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

ARTURIA – CS-80V – USER’S MANUAL 7
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.

ARTURIA – CS-80V – USER’S MANUAL
8
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.

ARTURIA – CS-80V – USER’S MANUAL 9
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.

ARTURIA – CS-80V – USER’S MANUAL
10
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.