Arturia TAE VOX Continental-V User manual

USER’S MANUAL

ARTURIA VOX Continental V User's Manual -2- 1 INTRODUCTION
Project management
Glen Darcey
Theo Niessink
Product management
Glen Darcey
Programming
Adrien Courdavault
Pierre-Lin Laneyrie
Theo Niessink
Design
Glen Darcey
Shaun Ellwood
(decoderdesign.com)
Morgan Perrier
Sound design
Glen Darcey
Stephane Schott
Theo Niessink
Luca Torre
Manual
Randy Lee
1st edition, May 2014
© ARTURIA S.A. – 1999-2014 – All rights reserved.
30, chemin du Vieux Chêne
38240 Meylan
FRANCE
http://www.arturia.com

ARTURIA VOX Continental V User's Manual -3- 1 INTRODUCTION
Table of contents
Table&of&Contents&
Project management................................................................................................................................2!
Table of contents .......................................................................................................................................3!
INTRODUCTION...............................................................................................................................................5!
1.1 The electronic organ ...........................................................................................................................5!
1.1.1 Introduction....................................................................................................................................5!
1.1.2 The spark that started the fire: the Telharmonium.....................................................................5!
1.1.3 Technological innovations ...........................................................................................................6!
1.2 The VOX Continental ...........................................................................................................................6!
1.2.1 Beginnings with Jennings..............................................................................................................6!
1.2.2 Physical features: what a looker!.................................................................................................7!
1.2.3 The sound of renown.....................................................................................................................8!
1.2.4 Maintenance .................................................................................................................................9!
1.2.5 The VOX rocks: a selected discography ....................................................................................9!
1.3 Physical modeling synthesis ..............................................................................................................10!
1.3.1 Music and math: yet another link..............................................................................................10!
1.3.2 A computational conundrum....................................................................................................10!
1.3.3 The endless revolution.................................................................................................................11!
ACTIVATION & FIRST START ..........................................................................................................................12!
2.1 Register and Activate........................................................................................................................12!
2.2 Initial Setup.........................................................................................................................................12!
2.2.1!Audio and MIDI settings: Windows.........................................................................................12!
2.2.2!Audio and MIDI settings: Mac OS X .......................................................................................13!
USER INTERFACE ...........................................................................................................................................15!
3.1 Virtual keyboards and pedals ..........................................................................................................15!
3.2 The tool bar: introduction and initial setup .....................................................................................15!
3.2.1 Audio and MIDI settings..............................................................................................................16!
3.2.2 Choose the organ color .............................................................................................................17!
3.3 Managing presets ..............................................................................................................................18!
3.3.1 Select a bank, type, or preset ...................................................................................................18!
3.3.2 Saving an edited preset .............................................................................................................20!
3.3.3 Import / Export a bank of presets ..............................................................................................21!
3.4 Advanced features ...........................................................................................................................21!
3.4.1 Extended mode...........................................................................................................................21!
3.4.2 Open mode .................................................................................................................................22!
3.4.3 The pedals ....................................................................................................................................24!
3.4.4 Output mode ...............................................................................................................................25!

ARTURIA VOX Continental V User's Manual -4- 1 INTRODUCTION
3.4.5 The Swell pedal............................................................................................................................27!
3.4.6 FX Slot............................................................................................................................................28!
3.4.7 The Panic button: “Stuck” happens..........................................................................................28!
3.4.8 CPU meter ....................................................................................................................................28!
3.4.9 Global MIDI channel ...................................................................................................................29!
3.4.10 MIDI control configurations ......................................................................................................29!
3.4.11 MIDI preferences: the PREF button..........................................................................................32!
3.4.12 The MIDI Mode tabs ..................................................................................................................34!
3.5 Types of controls.................................................................................................................................35!
3.5.1 Potentiometers.............................................................................................................................35!
3.5.2 Switches........................................................................................................................................36!
3.6 The effects...........................................................................................................................................36!
3.6.1 Flanger ..........................................................................................................................................37!
3.6.2 Phaser ...........................................................................................................................................38!
3.6.3 Chorus...........................................................................................................................................39!
3.6.4 Delay.............................................................................................................................................39!
3.6.5 Overdrive......................................................................................................................................40!
3.6.6 Wah...............................................................................................................................................41!
3.6.7 Leslie speaker model...................................................................................................................41!
3.6.8 Guitar amp model.......................................................................................................................42!
END USER LICENSE AGREEMENT .................................................................................................................44!

ARTURIA VOX Continental V User's Manual -5- 1 INTRODUCTION
1
INTRODUCTION
1.1 The electronic organ
1.1.1 Introduction
The term “organ” is quite versatile, representing a number of constructions ranging from the
biological to the electromechanical. Its Greek root is the word “organon”, which when
translated literally means “that with which one works.” And many generations of musicians
stretching back further than Johann Sebastian Bach and forward past Joey DeFrancesco would
agree! The organ, in all its forms, has been at the heart of some of the greatest music ever
produced.
Even within the musical realm the history of the organ has many parallel branches. But prior to
the late 19th century AD the method of tone production always depended on the flow of air
through a pipe or past a reed, with the airflow provided courtesy of one or more humans:
pumping bellows with their arms, pushing pedals with their feet, or exhaling into some device
belonging to the harmonica family.
So imagine the rejoicing when someone had the idea to involve electricity! Not only did this
allow the players to focus more on the music than on their heart rate; it opened up a range of
technological innovations that led to a nearly infinite number of timbral possibilities. And the
organ still arguably reigns supreme as the musical instrument capable of the widest diversity in
both pitch and timbre. Perhaps this is why it is also found in nearly every style of music known to
humankind.
There is much information available elsewhere regarding the history of the organ leading up to
the 20th century. Our focus here will be on the development of the electronic organ.
1.1.2 The spark that started the fire: the Telharmonium
The very first electronic organ was the Telharmonium, invented in 1897 by Thaddeus Cahill. Only
three were made, with the final model weighing almost 200 tons!

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A Telharmonium console by Thaddeus Cahill, circa 1897
The Telharmonium (a.k.a. the “Dynamophone”) was originally heard by most people through
means of electrical wires attached to “paper cones”, the forerunners of today’s loudspeakers.
The music was transmitted to various locations in New York City over the burgeoning telephone
system! Crosstalk from the Telharmonium sometimes interfered with telephone conversations, so
that idea didn’t last long.
Between 1906 and 1908 there were a number of well-received public performances in a concert
hall setting as well. “Build it and they will come…” (Well, they had to, didn’t they? The
Telharmonium wasn’t exactly portable.)
Sadly, there are no surviving recordings of the Telharmonium. But there are many web sites
containing a wealth of information about this fascinating and groundbreaking instrument.
1.1.3 Technological innovations
Another thing that made the Telharmonium different from other electrically-powered organs of
the day was the use of an electromechanical device to generate the tones, rather than simply
using electricity to blow air into a pipe or past a reed. These devices came to be known as
tonewheels, and they were the progenitors of the technology later employed by the Hammond
Organ Company in its legendary instruments. The resultant sound finally enabled the electronic
organ to distinguish itself from the pipe organ and reed organ, and also allowed musicians to
sculpt the tone of the instrument through the use of additive synthesis! We owe much to these
innovations.
Another form of tone generation became available with the advent of the transistor, and with it
an increase in portability and reliability. When combined with the frequency dividing technology
that had been developed roughly 10 years earlier, electronic (or “combo”) organs became
even more affordable and easier to maintain. For example, rather than tuning hundreds of
individual oscillation circuits, the technician only needed to set the fundamental frequency of 12
circuits. The rest of the pitches and their overtones were derived through the combined use of
frequency dividers and phase-locked loop (PLL) frequency synthesizers. You tune one, you tune
them all (times 12).
And from these discoveries sprang the VOX Continental and its descendants, arguably the most
popular and influential “combo” organ series ever produced.
1.2 The VOX Continental
1.2.1 Beginnings with Jennings
The VOX Continental was originally created by the Jennings Musical Instrument company (JMI).
JMI had been in the organ business since the 1950s, at first making accordions and then
expanding into the home and church organ markets. Their first somewhat “portable” organs
were instruments called the UniVOX, which were initially designed to be attached by means of
metal clips beneath the right-hand side of a piano keyboard. Later they designed an adjustable,
chrome-plated stand to streamline the setup process.

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The UniVOX models had buttons for sound-shaping purposes, a tube-based tone generator, and
a built-in amplifier and speaker. They somewhat resembled an accordion, but given their fixed
position they couldn’t be “arm powered” so they needed an AC power source nearby.
Pictured below is the second UniVOX model, the J10:
Like its predecessor the J6, the J10 was monophonic. But it provided an extra row of buttons for
preset selection, which multiplied its usefulness and appeal. It was used on the song Telstar,
which was a #1 hit on both sides of “the Pond” for The Tornados in December of 1962. The
Tornados went on to become early adopters of the VOX Continental, scoring several more hits in
the process.
After a period of development, JMI began mass-production of the first VOX Continental organ in
1962. It was later produced as a joint venture with an Italian manufacturer. There were a number
of models all based on the Continental that were released with various feature differences: the
Continental itself (single-manual), the Super Continental (dual-manual), the Jaguar (switches
instead of drawbars), the Corinthian (similar to the Jaguar), the Baroque (built-in amp and
speakers) and the 300. The 300 was the most advanced, with the equivalent of a Continental on
the lower manual and an expanded Continental on the upper with different drawbars.
In roughly 1967 Tom Jennings was fired from his own company after a buyout. He then started up
the Jennings Electronic Instruments (JEI) company and began making his own organs again.
These organs were based on the Continental 300 but further expanded with more drawbars on
the upper manual, an expanded percussion section, the addition of tremolo and spring reverb,
as well as some tone presets.
The sound of the VOX organs caught on fast and they became a staple of the British invasion
sound used by the Animals, The Beatles, The Zombies, and more.
1.2.2 Physical features: what a looker!
Few keyboards have a design as immediately recognized as the VOX Continental. Its distinctive
shape and unique color schemes set it apart from any other portable organ.

ARTURIA VOX Continental V User's Manual -8- 1 INTRODUCTION
Two views of the VOX Continental I
The chrome legs would store within the detachable lid, making the unit much easier to transport
than its behemoth rival, the Hammond. The sturdy, flat, and red/orange top was a perfect place
for a second keyboard, such as the Fender Rhodes Piano Bass often used by Ray Manzarek of
The Doors. The inverse coloring of the keys, previously only seen on harpsichords, was the final
stroke of aesthetic genius. It was an irresistible combination (or “combo”, if you will).
1.2.3 The sound of renown
The VOX Continental has a sound that is quite distinct from a Hammond organ. It is actually more
flexible sonically because it does not rely merely on sine waves; it also gives the user the ability to
add or substitute triangle waveforms (which were actually filtered square waves), greatly
expanding the sonic palette.
Because of this flexibility its timbre has been described alternately as “bright”, “airy”, “edgy”,
“smooth” and “mellow”. Where its rivals might struggle to be heard in certain settings, the VOX
Continental had no trouble cutting through a guitar-heavy mix. And when a more subtle tone
was required the simpler sine waveforms could be used instead, or used in combination with the
triangle waveforms as “sweeteners”.
And of course, the VOX Continental V software instrument makes all of those options yours!

ARTURIA VOX Continental V User's Manual -9- 1 INTRODUCTION
1.2.4 Maintenance
As much as the tuning of a VOX Continental was simplified by the frequency divider
components, the electromechanical aspects of the keyboard were still of concern. For each key
there was an independent contact for each drawbar stop, and as the organ aged in proportion
to how much it was used, these individual contacts would begin to age as well…and often at
different rates. A very old, poorly maintained VOX Continental would likely give a very different
sound from key to key. The overall output can be quite unpredictable when this is the case.
Call us crazy, but we really are serious about faithfully recreating the experience of these classic
instruments. So one of the interesting things we did with our VOX Continental V emulation is give
you the ability to add that “unpredictability” back in! You’ll find a control in Open mode labeled
Key Contact Age. Give that a twist and see what happens! It might inject the right amount of
personality into a preset you are creating.
1.2.5 The VOX rocks: a selected discography
There have been many, many albums made using the various VOX models, but here is a brief list
of recordings bearing its unmistakable sound
96 Tears – Question Mark & the Mysterians
House Of The Rising Sun – The Animals
I’m Down – The Beatles
Light My Fire – The Doors
Watching the Detectives – Elvis Costello
Do You Love Me – The Dave Clark Five
I’m a Believer – The Monkees
In-A-Gadda-Da-Vida – Iron Butterfly
One Step Beyond – Madness
Working My Way Back To You – The Four Seasons
This is only a small sample, and yet it represents huge hits spanning several decades! Clearly this is
a musical instrument with serious staying power and broad audience appeal.
Still a classic and in great demand, the prices of VOX organs have climbed in response to their
limited availability. Thankfully, Arturia’s VOX Continental V software brings this iconic instrument
back to life, placing it within the reach of the modern musician with even the most modest
budget.

ARTURIA VOX Continental V User's Manual -10- 1 INTRODUCTION
1.3 Physical modeling synthesis
When you want to create a sound, there are many methods of synthesis from which to choose:
•Additive, which creates a timbre by adding various waveforms together
•Subtractive, in which partials of an audio signal are attenuated by a filter to reduce the
original harmonic content of the sound
•Frequency Modulation (FM), where waveforms are used in carrier/modulator relationships
and tuned according to the harmonic series to produce overtones in the carrier waves
•Wavetable, which offers a wide selection of digital waveforms and then allows them to
be layered, filtered, and/or used as the crossfade targets of an X/Y controller or a looping
envelope
•Sample Playback, where recordings of a sound are triggered by a playback device, and
can be transposed by increasing the playback speed when different pitches are required
•Granular, which splits samples into very short “grains” and allows them to be manipulated
through a myriad of playback options, and
•Physical modeling. In this method the output waveform is calculated according to a set
of equations and algorithms derived through extensive analysis of a physical sound
source.
1.3.1 Music and math: yet another link
A physical model attempts to codify the laws of physics that govern a particular form of sound
generation. A model typically will have multiple parameters, some of which are constants that
describe the physical materials and dimensions of the instrument, while others are time-
dependent components representing the player´s interaction with the instrument, such as
plucking a string, pressing a valve, or reducing the pressure of his embouchure, etc.
This idea has been around for a long time, but development has been hindered until recently
because processors that were powerful enough to handle the computational complexity of the
physical models either didn’t exist or were too expensive.
But if you’ve been watching the technological trajectories, you know those days are in the past.
And we’re just as happy about that as you are.
1.3.2 A computational conundrum
Here’s an example of what must be taken into account while developing a physical model. To
recreate the sound of a drum, for instance, a formula must be in place to represent all of the
ways the collision between a drum stick and a drum head sends shockwaves through a two-
dimensional membrane. Among other things, the formula must incorporate:
•The properties of the striker: its rigidity, the velocity of the hit, the material, and how/where
the strike happens
•The membrane: its mass density, elasticity, woven fabric vs. plastic vs. skin, etc.
•The sympathetic resonances of the membrane and the body of the drum
•The conditions at the membrane boundaries: is there a rigid termination to the drum´s
body, or are there multiple, independently adjustable pressure points?

ARTURIA VOX Continental V User's Manual -11- 1 INTRODUCTION
•The ancillary and perhaps lingering response of additional components, such as the
snares under a snare drum.
Similar complexities can be found in instruments such as an acoustic guitar. A few years ago, a
French scientist finally completed a comprehensive modeling of all acoustic guitar parameters.
The calculations to produce the sound took three days!
The second-biggest challenge of physical modeling synthesis is to simplify the algorithms
wherever possible without sacrificing the essential nature of the instrument being modeled. The
goal is to achieve an efficient model which can be used interactively, in real time, without
limiting the spontaneous paths a musician may take during a rush of creativity.
1.3.3 The endless revolution
There are several methods of physical modeling synthesis, including Karplus-Strong algorithms,
digital waveguide synthesis, and formant synthesis. Each one uses a different paradigm to bring
a modeled sound to its musical fruition.
The salient point here is that physical modeling synthesis is capable of recreating the character of
a “real” instrument during performance, including its subtle nuances of expression, while using a
thousand times less hard drive space than the “sampling” method would take to produce an
inferior result.
Not to rub it in, but we really should mention the ability of physical modeling algorithms to
combine parameters into instruments that have never existed. There is no limit to the types of
sounds physical modeling synthesis can produce!
And when you gather a bunch of music fanatics who also possess a knowledge of the pertinent
laws of physics and an in-depth understanding of the characteristics of electronic circuits, you
wind up with Arturia. And Arturia now offers you our latest brainchild, the VOX Continental V.
May it light the fires of creativity for you!

ARTURIA VOX V User's Manual -12- 3 AUTHORIZATION
2
ACTIVATION & FIRST START
Vox 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 Vox V as an Audio Units, AAX, VST2 or VST3 instrument.
2.1 Register and Activate
Once the Vox V has been installed, the next step is to register the software in order to obtain the
activation code that will enable you to use it.
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.
2.2 Initial Setup
At the top of the Vox V application is a pull-down menu. It houses the MIDI settings and various
sound selection and output options, among other things.
The location of this menu is slightly different for Windows and Macintosh computers, so we’ll
address them separately.
2.2.1 Audio and MIDI settings: Windows
Click on the Setup > Audio MIDI Settings menu:
The next window you’ll see is the same one that appears when the software starts for the first time:

ARTURIA VOX V User's Manual -13- 3 AUTHORIZATION
Here the pull-down menus and boxes allow you to:
•Select the audio interface
•Set the audio output port
•Set the buffer size
•Set the sample rate
•Play a test tone to check your audio configuration
•Select which MIDI input port(s) will be recognized
2.2.2 Audio and MIDI settings: Mac OS X
The process is similar for Mac OS X. Select Preferences from the Vox V pull-down menu:
Another window will open with options for connecting audio and MIDI interfaces:

ARTURIA VOX V User's Manual -14- 3 AUTHORIZATION
Mac OS X Audio MIDI Settings window
The above window shows one of several configuration options. The settings indicate the selection
of an Arturia controller as one of the MIDI sources, while the setting “Built-in Output” means the
user will hear the sound of the Vox V through the computer’s speakers as opposed to the external
USB audio interface. If a different configuration is desired, all you need to do is select a different
audio device in the drop-down menu and then check and uncheck the various MIDI Devices until
you have exactly what you need.
Other options enable you to:
•choose the memory buffer size (a smaller size will increase the CPU load but will reduce
latency, and vice versa)
•choose a sample rate between 44,100 Hz and 192,000 Hz.
You can also play a test tone to make sure the audio interface responds properly. Just click the
“Play Test Tone” button and a simple, clear tone will play. It shuts itself off after one second, so if
you need to hear it again just click the button a second time.

ARTURIA VOX Continental V User's Manual -15- 4 USER INTERFACE
3
USER INTERFACE
In this chapter we will describe the many features available to you with VOX Continental V. As
with every Arturia product, we have gone to great lengths to make the use of this software
instrument as simple and as much fun as possible.
3.1 Virtual keyboards and pedals
The virtual keyboards and pedal board in the main VOX Continental V window allow you to play
a sound without the need for an external MIDI device. Just click on a virtual key or pedal to hear
the corresponding sound. Drag the cursor across the keys or pedals to hear a glissando.
3.2 The tool bar: introduction and initial setup
Across the top of the main VOX V window is a narrow strip known as the tool bar. It houses the
preferences and MIDI settings, various sound selection and output options, and gives access to
advanced editing functions, among other things.

ARTURIA VOX Continental V User's Manual -16- 4 USER INTERFACE
3.2.1 Audio and MIDI settings
Windows: Click on the Setup > Audio MIDI Settings menu:
[insert picture of Windows Setup/Audio MIDI Settings menu]
This is the same dialog box that appears when starting the software for the first time. Here you can:
•Select the audio interface
•Set the audio output port
•Set the buffer size
•Set the sample rate
•Select which MIDI input port(s) will be recognized
Mac OS X: Select Preferences from the VOX V pull-down menu:
Another window will open that shows your options for connection audio and MIDI interfaces:

ARTURIA VOX Continental V User's Manual -17- 4 USER INTERFACE
Mac OS X Audio MIDI Settings window
The above window illustrates one of several configuration options. The settings indicate the
selection of two Arturia controllers as MIDI sources, while the setting “Built-in Output” means the
user will hear the sound of the VOX Continental V through the computer’s speakers as opposed to
the external USB audio interface. If a different configuration is desired, all you need to do is select
a different audio device in the drop-down menu and then check and uncheck the various MIDI
Devices until you have exactly what you need.
Other options enable you to:
•choose the memory buffer size (a smaller size will increase the CPU load but will reduce
latency, and vice versa)
•choose a sample rate between 44100 Hz and 96000 Hz.
You can also play a test tone to make sure the audio interface responds properly. Just click the
“Play Test Tone” button and a simple, clear tone will play. It shuts itself off after one second, so if
you need to hear it again just click the button a second time.
3.2.2 Choose the organ color
“VOX Continental” normally conjures up mental images of “the organ with the orange/red top.”
But the family history actually includes quite a few gray tops, which were mostly dual-manual units
made in the UK by VOX and (later) JMI.
Again, being sticklers for authenticity we have given you the option to select whichever of the two
colors you prefer. The choice you make is stored with the preset, so you can have gray for one
preset and red/orange for the next.
To make this selection, click the button in the upper right corner of the VOX V window. This
will open another window, which has a field toward the bottom labeled Organ Color:

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Click the pull-down menu window and you will be able to select between the two options.
3.3 Managing presets
Presets preserve the settings for any sounds you create with VOX Continental V. When saving a
preset you will designate the “bank” and “type” to which it belongs. Each bank contains a
certain number of types, which are there to help you categorize the presets into groups such as
“FX”. Each type contains within itself a certain number of presets.
VOX Continental V ships with several banks of factory presets, but it is possible to create your own
“user” banks, each containing a number of types and presets. The factory banks, types and
presets cannot be overwritten, but they are great starting points for creating new presets. Then
you can use the SAVE AS feature to save the changes as your own presets.
3.3.1 Select a bank, type, or preset
The bank, type and preset selections are permanently displayed in the plug-in tool bar.

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To choose a new preset in the current Bank and Type, click on the Preset Name field. A drop-
down menu will appear with a list of the available presets in that category. Or if you know which
preset you want inside that category and don’t need to look at the list, simply use the blue
arrows to move up and down through the choices. Either way, as soon as the preset has been
chosen the new sound will be available for your MIDI controller or your sequencer.
Selecting a new preset
To choose a different type of preset in the same bank, click on the Preset Type button (the
middle one of the three). A drop-down menu will appear with a list of the types of presets
contained in the same bank (Classic, Distorted, etc.). Each type listed in the menu contains a
sub-menu with its own list of preset names. Follow the arrows to choose the desired preset from
within these sub-menus.
Selecting a new preset inside the Preset Type menu
To choose a preset in another bank, click on the Preset Bank button (the left-most of the three). A
drop-down menu will appear with a list of the available banks, within which sub-menus exist for
the preset type and preset name. Navigate to the preset name level to choose a new preset.

ARTURIA VOX Continental V User's Manual -20- 4 USER INTERFACE
Selecting a new preset inside the Preset Bank menu
In the Preset Bank menu the “All Banks” option allows you to navigate directly to any preset type
or any preset in any bank. This gives you direct access to all of the presets of a given type, such
as the FX presets, no matter which bank they are in.
Selecting a new preset through the All Banks > All Types menus
One more important thing to know: When a preset has been modified, an asterisk appears next to
its name in the tool bar.
3.3.2 Saving an edited preset
To save the changes you’ve made to the current preset, click on the “Save” button in the tool
bar. It has the icon of a single floppy disk:
If you want to keep the original program you’ll need to give the edited one a new name. So
click on the “Save as” button in the tool bar, which looks like two floppy disks on top of each
other. A drop-down menu will appear and let you choose a new name and location for the
edited preset.