Arturia CS-80V User manual

USER’S MANUAL
version 1.0

Programming:
Nicolas Bronnec
Pierre-Jean Camilieri
Sylvain Gubian
Xavier Oudin
Graphics:
Thomas & Wolfgang Merkle (Bitplant)
Manual:
Jean-Michel Blanchet
Nicolas Bronnec
Frédéric Brun
Houston Haynes
Tom Healy
Akira Naito
Xavier Oudin
David Poncet
Yuji Sano
Mitsuru Sakaue
Sound Designers:
Jean-Michel Blanchet
Glen Darcey
Darrell Diaz
Chris Laurence
Mateo Lupo
Jamie Muhoberac
Chris Pittman
Katsunori Ujiie
Very special thanks to:
Yamaha Corporation
Thanks to:
Elsa Chal-Debeauvais, Randy Fuchs, Mr Tohyama, Akira Naito, Houston Haynes,
Fabrice Paumier, Laurent Falla and the numerous beta testers.
© ARTURIA S.A. – 1999-2003 – All rights reserved.
1, rue de la Gare
38950 Saint-Martin le Vinoux
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.
Other products, logos or company names quoted in this manual are trademarks or registered trademarks of
their respective owners.

TABLE OF CONTENTS
1 INTRODUCTION
1.1 The birth of the Yamaha CS-80 7
1.2 Why a virtual CS-80? 10
1.3 A better emulation thanks to TAE 11
1.3.1 Aliasing-free oscillators 11
1.3.2 A better reproduction of analog oscillator waveforms 12
1.3.3 A better reproduction of analog filters 13
1.3.4Ringmodulator 13
2 INSTALLATION
2.1Windows 14
2.2MacOSX 16
2.3 Mac OS 9 17
3 QUICK START
3.1 Use of presets 19
3.2Methodsofplaying 21
3.3 Overview of Single mode 23
3.4Themodulationmatrix 25
3.5OverviewofMultimode 26
3.6 The real time controllers and MIDI assign 28
3.7 The effects section 28
4 THE INTERFACE
4.1Useofpresets 30
4.1.1 Choice 30
4.1.2 Creation 32
4.1.3 Saving 32
4.1.4 Importation/Exportation 33
4.2Usingcontrollers 34
4.2.1 Sliders 34
4.2.2Knobs 34
4.2.3 Switches 34
4.2.4 Ribbon 34
4.2.5 Setting keyboard zones 35
4.2.6 Keyboard 35
4.2.7 MIDI control 35
5 USING THE CS-80V
5.1 The Single mode 37
5.2Twolinesofsynthesis 37
5.3Themodulationmatrix 40
5.4 The sub-oscillator 42
5.5Thekeyboardmodulations 43
5.6Theringmodulator 43
5.7Chorus/Tremolo 44
5.8Stereodelay 44
5.9Thepedals 45
5.10Thearpeggiator 46
5.11Thepre-selectionbuttons 46

5.12Theribbon 46
5.13Generalsettings 47
5.14TheMultimode 47
6 THE BASICS OF SUBTRACTIVE SYNTHESIS
6.1 The 3 main elements 50
6.1.1 The oscillator 50
6.1.2Thefilter 54
6.1.3Theamplifier 56
6.2Othermodules 56
6.2.1Thekeyboard 56
6.2.2 The envelope generator 57
6.2.3 The low frequency oscillator 57
7 SOME ELEMENTS OF SOUND DESIGN
7.1 Subtractive sound synthesis 60
7.1.1 A basic sound 60
7.1.2 The modulation matrix 61
7.1.3 Use of real time controllers 63
7.2TheMultimode 64
7.2.1 Four different sounds on the keyboard 64
7.2.2 A composite sonority in unison mode 65
7.2.3 Introduction of the arpeggiator in a Multi preset 66
7.3 Other sides of the CS-80V 67
7.3.1 A step sequencer 67
7.3.2 A stereo sound without effects 68
8 MODES D’UTILISATION DU CS-80V
8.1 Stand-alone 69
8.1.1 Launching the application 69
8.1.2 Setting preferences 69
8.1.3Thetoolbar 70
8.1.4Processoruse 71
8.1.5Panic 71
8.1.6 Saving an instrument 71
8.2VST 72
8.2.1 Installation 72
8.2.2 Using the instrument in VST mode 72
8.2.3 Connection to a MIDI track 72
8.2.4 Saving presets 73
8.3ProTools 74
8.3.1 Installation 74
8.3.2 RTAS and HTDM standards 74
8.3.3 Opening an instrument 74
8.3.4 Connection to a MIDI node 75
8.3.5 Saving presets 75
8.3.6 Automation 76
8.4DXi 77
8.4.1 Installation 77
8.4.2 Opening the instrument 77
8.4.3 Connection to a MIDI track 77
8.4.4 Saving presets 78
8.4.5 Automation 78
8.5DigitalPerformer 79
8.5.1 Installation 79

8.5.2 Opening the instrument 79
8.5.3 Connection to a MIDI node 79
8.5.4 Saving presets 80
8.5.5 Automation 80
9 APPENDICES
9.1 List of abbreviations (generalsettings) 81
9.2 List of abbreviations (singles) 82
9.2Index 84

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1 INTRODUCTION
1.1 THE BIRTH OF THE YAMAHA CS-80
Yamaha was created at the end of the 19th century, in Hamamatsu, Japan.
The first electronic instrument, the Electone D-1 electronic organ, was designed and built
in 1959. But the history of the CS-80 began when, in 1974, the GX-1 was released.
The GX-1
The GX-1 was an analog polyphonic synthesizer that was built in order to test the
market. It cost $60,000 and was premiered in the US in 1973 at the NAMM convention.
Keith Emerson, John Paul Jones of Led Zeppelin, Jurgen Fritz of Triumvirat and Stevie
Wonder all bought one. Stevie Wonder called it «the Dream Machine».
One of the strong features of the GX-1 is the superposition of the two full-sized velocity-
sensitive keyboards. The CS-80V, with the Multi mode, allows the creation of the same
type of sounds that the GX-1 offered.
In 1976, Yamaha introduced the CS-80, which has the same circuits as the GX-1. The
price tag ($6,900) put it out of the reach of most musicians, and the weight (83kgs with
stand) made it sometimes hard to use on stage.
But the qualities of this synthesizer, considered Japans first great synthesizer, made it
immediately famous in the Music Industry.

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The CS-80
The CS-80 was made popular in the late 70’s and early 80’s by a number of pop groups,
including Electric Light Orchestra, Toto, Paul McCartney and Wings. Other artists and
bands like Vangelis, Bon Jovi, Jean-Michel Jarre, Geoffrey Down, Stevie Wonder and
some others managed to turn the CS-80 into a real myth.
Let us quote Matt Friedmann from the Vintage Synth Explorer website: «No synth sounds
greater. The best examples for its extremely fat sound are ‘Blade Runner’, ‘Mask’, or
‘Bounty’ by Vangelis as well as ‘Dune’ by Toto. (…)
With two analog oscillators per voice, the CS-80 has the potential for some really phat
sounds! A great VCF filter with independent hi pass and low pass resonant filters, a
powerful ring modulator and plenty of modulation controls further enhance the CS-80's
sonic potential. There are 22 preset sounds (6 user) selected from bright and ugly
colored buttons above the keyboard. The keyboard is weighted and has a full 61 keys
with performance controllers for vibrato, pitch, brightness and volume. Surprisingly
there's also a ribbon controller for the pitch-bending. There is no MIDI or cv/gate.»
The first edition of the service manual has a lot of hand-drawn pages, including the main
panel layout.

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The CS-80 Service Manual
In conclusion, let’s also quote another huge reference in the field: Peter Forrest (in the A-
Z of Analogue Synthesizers, Susurreal, First published 31/10/96): «When it comes to
trying to decide which of the top-flight synths is the best ever, it’s not easy. From almost
any practical viewpoint, and in terms of versatility of sound, there are a lot of
instruments which wipe the floor with the CS-80. But if you are looking at richness of
sound coupled with performance power, and sheer overkill, maybe nothing can touch it».
The CS-80V provides all the features of the original CS-80. But it offers also a unique
Multi mode and a modulation matrix to create entirely new sounds. It also comes with a
wide selection of presets.
We hope you will enjoy it as much as musicians enjoyed playing the original.

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1.2 WHY A VIRTUAL CS-80?
Only 3,000 CS-80 synthesizers were manufactured. Weighing in at more than 80 kg, it
takes at least two people to move it. And even though few have had the occasion to own
one, it remains a favorite among musicians and amateurs alike. Some famous artists
have gone as far as buying several, to have a permanent stock of spare parts.
Why such a success? With two independent lines of synthesis, the CS-80 offers an
original structure, at the same time simple and rich. The ergonomics of the machine
offered an approach that inspired musicians: moving a potentiometer, modifying a wheel
can be enough to radically transform a sound.
But this synthesizer, reproduced identically, despite its particular structure would bring
little innovation to today’s musical landscape.
Arturia has thus brought new life to the myth, remaining faithful to the sound and the
functionality, but also taking it several steps further. As you will see, these new additions
bring a new lease of life to the CS-80V.
The possibility to affect a different sound to each of the polyphonic voices, an
independent keyboard management, positioning in stereo space and particular tuning
allow the amplification of the unique presence and the sonorities of this polyphonic
synthesizer. New combinations have emerged, and the Multi mode will open enormous
perspectives for those who take the time to discover its characteristics.
To this we have added a modulation matrix, which widens the possibilities of creative
combinations.
A new version which respects the past while bringing the possibilities of the present and
future, this was our vision for this CS-80V.

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1.3 A BETTER EMULATION THANKS TO TAE®
TAE®- True Analog Emulation - is a new technology dedicated to the digital reproduction
of analog circuits used in vintage synthesizers.
When implemented in software code, TAE’s algorithms guarantee the respect of hardware
specifications. This is why your CS-80V offers an unparalleled quality of sound.
In detail, TAE®regroups 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
Linear frequency spectrum of the CS-80V oscillator made with TAE
A
liasing

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1.3.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are marked by the
presence of a condenser in the circuits. The discharge of the condenser results in a light
bend in the original waveform (notably for saw tooth, triangular and square waveforms).
TAE allows the reproduction of this condenser discharge. Underneath is the analysis of a
waveform from the original CS-80 original, and that of the CS-80V. They are both equally
deformed by the CS-80 low-pass and high—pass filtering.
Temporal representation of a «saw tooth» waveform (deformed by high-pass and low-pass
filtering) of the CS-80V
Temporal representation of a «saw tooth» waveform (deformed by high-pass and low-pass
filtering) reproduced by TAE
What’s more, the original analog oscillators were unstable. In fact, their waveform lightly
varied from one period to another. If we add to this the fact that the starting point for
each period (in Trigger mode) can vary with the temperature and other environmental
conditions, we find one of the characteristics that participated in the typical sound of
vintage synthesizers.
TAE reproduces the instability of oscillators, bringing a fatter and «bigger» sound.

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1.3.3 A better reproduction of analog filters
TAE allows the more precise emulation of analog filters over standard digital filters. To
obtain this result, the TAE technology is based on the analysis of the analog circuits to be
reproduced, and converts them in algorithms that faithfully mimic the characteristics of
the original filters. The curve underneath shows the comparison of the original CS-80
filter and that of the CS-80V.
Response curve of the 12 dB low-pass filter of the original CS-80 and the CS-80V
1.3.4 Ring modulator
The CS-80V includes a ring modulator, just like the original CS-80. The ring modulator
allows the application of a waveform (a sinusoid) to another, in order to transform it. The
result is a more brilliant sound, distorted, and enriched in harmonics. As a result of this
increase in the number of harmonics, standard ring modulation algorithms create an
audible aliasing. To avoid this unwanted effect, TAE includes a module for the dynamic
control of the amplitude with aliasing correction, which removes every trace of aliasing in
the signal coming from the ring modulator.
Response curve of the 12
dB low-pass filter of the
original CS-80
Response curve of the 12
dB low-pass filter of the
CS-80V
Amplitude control module
(VCA) with aliasing
correction
Input Output
Sine wave
form

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2 INSTALLATION
2.1 WINDOWS INSTALLATION (WIN9X, ME, 2000, XP)
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named «CS-80V Setup PC.exe»
At the first step of the installation, choose the destination folder for the CS-80V
installation. By default, it will be installed at the location C:\Program Files\Arturia\CS-
80V. You can change the destination with the Browse button.
Choose the installation folder
Next, have your license number ready and enter it with your first and last names in the
user information window.
User information window
The CS-80V will next be installed as a standalone application. The following stage will let
you choose to install the CS-80V as a plug-in. To do this, choose the protocol(s) that you
wish to use (VST, RTAS or DXi). For more information on these protocols, go to chapter
8.

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Choice of protocols
For the VST and RTAS protocols, you must choose an installation folder in order for the
host application to use the CS-80V as a plug-in. If you do not know how to make this
choice, go to chapter 8.
Choice of VST plug-in installation folder
The installation program now has enough information to complete the installation. In a
few seconds, you will be able to use the CS-80V.

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2.2 MAC OS X INSTALLATION
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named «CS-80V Setup Mac».
Enter the administrator name and password of your computer in the authentication
window.
Authentication window
The CS-80V will next be installed as a stand-alone program. The following step will let
you choose to install the CS-80V as a plug-in. Then, choose the protocol that you wish to
use (VST, RTAS/HTDM). For more information on these protocols, go to chapter 8.
By default the CS-80V will be installed in the Applications folder. But you can choose the
disk and installation folder for the CS-80V.
Choice of protocols, disk and installation folder
Next, have your license number ready and enter it with your first and family names in
the user information window.

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The installation program now has enough information to complete the installation. In a
few seconds, you will be able to use the CS-80V.
2.3 MAC OS 9 INSTALLATION
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named «CS-80V Setup Mac».
The following stage will let you choose to install the CS-80V as a plug-in. To do this,
choose the protocol(s) that you wish to use (VST, RTAS/HTDM, and MAS). For more
information on these protocols, go to chapter 8.
By default the CS-80V will be installed in the Applications folder. But you can choose the
disk and installation folder for the CS-80V.
Choice of protocols, disk and installation folder
Next, have your license number ready and enter it with your first and family names in
the user information window.
User information window
The installation program can automatically detect folders containing VST plug-ins on your
computer.

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Auto detection of VST folders
Choose the applications for which you wish to install the CS-80V as a VST plug-in.
Choice of VST applications
For each of the selected applications, if several versions are present on your computer,
select the version for which you want to install the CS-80V as a VST plug-in.
Choice of the version of Logic Audio
The installation program now has enough information to complete the installation. In a
few seconds, you will be able to use the CS-80V.

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3 QUICK START
This chapter will help you to familiarize yourself with the general usage of the CS-80V.
You will be presented with an overview of the different sections of the synthesizer as well
as the Single voice and Multi mode settings. You will find a precise and detailed
description of all settings and controllers in the chapters that follow.
Chapter 6, A few elements of sound design will be of particular interest for users who
have never worked with a subtractive synthesizer, but wish to understand the basics in
this domain.
The CS-80V
3.1 USE OF PRESETS
Use of presets is one of the main areas of evolution of the CS-80V when compared to the
original. In fact, it allowed only 4 spaces in memory for saving 4 sounds!
In the CS-80V, a preset (memorized sound) contains all parameter settings of the
synthesis voice (Single), as well as Multi mode parameters and the different real time
controllers and effects needed to reproduce the sound.
To get to know a few of the different sounds contained in the CS-80V, we will select the
preset «Brass1».
 For this, click on the button «BANK» (at the left of the display indicating the name of
the bank currently in use). By clicking, you will see a dropdown menu indicating the
available banks. Choose the bank «JMB».
When the menu appears, it opens sub menus in a step-by-step manner. This allows us to
get to the «SUB BANK» and «PRESETS» of a sound designer with a single click.

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 Choose the «SUB BANK» called «Brass» and finally select «Brass1» among the
«PRESETS».
Select the preset brass1
The CS-80V is shipped with 400 presets, which will allow you to get to know the sounds
of the synthesizer. A bank called «User / Temp» proposes a selection of presets which
allow you to work from a basic template when programming a sound.
(The sound «1 voice», for example, is presented with a single active synthesis line: an
oscillator is directed to the low-pass filter, the signal is then routed towards the VCA.)
It is also possible to visualize the totality of presets corresponding to a type of sub-bank by choosing the option
«All» in the bank. For example, to see all bass presets, click on «All»in the bank selections and then on «Bass».
3.1.1 Modifying this preset
For this, we’ll begin with a simple manipulation.
 Modify the brilliance of the «Brass 1» sound with the «Brilliance» controller on the
synthesizer. For this, increase or decrease the green linear «brill» knob on the control
panel (above the virtual keyboard). The tone of the sound will become more or less
«brilliant». Set this knob to your convenience.
 In the same manner, you can change the range of the oscillator by decreasing the
linear «Feet I» knob to one of the 6 values expressed in «Feet» (like organs). The
lower the number, the higher the pitch. (The standard tuning can be found at the
value 8’)
Change the brilliance of the sound
With these first settings, you have already modified the preset «1 voice». You can now
save the sound that you have just created.
 To save a user preset («user»), click on the save icon in the tool bar: The settings of
the current sound will be saved in the preset being used without changing its name.
If the current preset is a «factory» preset, the factory preset will not be replaced.