Arturia mini v User manual

USER’S MANUAL

ARTURIA –Mini V –User’s Manual
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Programming:
Robert Bocquier
Thomas Diligent
Nicolas Bronnec
Pierre-Jean Camilieri
Sylvain Gubian
Xavier Oudin
Gilles Pommereuil
Cédric Rossy
Vincent Travaglini
Graphics:
Morgan Perrier
Yannick Bonnefoy (Beautifulscreen)
Thomas & Wolfgang Merkle (Bitplant)
Manual:
Robert Bocquier
Thomas Diligent
Jean-Michel Blanchet
Houston Haynes
Tom Healy
Xavier Oudin
Gilles Pommereuil
David Poncet
Mitsuru Sakaue
Noritaka Ubukata
Antoine Back
Sound-designers:
Jean-Michel Blanchet
Clay Duncan
Celmar Engel
Mateo Lupo
Chris Pittman
Klaus Peter Rausch
Klaus Schulze
Scot Solida
Noritaka Ubukata
Katsunori Ujiie
Thomas Koot

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Very special thanks to:
Robert A. Moog, Michael Adams, Houston Haynes
Thanks to:
Steve Dunnington, Randy Fuchs, Roger Luther (moogarchives.com), François Haÿs,
Mark Vail, and the numerous beta testers.
© ARTURIA S.A. –1999-2014 –All rights reserved.
30, Chemin du Vieux Chêne
38240 Meylan
FRANCE
http://www.arturia.com
Information contained in this manual is subject to change without notice and does not represent a commitment on the
part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-
disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of
this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use,
without the express written permission of ARTURIA S.A.
Products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective
owners.
November 2014 edition

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TABLE OF CONTENTS
1FROM THE FIRST BOB MOOG'S SYNTHESIZERS UP TO TAE...................................................................7
1.1 THE GENESIS OF THE 1971 REFERENCE MONOSYNTH..............................................................................7
1.2 ABETTER EMULATION THANKS TO TAE®.................................................................................................11
1.2.1 Aliasing-free oscillators:...............................................................................................................................11
1.2.2 Better reproduction of analog waveforms: ...................................................................................................11
1.2.3 Better reproduction of analog filters.............................................................................................................13
1.2.4 Implementation of the soft clipping...............................................................................................................14
2ACTIVATION & FIRST START ...........................................................................................................................15
2.1 REGISTER &ACTIVATE.........................................................................................................................................15
3QUICK START.........................................................................................................................................................15
3.1 USING THE PRESETS..............................................................................................................................................16
3.1.1 Modifying this preset.....................................................................................................................................17
3.2 THE PLAYING MODES............................................................................................................................................18
3.3 OVERVIEW OF THE “CLASSIC”MODE....................................................................................................................20
3.4 THE “EXTENDED”MODE.......................................................................................................................................21
3.4.1 The modulation matrix..................................................................................................................................21
3.4.2 The LFO........................................................................................................................................................22
3.5 THE ARPEGGIATOR SECTION .................................................................................................................................23
3.6 THE EFFECTS SECTION ..........................................................................................................................................23
3.6.1 The chorus.....................................................................................................................................................23
3.6.2 The delay.......................................................................................................................................................24
3.7 THE REAL TIME CONTROLLERS AND MIDI ASSIGN................................................................................................24
4THE INTERFACE....................................................................................................................................................27
4.1 USE OF PRESETS....................................................................................................................................................27
4.1.1 Choice of a bank, sub-bank, preset ...............................................................................................................27
4.1.2 Creation of a bank, sub-bank, preset ............................................................................................................29
4.1.3 Saving a user preset......................................................................................................................................29
4.1.4 Import/ Export of a bank of presets...............................................................................................................29
4.2 THE SOUND MAP ...................................................................................................................................................30
4.2.1 Opening the sound map.................................................................................................................................32
4.2.2 The sound map interfaces..............................................................................................................................33
4.2.2.1 The sound map main interface ..................................................................................................................................33
4.2.2.2 The Sound Map overview .........................................................................................................................................34
4.2.2.3 The instrument type filter window ............................................................................................................................35
4.2.2.4 Preset snap shot memories ........................................................................................................................................36
4.2.2.5 The “Morphing” interface .........................................................................................................................................36
4.2.2.6 The list preset manager .............................................................................................................................................38
4.3 USE OF CONTROLLERS .......................................................................................................................................... 39
4.3.1 Potentiometers ..............................................................................................................................................39
4.3.2 Switches.........................................................................................................................................................39
4.3.3 Pitch Bend wheel...........................................................................................................................................39
4.3.4 Virtual keyboard ...........................................................................................................................................40
4.3.5 MIDI control.................................................................................................................................................40
4.3.5.1 Learn menu ...............................................................................................................................................................40
4.3.5.2 Assigning MIDI controls...........................................................................................................................................40
4.3.5.3 Manage configurations..............................................................................................................................................41
4.3.5.4 Minimum and maximum bounds...............................................................................................................................42
4.3.5.5 Multiple assigned parameter .....................................................................................................................................42
4.3.5.6 Tricks ........................................................................................................................................................................43
5THE SYNTHESIZER...............................................................................................................................................44
5.1 THE OSCILLATORS ................................................................................................................................................45
5.2 THE MIXER............................................................................................................................................................46
5.3 THE FILTER AND ITS ENVELOPE.............................................................................................................................47
5.4 THE OUTPUT VOLUME AND ITS ENVELOPE.............................................................................................................48
5.5 THE POLYPHONIC MODE,THE PLAYING MODES.....................................................................................................49
5.6 THE PITCH BEND AND MODULATION WHEELS........................................................................................................50
5.7 THE MOTION RECORDER ......................................................................................................................................51

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5.7.1 The Motion Recorder activation/deactivation...............................................................................................51
5.7.2 Playing recorded Motion curves...................................................................................................................51
5.7.3 Recording a parameter motion curve in real time ........................................................................................52
5.7.4 Erasing a recorded automation in real time .................................................................................................52
5.7.5 Quantizing a motion curve............................................................................................................................52
5.7.6 Setting the modulation amount of a motion curve.........................................................................................53
5.7.7 The parameters available for the Motion Recorder......................................................................................53
5.7.8 Editing a motion curve..................................................................................................................................54
5.7.8.1 The Edit tools............................................................................................................................................................54
5.7.8.2 The Curve Editor screen............................................................................................................................................55
5.8 THE VOCAL FILTER................................................................................................................................................55
5.9 THE LOW FREQUENCY GENERATOR.......................................................................................................................57
5.10 THE MODULATION MATRIX..................................................................................................................................57
5.11 THE ARPEGGIATOR..............................................................................................................................................58
5.12 THE CHORUS AND STEREO DELAY .......................................................................................................................59
6THE BASICS OF SUBTRACTIVE SYNTHESIS.................................................................................................60
6.1 THE THREE MAIN ELEMENTS .................................................................................................................................60
6.1.1 The oscillator, or VCO..................................................................................................................................60
6.1.1.1 Triangle .....................................................................................................................................................................61
6.1.1.2 Sawtooth....................................................................................................................................................................61
6.1.1.3 Square........................................................................................................................................................................62
6.1.1.4 Pulse Width Modulation............................................................................................................................................62
6.1.1.5 Synchronization.........................................................................................................................................................62
6.1.1.6 Frequency modulation...............................................................................................................................................63
6.1.2 The noise module ..........................................................................................................................................63
6.1.3 The Mixer......................................................................................................................................................64
6.1.4 The filter or VCF...........................................................................................................................................64
6.1.4.1 The cut-off frequency................................................................................................................................................64
6.1.4.2 The resonance............................................................................................................................................................65
6.1.5 The amplifier or VCA....................................................................................................................................65
6.2 OTHER MODULES ..................................................................................................................................................66
6.2.1 The keyboard.................................................................................................................................................66
6.2.2 The envelope generator.................................................................................................................................66
6.2.3 The low frequency oscillator.........................................................................................................................67
7A FEW ELEMENTS IN SOUND DESIGN............................................................................................................69
7.1 SUBTRACTIVE SYNTHESIS .....................................................................................................................................69
7.1.1 A simple bass sound......................................................................................................................................69
7.1.2 A 3 oscillators lead sound.............................................................................................................................71
7.1.3 A polyphonic accompaniment .......................................................................................................................72
7.2 THE MODULATION MATRIX ...................................................................................................................................73
7.2.1 Using the arpeggiator ...................................................................................................................................75
7.3 THE EFFECTS OF THE MINI V ................................................................................................................................75
7.3.1 The stereo chorus..........................................................................................................................................76
7.3.2 The stereo delay ............................................................................................................................................77
8MODES OF OPERATION ......................................................................................................................................78
8.1 STANDALONE........................................................................................................................................................78
8.1.1 Launch the application..................................................................................................................................78
8.1.2 Configuration of the instrument....................................................................................................................78
8.2 VST 2...................................................................................................................................................................79
8.3 VST 3...................................................................................................................................................................79
8.4 RTAS ...................................................................................................................................................................79
8.5 AU........................................................................................................................................................................79
8.6 64 BIT COMPATIBILITY..........................................................................................................................................79
8.7 USE IN CUBASE/NUENDO (VST)...........................................................................................................................80
8.7.1 Instrument use in VST mode..........................................................................................................................80
8.7.2 Rescan the plug-in directory in Cubase ........................................................................................................81
8.7.3 Saving of presets ..........................................................................................................................................81
8.8 USING IN PRO TOOLS (RTAS) ..............................................................................................................................81
8.8.1 Opening of the plug-in ..................................................................................................................................81
8.8.2 Saving the presets..........................................................................................................................................82
8.8.3 Automation under Pro Tools.........................................................................................................................82

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8.9 USING IN LOGIC,MAC OS X(AU)........................................................................................................................83
8.10 USING IN ABLETON LIVE (AU AND VST)...........................................................................................................83
9MINI V END USER LICENSE AGREEMENT ....................................................................................................85

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1FROM THE FIRST BOB MOOG’S
SYNTHESIZERS UP TO TAE
“Mind you, neither of us had any idea where this was leading”*
1.1 THE GENESIS OF THE 1971 REFERENCE MONOSYNTH
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. During his
adolescence he discovered the Thereminvox plan, invented during the 1930’s by a Russian
engineer, Leon Theremin (or more exactly Lev Sergeivitch Termen). Seduced by this
instrument with its never before heard sounds, he began to produce his own models and
founded his own company in 1954.
Frequenting musical professionals, and in particular electronic and concrete music, Bob Moog
realized that there was a real demand for electronic instruments of a higher quality.
One of the first clients to come to Robert Moog, the professor of music Herbert A. Deutsch,
asked him to listen to a song he had composed. Bob Moog is immediately convinced and they
decided to associate their work. Their co-operation produced the first voltage controlled
oscillator (VCO).
In 1964, the first prototype of a synthesizer designed by Bob Moog was produced. It was a
modular system with a voltage controlled filter (VCF), an envelope generator, a white noise
generator, a trigger and two keyboards each with a generator module (sawtooth, triangle and
square) as well as a voltage controlled amplifier module (VCA).
A second prototype, grouping those new modules all together, was built during summer 1964
and shown at the AES (Audio Engineering Society) autumn show, where Bob Moog took
advantage of an unused stand. In 1965, upon the success encountered at this show, he
decided to release the 900 series for sale.
In 1967, Bob Moog decided to release different machines, each with a certain number of
modules. This marked the birth of modular systems I, II and III. In 1968 worldwide recognition
came with the success of “Switched-On Bach”by W. Carlos. This album, where classical music
is played on a synthesizer of the brand, sold over one million copies and won 3 Grammy
awards.

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*: Bob Moog, quoted by Mark Vail, in his book Vintage Synthesizers © Miller Freeman 1993
The modular system III (1967)
Courtesy of Roger Luther, MoogArchives.com
Success grew, and big groups like Tangerine Dream, the Beatles and the Rolling Stones would
also become modular system owners.
In 1969, the company which at that time had around 40 employees was building up to 3
modulars per week and the order book was always full. The modular synthesizer series had 5
years of high sales, and sold around 200 models in the United States*.
However, the sales would rapidly decrease, because the gigantic proportions of modular units
puts 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.
In the same time, Bob Moog received requests for a more compact instrument that could be
transported more easily, directed more to stage than studio. With the help of an engineer from
Berkeley, Jim Scott, and the advice from numerous musicians he was about to create another
legendary synthesizer: its famous 1971 monosynth…
“Here it is! A compact, moderately priced electronic music synthesizer designed for live
performance.”This is the way this new synthesizer is introduced on the very first promotional
brochure, in the midst of 1971. The monophonic synthesizer required several months of
research and development and 4 prototypes, before leading to the commercial model. More
than 12,000 units were sold until 1981. They were quite far from the 10 modular units per
month that the company produced in the late 60’s.

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*: In 2003, Arturia has released a software emulation of the famous modular synthesizers designed by Bob Moog under
the name of Modular V.
Bob Moog’s synthesizers sales figures - 1967-1971
Courtesy of Roger Luther, MoogArchives.com
The very first prototype was called Model A. Three other versions, B, C and D, followed. This
last model is the final and most common incarnation of this synthesizer and the only one that
was put into production in large numbers. The choice of wood rather than plastic for the
cabinet prevailed from the beginning, simply because Robert Moog preferred to follow the
advice of musician friends, rather than drawings coming from its industrial engineers. The
Model D was first introduced at the NAMM convention in June 1971. It was the company’s first
exposure to the music instruments industry - and the industry's first exposure to synthesizers.
The reception is rather cold as, according Robert Moog himself, “Most dealers didn't know what
to make of a musical instrument with words like Oscillator Bank and Filter printed on the front
panel”*
Bob Moog’s monosynth, Model A (prototype)
Courtesy of Roger Luther, MoogArchives.com

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*: op. cit.
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.
After the production stopped in 1981, there had been during the 1990 decade, several failed
attempts to restart production of the 1971 monosynth. With the arrival of computer music
technologies, it has been very often mimicked as a virtual instrument, with little success.
Arturia Mini V is the latest avatar, and thanks to the TAEtechnology, we dare to think it is
probably the most accurate emulation of this cornerstone of analogic synthesis available on the
market.

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1.2 ABETTER EMULATION THANKS TO TAE®
TAE®- standing for True Analog Emulation - is a new technology dedicated to the digital
reproduction of analog circuits.
When implemented in software code, TAE®algorithms guaranty the respect of hardware
specifications. This is why the Mini V offers an unparalleled quality of sound.
In detail, TAE® means:
1.2.1 Aliasing-free oscillators:
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse
Width Modulation or FM.
TAE®allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…), and at
no extra CPU cost.
Linear frequency spectrum of an existing well-known software synthesizer
Linear frequency spectrum of the Modular V oscillator made with TAE®
1.2.2 Better reproduction of analog waveforms:
Original analog oscillators used capacitors charge and discharge cycles to produce common
wave shapes (saw tooth, triangle, square). This means that waveforms were slightly curved.
TAE®allows the reproduction of the capacitors discharge.
Aliasing

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Temporal representation of a waveform on a 1971 monosynth
Temporal representation of the waveform from a common emulation
Temporal representation of the Mini V waveform thanks to TAE®
In addition, original analog oscillators were unstable. Actually, their wave shape was always
slightly different from one period to another. In addition, due to analog hardware sensitivities,
new period trigger times varied with the temperature and other environmental conditions.
TAE®simulates the instability of oscillators, helping to create warmer sounds, often given the
affectionate term of “fat”.

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1.2.3 Better reproduction of analog filters
TAE®allows the emulation of analog-designed filters in a much more precise way than any
existing digital filter. In particular, TAE®has managed to reproduce the legendary 24dB low-
pass resonant filter equipping Bob Moog’s synthesizers with great respect towards the original.
Comparative response filters
Standard 24dB digital low-pass
resonant filter from a typical
software synthesizer
Very selective 24dB resonance
filter of the original model
TAE made resonance filter: first
24dB resonant filter to be that
selective

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1.2.4 Implementation of the soft clipping
In analog synthesizers, particularly on Bob Moog’s synthesizers, the resonant filter as the VCA
uses a current limiting function, preventing the signal from being too loud (soft clipping).
TAE®reproduces this current limiting function, making the sound more natural. It also allows
filters to enter self-oscillation like original hardware synthesizers do.
Soft-clipping transfer function
-1,5
-1
-0,5
0
0,5
1
1,5
Low-pass resonant filter
Input
Output
Current limiting
emulation

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2ACTIVATION & FIRST START
Mini V works on computers equipped with Windows 7 or 8 and Mac OS X 10.7 or later. You can
use the stand-alone version or use Mini V as an Audio Units, AAX, VST2 or VST3 instrument.
2.1 REGISTER &ACTIVATE
Once the 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.
In order to proceed, go to this web page and follow the instructions:
http://www.arturia.com/register
Note: If you don’t have an Arturia account yet, you will need to create one. The process is
quick, but it does require that you can access your e-mail address during the registration
process.
Once you have acquired an Arturia account you will be able to register the product.
3QUICK START
This chapter will help you get to know the main aspects of how the Mini V works. You will be
presented an overview of the different parts of the synthesizer while using the program for the
first time. You will find a detailed description of all visible settings and controllers in the
chapters that follow.
Chapter 6, “A few elements of sound design”, is specially recommended for users who have
never worked with a subtractive synthesizer before and who wish to learn the basics in this
domain.

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Overview of the Mini V
3.1 USING THE PRESETS
Use of presets is one of the major areas of evolution when the Mini V is compared to the
original, which couldn’t save sounds!
With the Mini V, a preset (memorized sound) contains all of the parameter settings of the
synthesizer plus the extension panel and the different real-time effect controllers necessary to
reproduce the sound.
To get to know a few of the different sounds contained in the Mini V, we will select a simple
bass preset.
To do this, click on button aside the “BANK” LCD display (this display shows the name of
the current bank in use). When you click, you will see a dropdown menu indicating the
available banks. Choose the “J.M.Blanchet”bank.
When this menu is open, it expands the sub-menus allowing you to reach the “SUB BANK”and
“PRESETS”of a sound designer with a single click.
Choose the “SUB BANK”called “Basses”and finally select “JMB_Classic1”in the
“PRESETS”.
MODULATION
WHEELS
TOOLBAR
EXTENSION
CONTROLLERS
OSCILLATORS
FILTER
MIXER
AMPLIFIER
AMPLIFIER
ENVELOPE
R
VIRTUAL
KEYBOARD

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Select the preset JMB_Classic1
The Mini V comes with 400 presets, which will familiarize you with the sounds of the
synthesizer. A bank called “Templates”offers a selection of presets with a basic configuration
(or template) to start programming a sound.
The sound “1_Osc”, for example, comes with: an oscillator directed to the low-pass filter, with
the signal then routed to the VCA.
It is also possible to see all of the presets corresponding to a given type of sub-bank by choosing the “All”option in the
bank. For example, to see all of the bass presets click on “All”in the bank selection and then on “Basses”.
3.1.1 Modifying this preset
For this, we will start with a very simple manipulation.
Modify the brightness of the “JMB_Classic1”sound using the “Cutoff Frequency”
potentiometer of the filter. Turn this potentiometer and you will hear the tone of the
sound becoming more or less “brilliant”. Set this potentiometer to your convenience.
Change the brightness of the sound

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In the same manner, you can change the range of oscillator1 by turning the “Range”
potentiometer to one of the six values expressed in steps (like on organs). The lower
the number, the higher the pitch of the sound. (The standard tuning is found at the
value 8’)
Setting the range of oscillator 1(“Range”)
By performing these first settings, you have already modified the “JMB_Classic1”preset. You
can now save the sound that you have just created.
To save a “user”preset, click on the save icon on the toolbar: the settings of the current
sound will be saved in the selected preset without changing the name.
If the current preset is a “factory”preset, the factory preset will not be overwritten.
To choose another destination for this sound, click on the “Save as”icon and select a
destination. For example, select “New”in the choice of bank. 2 new emplacements for
bank and sub-bank and a new preset are immediately created. The names “new bank”,
“new sub bank…” and “new preset…” appear in their respective menu locations.
Click on each of them to change the names.
Saving a preset
3.2 THE PLAYING MODES
The Mini V offers 2 playing modes:

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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.
The Classic mode (same as the original)
The “Extended”interface gives access to a motion recorder, a vocal filter, a LFO, a modulation
matrix, an arpeggiator and two effects. These different functions will enrich the basic settings
of the Mini V.
The panel of the “Extended”mode
To access the “Extended”mode, click on the wooden crosspiece situated above the
synthesis settings or on the “Open”button on the right of the toolbar.
To return to the “Classic” mode, simply click again on the wooden crosspiece or on the
“Close”button.

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Opening the extension panel
To use the Mini V exactly like the original model, you must also deactivate the chorus and delay effects on the toolbar
and switch off the polyphony toggle in the output section.
3.3 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). The third can also be used as a modulator when its signal is directed to the filter or
oscillators.
A Mixer allows you to mix the signals coming from the oscillators or the noise module.
A low-pass 24dB resonant filter
An ADS envelope modulating the low-pass filters
1 amplifier (VCA) allowing the amplification of the signal coming from the filter to direct it to
the stereo output.
An ADS envelope modulating the signal going through the amplifier.
The synthesis parameters
Let’s see how to quickly create a progressive lead:
To correctly understand the logic in programming the Mini V, let’s use a very simple
sound. Select the preset “1_Osc”(in the “Templates”sub-bank). The structure of
synthesis of this sound is very basic: the sawtooth waveform of oscillator1 is active and
the signal is routed through the low-pass filter, and then through the output amplifier.
The routing of the sound of preset “1_Osc”
Start by lowering the cut-off frequency of the low-pass filter (LPF). This will make the
sound more and more dampened.