-80 V4 Main Menu
Arturia - User Manual CS-80 V - Activation and First Start 11

Starting from the top, you have the following options:
•Device selects which audio driver and device will handle playback of CS-80 V4.
This can be your computer’s internal driver, a generic ASIO driver, or an external
soundcard or interface driver. The name of your hardware interface may appear
in the field below, depending on your selection.
•Output Channels lets you select which of the available outputs will be used to
route audio out. If you only have two outputs, this selection box will not be
shown. If you have more than two, you can select a specific pair of outputs.
• The Buffer Size menu lets you select the size of the audio buffer your computer
uses to calculate sound. The latency in milliseconds is displayed after the buffer
size setting.
! A smaller buffer means lower latency, i.e. a shorter delay between pressing a key and hearing the
note, but loads your CPU more heavily and can cause pops or clicks. A larger buffer means a lower
CPU load, as the computer has more time to think, but can result in a noticeable delay between playing
a note and hearing it. A fast, modern computer should easily be able to operate at a buffer size of 256
or even 128 samples without clicks, but if you do get clicks, enlarge the buffer size until they stop.
• The Sample Rate menu lets you set the sample rate at which audio is sent out of
the instrument.
! The options here will depend on what your audio device can support; nearly every device can
operate at 44.1kHz or 48kHz, which will be perfectly fine for most applications. If you have a specific
need to use a higher sample rate, up to 96kHz, CS-80 V4 will happily support that.
• The Show Control Panel button will jump to the system control panel for
whatever audio device is selected.
Audio and MIDI Settings for Windows
12 Arturia - User Manual CS-80 V - Activation and First Start

! Note that this button is only available in the Windows version.
•Test Tone sends a short test tone when you click the Play button, to help you
troubleshoot audio issues. You can use this feature to confirm that the instrument
is routed correctly through your audio interface and that audio is playing back
where you expect to hear it (your speakers or headphones, for example).
• The MIDI Devices area will display any MIDI devices you have connected to
your computer (if any). Click the check box to accept MIDI from the device(s)
you want to use to control the instrument; you can select multiple MIDI devices
at once with the checkboxes.
! In standalone mode, CS-80 V4 listens for all MIDI channels, so there’s no need to
specify a channel.
•Tempo sets a base tempo for features inside CS-80 V4 such as LFO and effects
sync. When using CS-80 V4 as a plug-in, the instrument gets tempo information
from your host software.
2.2.2. Audio and MIDI settings: macOS
The menu for setting up audio and MIDI devices for macOS is accessed in the same way
as for Windows, and the setup process is nearly identical. All options work the same way
as described above in the Windows section; the only difference is that all macOS devices,
including external audio interfaces, use the CoreAudio driver built into macOS to handle
routing. In the second dropdown menu under Device, choose the audio device you wish to
use.
Audio MIDI Settings for macOS
Arturia - User Manual CS-80 V - Activation and First Start 13

2.2.3. Using CS-80 V4 as a plug-in
CS-80 V4 comes in VST2, VST3, Audio Unit (AU), and AAX plug-in formats, for use in all
major DAW software such as Ableton Live, Cubase, Logic, Pro Tools, Studio One, and more.
When using CS-80 V4 as a plug-in, all audio and MIDI device settings are handled by your
host music software. Please refer to your host music software’s documentation if you have
any questions about loading or using plug-ins.
Note that when you load CS-80 V4 as a plug-in instrument inside your host software, its
interface and settings work the same way as in standalone mode (see below), with a few
small differences:
• CS-80 V4 will synchronize to your DAW’s host tempo/BPM when sync is desired
• You can automate numerous parameters using your DAW’s automation system
• You can use more than one instance of CS-80 V4 in a DAW project (standalone
mode can only launch one instance)
• You can run the outputs of CS-80 V4 through any additional audio effects
available to your DAW, such as delay, chorus, filters, etc.
• You can route CS-80 V4’s audio outputs creatively inside your DAW, using the
DAW’s own audio routing system.
CS-80 V4's interface looks the same in plug-in mode as in standalone mode.
14 Arturia - User Manual CS-80 V - Activation and First Start

2.3. Playing CS-80 V4 for the First Time
Now that you have CS-80 V4 up and running, let’s take it for a quick test drive!
If you haven't done so already, launch CS-80 V4 as a plug-in or as a standalone instrument.
If you have a MIDI controller set up, use it to play some notes on CS-80 V4. If not, you can
play from your computer's keyboard. You can also use your mouse to play the on-screen
keyboard.
The up and down arrows at the top of the instrument let you step through all of CS-80 V4’s
available presets. Try playing a few, and when you find one that you like, try adjusting some
of the other on-screen controls to see how they affect the sound.
Play with the controls, and don't worry — nothing is saved unless you specifically save a
preset (described later in this User Guide), so there is no chance of messing up any of CS-80
V4’s factory presets.
We hope this chapter has gotten you off to a smooth start. Now that you're up and running,
the rest of this guide will help you work your way through all of CS-80 V4's features on
a section-by-section basis. By the time you reach the end, we hope you’ll understand all
of CS-80 V4’s capabilities – and will be using this fantastic instrument to create equally
fantastic music!
Arturia - User Manual CS-80 V - Activation and First Start 15

3. THE USER INTERFACE
In this chapter, we'll walk you through the features of CS-80 V, how to find them and how to
use them. 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 dive into CS-80 V as deep as you like.
Before we do anything else, let's take a look at the whole picture: a bird's eye view of the
CS-80 V interface.
3.1. Overview
The CS-80 V interface is dominated by the virtual instrument itself, but we also need to learn
about the functions surrounding it:
1. The Upper Toolbar [p.18]:This is where you access global settings, work with presets,
access the Advanced features of CS-80 V, and open the Side Panel (see below).
2. The Main Panel [p.52]:Here is where you will likely spend most of your time when
playing with CS-80 V. It contains a detailed reproduction of the original CS-80 front panel,
with all of the original hardware's controls (plus a few extras). We will go over this panel in
the Main Panel [p.52] section of this guide. Clicking on the lid reveals many more features
that we'll cover in the Advanced Panel [p.72] section later on.
The virtual keyboard in the Main Panel lets you play a sound without an external MIDI
device. Just click on a virtual key to hear the corresponding note, or drag the cursor across
the keys to hear a glissando.
The full interface of CS-80 V. Don't worry, we'll teach you what all the sliders and buttons
do.
16 Arturia - User Manual CS-80 V - T e User Interface