Arturia Analog Factory S.E. User manual

ARTURIA – ANALOG FACTORY S.E. - MANUAL 1
U
US SE ER R’ ’S S M MA AN NU UA AL L
A
An na al lo og g F Fa ac ct to or ry y S S. .E E. .

ARTURIA – ANALOG FACTORY S.E. - MANUAL 2
PROGRAMMING :
Nicolas Bronnec
Fabrice Bourgeois
Jean–Michel Blanchet
MANUAL :
Nicolas Bronnec
Franck Blaszczyk
Jean Michel Blanchet
Houston Haynes
Scott Stafiej
DESIGN :
Yannick Bonnefoy (Beautifulscreen)
© ARTURIA SARL – 1999 2005 – All rights reserved.
4, Chemin de Malacher
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.
All other products, logos or company names quoted in this manual are trademarks or registered trademarks
of their respective owners.

ARTURIA – ANALOG FACTORY S.E. - MANUAL 3
1 Introduction
1.1 History
In early 2001, Arturia began working on an advanced algorithm for the digital
emulation of analog circuits’ audio characteristics. In non technical language, this is
an unprecedented way of creating the very unique sound one finds in a synthesizer
such as the Moog Modular. Nearly a year after they began work on the algorithms,
Arturia was ready for feedback. At the 2002 NAMM show in California, Arturia shared
an early version of what would later be the Moog Modular V with the renowned maker
of the original Moog synthesizer, Doctor Bob Moog.
In seeking insight from sound production experts, such as Dr. Moog, as well as avid
synthesizer users, Arturia was able to ensure the quality of the instruments they
made; so well in fact the Dr. Moog himself endorsed the Moog Modular V. The launch
of this sound powerhouse was an instant success, winning awards from several top
magazines, and leading to the development of other synth recreations.
Shortly thereafter, Arturia started receiving many requests from musicians, producers
and bands. Many of them explained how they were planning to replace their original
hardware synthesizers by virtual instruments. Artists around the globe were
beginning to see the advantages of a software alternative to hardware based
synthesizers.
The CS 80V emulated the legendary Yamaha CS 80, considered by many as "the
ultimate polyphonic" synthesizer, was launched at the AES 2003 in New York.
Imagine some of your favorite music from diverse artists such as Keith Emerson or
Stevie Wonder, and you will have a mental glimpse of the sonic capabilities of the CS
80V.
Released at the NAMM 2004, the minimoog V is a recreation of the Minimoog, quite
possibly the most famous synthesizer ever. The original minimoog has been big on
the music scene since the 70’s; still today the Minimoog has a large following for its
many sound capabilities.
The ARP 2600 V was launched at the NAMM 2005 in Anaheim. This is a faithful
reproduction of the ARP 2600 and is great for just about any sound one might wish to
create: everything from drum n’ bass stabs to Star Wars’ R2 D2 have been made with
the Arp.

ARTURIA – ANALOG FACTORY S.E. - MANUAL 4
1.2 1.2 Here and Now
Analogue Factory brings you the best spectrum of sounds from all of the above
instruments in an easy to use, no hassle interface. As you will soon see in exploring
the instrument yourself, a single instrument gives you your pick from the most
complete synthesis sound palette one could ask for: the great Bass’ of the Moog
Modular, the Brass and Strings of the Prophet, the Pads and FX of the Arp 2600, etc…
If you have never played a real synth, or even if you don’t know what a synthesizer
is, it is not important; you will be glad to have invested in such a powerful instrument
once you hear the difference Analog Factory S.E. makes in your studio.
1.3 AE®
TAE
®
, True Analog Emulation, is Arturia's outstanding technology dedicated to the
digital reproduction of analog circuits used in vintage synthesizers.
When implemented in software code, TAE
®
’s algorithms guarantee authentic
emulation of hardware specifications. This is why the ANALOG FACTORY S.E., and all
of Arturia’s virtual synthesizers, do offer an unparalleled quality of sound.
TAE
®
combines four major advances in the domain of synthesis:
1.3.1 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
Aliasing

ARTURIA – ANALOG FACTORY S.E. - MANUAL 5
Linear frequency spectrum of the ANALOG FAC ORY S.E. oscillator made with AE
1.3.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are marked by the
presence of a capacitor in the circuits. The discharge of the capacitor results in a light
bend in the original waveform (notably for saw tooth, triangular and square
waveforms). TAE
®
allows the reproduction of this capacitor discharge. This is the
analysis of a waveform from one of the 5 original instruments that Arturia’s software
emulates, and that of the ANALOG FACTORY S.E.. They are both equally deformed by
the low pass and high—pass filtering.
emporal representation of a “saw tooth” waveform of an hardware Synthesizer

ARTURIA – ANALOG FACTORY S.E. - MANUAL 6
emporal representation of a “saw tooth” waveform reproduced by AE
What’s more, the hardware analog oscillators were unstable. In fact, their waveform
varies slightly from one period to another. If we add to this the fact that the starting
point for each period (in Trigger mode) can vary with the temperature and other
environmental conditions, we find one of the characteristics that contributed to the
typical sound of vintage synthesizers.
TAE
®
reproduces the instability of oscillators, bringing a fatter and “bigger” sound.
1.3.3 Direct Filter Circuit Modeling
Due to advances in computer processing power, the ANALOG FACTORY S.E. 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. This graph is a frequency domain plot as just a
single example of direct circuit modeling in action; it shows the generation of
harmonics at multiples of the resonant frequency when the filter is in self oscillation
mode, for both one of Arturia’s virtual instruments and what it is emulating. These
harmonics are characteristic of hardware synthesizer’s filters and are due to the non
linear behavior inherent in its analog circuitry. The harmonics generated add to the
richness and warmth of the sound produced by the filter. As a result of the direct
recreation of this analog circuitry, the same characteristics of the sound are present,
thus giving the user a truly analog sound.

ARTURIA – ANALOG FACTORY S.E. - MANUAL 7
Comparison of Harmonics generated by the filter circuits of the ANALOG FAC ORY S.E. and a
hardware synthesizer when in self oscillation

ARTURIA – ANALOG FACTORY S.E. - MANUAL 8
2 Installation
2.1 Windows Installation
Double click on the icon called <<Analog Factory S.E. Setup.exe >>.
After having accepted the license agreement, you can choose the folder in which
the Analog Factory S.E. will be installed
Choose the Installation Folder
Next, select the protocol(s) that you wish to install. The available options are:
•The VST plug in
•The RTAS plug in

ARTURIA – ANALOG FACTORY S.E. - MANUAL 9
Choose your protocol
For more information on those protocols, please see to chapter 4 of this manual.
For the installation of the VST protocol, you should select the installation folder
of the plug in to allow the host application to use them. If you don’t know how to do
this, go to the Protocol Chapter (Ch. 4).
Select installation folder for plug-ins

ARTURIA – ANALOG FACTORY S.E. - MANUAL 10
A dialogue box will ask you if you wish to have a shortcut on your desktop. This
will give you access to the standalone application.
Shortcut to your desktop
The installation program now has enough information to finish. In a few seconds you
will be able to use Analog Factory S.E.
2.2 Installation Mac OSX
Insert the CD ROM into the drive. Explore the contents of the CD ROM, and
double click on the icon called <<Analog Factory.pkg>>.
The installation program, requiring administrative rights, may have the system
ask you to enter the login of an administrative user of the system. In this case, enter
your login and administrative password, and click on OK to continue the installation.
After the software license has been validated, the installation program will select
the system disc as target by default. It’s not possible to install Analog Factory S.E. on
another disc. Click on continue to proceed with the installation.
Choice of installation disc

ARTURIA – ANALOG FACTORY S.E. - MANUAL 11
Analog Factory S.E. will automatically install as a standalone application (functioning
independently and apart from any sequencer host). In the same way, all the
available protocols (VST, Audio Unit and RTAS/HTDM) will be installed. For more
information on those protocols, go to chapter 4.
The standalone application will be installed in the applications folder, and the different
plug ins will be installed in folders reserved to each type of plug in.

ARTURIA – ANALOG FACTORY S.E. - MANUAL 12
3 Using Analog Factory S.E.
3.1 Preferences
Preferences are set in Analog Factory S.E. by clicking on the “ Analog Factory”
logo on the virtual keyboard. The following options are available:
UPGRADE O FULL VERSION: this option allow you to go to the online Arturia’s
“Update” page. By clicking on this link, you will find all the details about the full
version of Analog Factory.
LCD COLOR: this function offers a choice between several available
colors/combinations on the Preset Manager screen.
SHOW ANIMA ION: choose to activate or deactivate the animation (keyboard and
Preset Manager folding).
SHOW CON ROL POPUP WHEN: MOUSE CLICKS ON CON ROL: a small popup
window appears each time that the mouse clicks on a modifiable parameter in order
to give information about the parameter and modifiable values. Choose ON to
activate this preference, or OFF to deactivate it. Default is ON.
SHOW CON ROL POPUP WHEN: MOUSE RES S ON CON ROL: a popup window
will appear when the mouse is left upon a modifiable parameter giving information
about the parameter and the modifiable values. Choose ON to activate this
preference, or OFF to deactivate it. Default is ON.
he “Preferences” window

ARTURIA – ANALOG FACTORY S.E. - MANUAL 13
3.2 ool Bar
he tool Bar
The tool bar consists of an ensemble of essential icons for the ANALOG FACTORY S.E.
organized from left to right allowing the user to see/have access to:
1. Preset, Instrument, and ype Names: Name of the current preset,
name of the Instrument, and the Type of instrument.
2. MIDI IN: light signaling MIDI activity (will illuminate when a note from
an external MIDI controller or keyboard is pushed)
3. Channel Select: this drop down menu offers the channel choice from
which Analog Factory S.E. receives MIDI information. Default is OMNI
(responds to data on all MIDI channels).
4. UNE: general settings for the tuning of Analog Factory S.E.. This allows
the user to finely tune the general tuning of the instrument.
5. VIEW: choose the view of the interface. The selection buttons offer the
choice to View all of Analog Factory S.E., only the Preset manager, or
only the Keyboard.
3.3 Using Preset Manager
Presets account for the various sounds of Analog Factory S.E.: there are 200 presets.
A preset contains all the settings information of the different controllers necessary to
reproduce a sound. In Analog Factory S.E., there are various ways in which the
Presets are classed and filtered in order to simplify preset management and find the
appropriate sounds for a song; one won’t have to search 200 presets to find the
desired sound. These filters are listed on the left of the Preset Manager Menu and
presented as follows: Instrument, Type, and Characteristics. Let us take a moment to
look at each.

ARTURIA – ANALOG FACTORY S.E. - MANUAL 14
Preset Manager
3.3.1 Instrument
“Instrument” refers to one of the 4 instruments from which Analog Factory S.E. draws
its sound. The instruments include:
•Moog Modular V
•CS 80 V
•minimoog V
•Arp 2600 V
If, for example, one clicks on CS 80 V, the Preset Manager will provide a list of
presets uniquely from the CS 80 V. But one can also chose to browse for more than
one Instrument; that means the user can look for sounds from CS 80 V and Arp 2600
V at the same time by selecting both instruments in the “Instrument” frame. When
no Instruments are selected for preset filtering, then the Manager will either
automatically list all presets or list presets based on other filters.
All presets are listed to the immediate right of the filters under Preset Name.
3.3.2 ype
“Type” refers to instrument type being synthesized. Just as in the above example,
one may select only “Type” to have access to the list below:
•Bass
•Pad
•Lead
•EFX (sound effect)

ARTURIA – ANALOG FACTORY S.E. - MANUAL 15
•FM
•Brass
•Percussive
•Sequence
•Strings
•Guitar
•Organ
•Piano
As with the Instrument filter, one can choose one or more Types of presets. By
selecting only BASS, the user will be given a list that contains only bass presets, and
if one chooses BASS and STRINGS both Types will be provided.
The user may also search deeper by selecting and combining the different filters. For
example, one may choose BASS, PAD, and STRINGS under the Type filter and MOOG
MODULAR V and ARP 2600 V in the Instruments filter. The Preset Manager will then
offer a list fulfilling only the above criteria.
3.3.3 Characteristics
To further filter the choices, there is a third filter offered. “Characteristics” allows the
user to choose presets according to a mood or ambiance. The choices available are
as follows:
•Bright
•Dark
•Aggressive
•Quiet
•Hard
•Soft
•Complex
•Simple
•Short
•Long
•Bizarre
•Acid

ARTURIA – ANALOG FACTORY S.E. - MANUAL 16
•Ambient
•Digital
•Ensemble
•Noise
•SoundTrack
•Funky
Once again, these filters can be applied either individually or in any combination that
the user wishes in order to find the ideal presets.
3.3.4 Entries Found
This number, found at the bottom right of the Preset Manager, indicates the amount
of Presets that correspond to a preset search.
3.3.5 Filter Options
Above the filters are three buttons: Reset, Favorites, and User. These buttons
function as follows:
RESE : removes any filters that the user may have applied to the
presets so that a new search may be started.
FAVORI ES : presents only the favorites that the user has checked in the
favorites list (see 3.2.7). When the Favorites Filter Option is
selected, then the filters (Instrument, Type, and
Characteristics) will be applied only to the list of favorites.
3.3.6 Current Preset Information
Information on the current preset, or an “Identity Card”, is found to the right of the
Preset Manager. An image of the original instrument which the preset is based upon
is presented along with the following information:
Preset: the name of the current preset

ARTURIA – ANALOG FACTORY S.E. - MANUAL 17
Instrument: the name of the virtual instrument
Author: the name of the sound designer who created the preset
Polyphony: this shows the number of available voices for the current preset.
3.3.7 Organisation
In addition to the Preset Filters that help the user easily search and select among the
200 various presets, there are also view options within the Preset Manager that
permit the user to choose how the presets are listed.
When the user selects the filter criteria, the list of Presets appears in a vertical column
in the middle of the screen under Preset Name. By default, the presets will be listed
automatically in alphabetical order from A to Z under Preset Name. However, if the
user prefers, the presets can be arranged on the screen according to other criteria in
the adjacent columns:
INS RUMEN : in this column, the name of the original instrument that produced
the sound is offered for each preset. Therefore, it will list among
the following instruments: minimoog, Moog Modular V, ARP 2600 V,
CS 80 V. When the user clicks on the title bar labeled Instrument,
the columns will reorganize alphabetically under the Instrument
column.
YPE : in this column, the TYPE of instrument appears corresponding to
each preset. By clicking at the top of the column on the TYPE title
bar, the presets presented will be listed alphabetically according to
TYPE in the same column.
CPU : in this column, the CPU usage rate appears for each preset. By
clicking the title bar labeled CPU at the top of this column, the
presets will be arranged on a scale from 1 to 5. 1 represents a
weak CPU usage rate while 5 represents a strong CPU usage rate.
FAVORI ES : (FAV) permits the user to classify presets according to usage or
general preference as one does in popular media players. Simply
check one’s favorite presets and access them by clicking the title
bar at the top of the column. One may also easily access the
Favorites with the Favorites Filter Option.
3.4 Keyboard View
The Keyboard view of Analog Factory S.E. (accessed either by the “Keyboard” or “All”
view in the toolbar) gives the user access to both the virtual keyboard and all the
controls with which the user can modify the sound of the presets. We will take a
moment now to look at those controls.
3.4.1 Virtual Keyboard
The knob called “LEVEL” controls the general volume of Analog Factory S.E.. The
more the knob is turned to the right the higher the output level is raised.

ARTURIA – ANALOG FACTORY S.E. - MANUAL 18
The virtual keyboard visually presents 32 keys and allows one to produce the sounds
of Analog Factory S.E. without the need for an external master MIDI keyboard. With
the aid of the RANSPOSE function found to the left of the virtual keyboard above the
modulation wheels, the user may scroll up or down the keyboard for notes in higher
or lower ranges than is visually presented.
Virtual Keyboard
3.4.2 he Wheels
The wheels found on the left side of the virtual keyboard, give the user control over
the frequency of the sound (“PITCH”) and the modulation rate (“MOD”).
Wheels
PI CH WHEEL : Wheel controlling the pitch of the tone. When pushed in
the up direction, the sound “bends” and becomes higher in
tune. When pushed in the Down direction, the sound
“bends” and becomes lower in tune.
MOD : Wheel controlling modulation (MIDI controller #1)

ARTURIA – ANALOG FACTORY S.E. - MANUAL 19
3.4.3 Filter
Filter
CutOff : modifies the cut off frequency (this filter has the ability to
make the sound more or less bright by controlling the
amount of high frequencies)
Resonance : (RESO) modifies the resonance of the filter (the sound
becomes more “cutting” when the parameter is pushed)
3.4.4 LFO
The LFO, Low Frequency Oscillator, is used as a modulation source for Analog Factory
S.E.’s sound. It allows the user to create variations in a sound parameter to generate
diverse effects such as a vibrato, “wahwah” effect, etc. The two parameters that may
be modulated within the LFO are:
LFO
Rate : knob setting the LFO rate/speed
Amount: knob setting for the amount of LFO modulation
3.4.5 Key Parameters
The key parameters section will prove to be particularly useful. This section is found
in the middle of the Keyboard View and labelled with the aforementioned name (Key
Parameters).

ARTURIA – ANALOG FACTORY S.E. - MANUAL 20
Key Parameters
Each preset offers the four most pertinent parameters unique to that preset. Our
sound designers have taken the greatest care to assign parameters that will enrich
and give depth to the sound of each preset. In this way, only the parameters that are
the most beneficial when modifying/tweaking a given sound are available, facilitating
the production process.
To know which 4 parameters have been selected for each preset, one must simply
point the mouse over a Key Parameter knob and an information block will appear
specifying the parameter name.
3.4.6 FX MIX (Effects Mix)
Analog Factory S.E. also carries a simple yet efficient effects section. The two effects,
Chorus and Delay, are automatically synchronized to the tempo of a piece in the
user’s sequencer. If none the less, the user wishes to access more advanced effets,
they are available in most sequencer programs (Cubase, Garage Band, Pro Tools, to
name just a few).
FX MIX
Chorus : the Chorus effect permits one to double and detune the sound in
order to make it deeper and richer. The Chorus MIX controls the
amount of Chorus applied to the original sound, making it more wet
or dry.
Delay : the Delay carries an echo effect (repetition of the sound) that gives
space to the tone. The speed of these repetitions is automatically
synchronized to MIDI tempo (the tempo of a song in the host
sequencer). The user simply has to adjust the Delay MIX knob to
control the quantity of the effect.
3.4.7 ADSR faders
The “ADSR” envelope is composed of four successive sequential periods in the life of a
note: Attack time, Decay time, Sustain time, and the Release time.
A ACK : begins when a note is activated. The Attack time may be short
and dry (as in percussion) or long and ascending (as with a
pad sound)