Arturia MOOG MODULAR V 2.6 User's User manual

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 1
USER’S MANUAL
Version 2.6

2 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
Programming:
Robert Bocquier
Nico as Bronnec
Pierre-Jean Cami ieri
Thomas Di igent
Sy vain Gubian
Xavier Oudin
Gi es Pommereui
Cedric Rossi
Graphics:
Yannick Bonnefoy
Thomas & Wo fgang Merk e [Bitp ant]
Manual:
Antoine Back (V2.5)
Si vère Lete ier (V2.5)
Jean-Miche B anchet
Tomoya Fukuchi
Tom Hea y
Sadahiro Nakano
Xavier Oudin
Gi es Pommereui
Cedric Rossi
Takashi Uesugi
Yuji Sano
Soun Designers:
Wa y Badarou
Jean-Miche B anchet
Ce mar Enge
Miche Geiss
Christoff Harbonier
Mateo Lupo
Hideki Matsutake
Scot So ida
Katsunori Ujiie
Very special thanks to:
Robert A. Moog and Isao Tomita
Thanks to:
Michae Adams, Bruno Begani, Ned Bouha assa, Geoff Downes, C ay Duncan, Pav e
Kovacevic, Roger Luther, Sadahiro Nakano, Fabrice Paumier, Ben Tur , Peter Wi ems,
and the numerous beta testers.
© ARTURIA SA – 1999-2011 – A rights reserved.
4, Chemin de Ma acher
38240 Mey an
FRANCE
http://www.arturia.com
Information contained in this manua is subject to change without notice and does not represent a commitment on the
part of Arturia. The software described in this manua is provided under the terms of a icense agreement or non-
disc osure agreement. The software icense agreement specifies the terms and conditions for its awfu use. No part of
this manua may be produced or transmitted in any form or by any purpose other than purchaser’s persona use,
without the express written permission of ARTURIA S.A.
Other products, ogos or company names quoted in this manua are trademarks or registered trademarks of their
respective owners.

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 3
I
In nt tr ro o u uc ct ti io on n t to o v ve er rs si io on n 2 2. .5 5 o of f t th he e M Mo oo og g M Mo o u ul la ar r V V m ma an nu ua al l
The first version of the Moog Modu ar V was commercia ized in March 2003 having been
announced at the NAMM show of the same year.
It quick y became popu ar being the first to offer an emu ation of a modu ar synthesizer.
The name Moog® was obvious y a trigger as for many it remains synonymous with the go den
age of vintage synthesizers. But strong interest from we -known musicians such as Isao
Tomita, K aus Schu tze, Geof Downes, Stevie Wonder, Herbie Hancock and many others he ped
create a rea buzz around the aunch of the Moog Modu ar V.
At Arturia, we have received many messages of congratu ations as we as requests for the
evo ution and modifications for upcoming versions of the synthesizer.
Version 2 of the Moog Modu ar V has taken many of these requests into account and brings
many unexpected deve opments.
First y, as you wi see when you aunch the program, is a new means of viewing the
synthesizer giving an overview of the entire instrument if your computer can support the
reso ution. On screens with ower reso utions, by using the “scro ” command, it becomes
possib e to access a of the modu es on the same screen, a feature that wi de ight many
musicians.
We have a so broadened the configuration possibi ities for the synthesizer. Some modu es can
now be interchanged, which brings the Moog Modu ar V c oser to the origina instruments that
cou d be configured by Moog Music upon order.
Improvements have a so been made to the audio, making use of the evo ution of our TAE®
techno ogy which has seen improvements during the year. We have answered a frequent
request in re ation to Audio-in so that you can now use the Moog Modu ar V fi ters or
sequencer on an externa source.
Of course, we have a so deve oped new modu es, six to be precise. The 928 (Samp e and Ho d)
and 912 (Enve ope Fo ower) were popu ar demands and can be found in this new bui d.
A so added are very rare modu es such as the 1630 Bode Frequency Shifter – around a dozen
mode s produced - or comp ete y new modu es such as the Formants Fi ter
Last but not east is the addition of 200 new presets to this version. They make use of the new
options offered by the Moog Modu ar V, and wi be a great starting point for those who wish to
discover this new version. Go to the ast part of Chapter 7 if you wish to jump into using the
new modu es offered.
Hoping that you enjoy this evo ution, we wish you the greatest p easure in your use of the
Moog Modu ar V 2.5
The Arturia team

4 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
TABLE OF CONTENTS
1 What's new in Moog Modu ar v 2.6......................................................................... 7
2 Introduction........................................................................................................ 8
2.1 The birth of modu ar moog systems.................................................................... 8
2.2 A modu ar synthesizer, why? ........................................................................... 12
2.3 A better emu ation thanks to TAE® .................................................................. 12
2.3.1 A iasing-free osci ators: .............................................................................. 13
2.3.2 Better reproduction of ana og wave forms:..................................................... 13
2.3.3 Better reproduction of ana og fi ters .............................................................. 14
2.3.4 Imp ementation of soft c ipping .................................................................... 15
3 Insta ation ....................................................................................................... 17
3.1 Windows Insta ation (XP, VISTA, 7) ................................................................. 17
3.2 Insta ation Mac OS X ..................................................................................... 19
4 Authorization .................................................................................................... 20
4.1 Registration................................................................................................... 20
4.2 License down oad ........................................................................................... 22
5 Quick Start ....................................................................................................... 25
5.1 The 4 sections of the Moog Modu ar V............................................................... 25
5.1.1 The synthesis section .................................................................................. 25
5.1.2 The other three sections .............................................................................. 26
5.1.3 Reduced view of the keyboard and the rea time contro ers ............................. 27
5.2 Using presets................................................................................................. 27
5.3 Modu ar synthesizer ....................................................................................... 29
5.3.1 First connections......................................................................................... 29
5.3.2 Description of the synthesis section modu es.................................................. 33
5.4 The other sections.......................................................................................... 37
5.4.1 The sequencer............................................................................................ 37
5.4.2 The effects................................................................................................. 40
5.5 the virtua keyboard and its rea time contro ers................................................ 45
5.5.1 The keyboard ............................................................................................. 45
5.5.2 The keyboard contro ers ............................................................................. 46
5.5.3 The p ay modes .......................................................................................... 47
5.5.4 The sound design contro ers ........................................................................ 48
6 The interface .................................................................................................... 51
6.1 Using the presets ........................................................................................... 51
6.1.1 Choice of bank, sub-bank, preset.................................................................. 51
6.1.2 Creation of a bank, sub-bank, preset............................................................. 52
6.1.3 Saving a user preset ................................................................................... 53
6.1.4 Import / Export of a preset bank .................................................................. 53
6.2 Work pages ................................................................................................... 54
6.2.1 The comp ete view ...................................................................................... 54
6.2.2 The reduced usage page .............................................................................. 55
6.3 Using contro ers ............................................................................................ 55
6.3.1 Knobs........................................................................................................ 55
6.3.2 Joysticks.................................................................................................... 56
6.3.3 Se ectors ................................................................................................... 56
6.3.4 Keyboard ................................................................................................... 57
6.3.5 MIDI contro ............................................................................................... 57
6.4 Using cab es .................................................................................................. 61
6.4.1 Audio and modu ation connections ................................................................ 61
6.4.2 Modifying a connection ................................................................................ 63
6.4.3 Modu ation eve setting............................................................................... 63
6.4.4 Cab e disp ay options .................................................................................. 63
6.4.5 Trigger connections..................................................................................... 64
6.4.6 Synchronization connections ........................................................................ 65

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 5
6.4.7 Key fo ow or sequencer connections ............................................................. 65
7 The modu es ..................................................................................................... 68
7.1 Programming section ...................................................................................... 68
7.1.1 Description ................................................................................................ 68
7.1.2 Osci ators.................................................................................................. 68
7.1.3 Fi ters........................................................................................................ 72
7.1.4 Modu ation enve opes .................................................................................. 77
7.1.5 Output amp ifiers (VCA)............................................................................... 78
7.1.6 Low frequency osci ators (LFO) .................................................................... 79
7.1.7 Contro ed amp ifiers / Mixers ....................................................................... 80
7.1.8 Trigger de ay.............................................................................................. 81
7.1.9 Noise generator .......................................................................................... 83
7.1.10 Samp e and ho d ..................................................................................... 84
7.1.11 Enve ope fo ower .................................................................................... 85
7.1.12 Ring modu ator ....................................................................................... 86
7.1.13 Formant fi ter.......................................................................................... 87
7.1.14 Bode Frequency Shifter ............................................................................ 87
7.2 Second section .............................................................................................. 88
7.2.1 Description ................................................................................................ 88
7.2.2 Resonant fi ter bank .................................................................................... 89
7.2.3 Chorus ...................................................................................................... 90
7.2.4 Phaser....................................................................................................... 91
7.2.5 Stereo De ay .............................................................................................. 92
7.2.6 Sequence generator .................................................................................... 93
7.3 Third Section ................................................................................................. 96
7.4 Fourth section................................................................................................ 96
7.4.1 Keyboard fo ow management ...................................................................... 97
7.4.2 Genera settings ......................................................................................... 98
8 The basics of subtractive synthesis ...................................................................... 99
8.1 The three main modu es ................................................................................. 99
8.1.1 The osci ator or VCO................................................................................... 99
8.1.2 The fi ter or VCF ........................................................................................102
8.1.3 The amp ifier or VCA ..................................................................................106
8.2 Comp imentary modu es ................................................................................106
8.2.1 The keyboard ............................................................................................106
8.2.2 The enve ope generator ..............................................................................107
8.2.3 The ow frequency osci ator ........................................................................107
9 A few e ements of sound design .........................................................................109
9.1 Modu ar sound synthesis ................................................................................109
9.1.1 Simp e patch #1 ........................................................................................109
9.1.2 Simp e patch #2 ........................................................................................110
9.1.3 Comp ex patch #1 .....................................................................................113
9.1.4 Comp ex patch #2 .....................................................................................117
9.2 The sequencer ..............................................................................................120
9.2.1 Sequence #1.............................................................................................120
9.2.2 Sequence #2.............................................................................................122
9.2.3 Sequence #3.............................................................................................125
9.3 Bonus features .............................................................................................126
9.3.1 Creative use of key fo ows..........................................................................126
9.3.2 Creative use of triggers and trigger de ays ....................................................128
9.3.3 Stereo without the effects ...........................................................................130
9.4 using the new Moog Modu ar V 2.0 modu es .....................................................131
9.4.1 The Bode Frequency Shifter ........................................................................131
9.4.2 The Enve ope Fo ower................................................................................134
9.4.3 The samp e and ho d ..................................................................................137

6 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
10 Using the Moog Modu ar V in different modes.......................................................140
10.1 Stand-a one..................................................................................................140
10.1.1 Launching the app ication ........................................................................140
10.1.2 Configuration of an instrument: the too bar ..............................................140
10.2 Using your p ug-in in a host............................................................................141
10.2.1 MIDI connection .....................................................................................141
10.2.2 Saving preset.........................................................................................141
10.2.3 Automation............................................................................................141
10.3 VST™ ..........................................................................................................142
10.3.1 Cubase™ ...............................................................................................142
10.3.2 Ab eton Live™ ........................................................................................144
10.3.3 Sonar™ .................................................................................................145
10.4 Audio unit ....................................................................................................146
10.4.1 Logic Studio™ ........................................................................................146
10.4.2 Digita Performer™ .................................................................................148
10.5 Pro Too s™ (RTAS) ........................................................................................150

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 7
1WHAT'S NEW IN MOOG MODULAR V 2.6
Moog Modu ar V 2.6 inc udes the fo owing new features:
•Support for 64-bit VST and Audio Unit
•Improvement for MIDI assignments
oMIDI assignment configurations can be saved and restored
oContro s can be assigned to mu tip e parameters
oMinimum and maximum ranges for an assigned parameter can be set
•Standa one program updated
•Bug fixes
System requirements:
•MAC OSX 10.5 and 10.6 Inte
oPPC no onger supported
oMAC OSX 10.4 no onger supported
•Windows
oSeven
oVista
oXP

8 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
2INTRODUCTION
2.1 T HE BIRTH OF MODULAR MOOG SYSTEMS
Robert A. Moog was born in May 1934 in New York. A passionate for music (he took piano
essons for 12 years), he was introduced to e ectronics by his father, an engineer in this
domain. During his ado escence, he discovered the Thereminvox p an, invented during the 30’s
by a Russian engineer, Leon Theremin (or more exact y Lev Sergeivitch Termen). Seduced by
this instrument with its never before heard sounds, he began to produce his own mode s and
founded his own company in 1954.
Frequenting musica professiona s, and in particu ar e ectronic and concrete music, R. Moog
rea ized that there was a rea demand for e ectronic instruments of a higher qua ity.
One of the first c ients to come to Robert Moog, the professor of music Herbert A. Deutsch,
asks him to isten to a song he had composed. Moog is immediate y convinced and they decide
to associate their work. Their co-operation produced the first VCO.
In 1964, the first prototype of a Moog synthesizer was produced. It was a modu ar system with
a vo tage contro ed fi ter (VCF), an enve ope generator, a white noise generator, a trigger and
two keyboards each with a generator modu e (sawtooth, triang e and impu sion) as we as a
vo tage contro ed amp ifier modu e (VCA).
The first modular Moog system (1964) (Courtesy of Roger Luther, MoogArchives.com)
Then other musicians he ped Robert Moog in creating different modu es:
Wa ter Car os (who ater became Wendy) he ped for e aboration of a sequencer. He a so
pushed Bob Moog to end his name to his machines.
V adimir Ussachevsky, who was one of the professors of de W. Car os, specified the 4 parts of
the enve ope generator (ADSR), a owing the accomp ishment of the VCA and gave him the
idea for the enve ope fo ower.
Gustave Ciamaga he ped with the creation of the first tension contro ed ow-pass fi ter.

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 9
A second prototype, regrouping the a of the new modu es, was bui t during the summer of
1964 and was presented during the AES show (Audio Engineering Society), where Moog
worked from an unused stand. This new product generated a huge amount of interest, but
Moog did not yet rea ize the commercia punch of his machines. Two or three orders were
obtained at AES and kept Moog busy for severa months. In 1965, after the success at the
show, Moog decided to re ease the 900 series for commercia sa e.
The R.A. Moog Company at Trumansburg, NY
(Courtesy of Roger Luther, MoogArchives.com)
The first c ient to buy the fu Moog system was choreographer A win Niko ais. A so among the
first users were composers Eric Siday and Chris Swansen. The first commercia uses of the
Moog synthesizers were done in advertising. They were a so used for jing es and in recording
studios.
In 1967, Bob decided to re ease different machines each with a certain number of modu es.
This marked the birth of modu ar systems I, II and III. This same year, Pau Beaver for the
first time used a modu ar Moog system on a record.
The modular system III (1967)
(Courtesy of Roger Luther, MoogArchives.com)

10 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
In 1968, wor dwide recognition came with the success of “Switched-On Bach” by W. Car os.
This a bum, where c assica music is p ayed on a Moog, so d over one mi ion copies as it was
bought both by c assica music fans (it was in the American “C assica ” charts for 94 weeks)
and fans of pop. It won three Grammy awards.
“Switched-On Bach” by W. Carlos
A itt e ater, Keith Emerson, keyboard p ayer for the groups Nice and ELP (Emerson, Lake and
Pa mer), was he himse f to become an ambassador for Moog synths. He was one of the first to
p ay a Moog modu ar on stage during a tour (A 3C system). Jan Hammer was a so one of the
first users of Moog systems. Big groups ike Tangerine Dream, the Beat es or the Ro ing
Stones, wou d a so become modu ar Moog owners.
The 3C modular system (1969)
(Courtesy of Roger Luther, MoogArchives.com)

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 11
In 1969-70, the company which now has around forty emp oyees was bui ding up to three
modu ars per week and the order book was a ways fu . The modu ar had 5 years of high sa es,
and so d around 200 mode s in the United States.
Construction and testing of a modular Moog
(Courtesy of Roger Luther, MoogArchives.com)
In 1969, Bob Moog received demands for a more compact instrument that cou d be
transported more easi y, directed more to stage than studio. With the he p of an engineer from
Berk ey, Jim Scott, and the advice from numerous musicians he was about to create another
mythic synth: the Minimoog…
System 55, the last version of the Moog modular (1974)
(Courtesy of Roger Luther, MoogArchives.com)

12 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
2.2 A MODULAR SYNTHESIZER , WHY ?
Why create a modu ar synthesizer, that is to say comprised of independent modu es that we
must connect ourse ves, sometimes with difficu ty, before obtaining a sound?
The answer, as you can imagine, is very simp e: the modu arity brings immense possibi ities
for the creation of sound.
To convince you, et’s ook at some basic concepts.
Sound synthesis is essentia y based on the use of generators and fi ters. From these
components, the sound designer must create sounds that can be used by musicians. To
succeed, the different parameters that we have access to (height of note, fi ter cut-off
frequency, output vo ume, wave form…) must evo ve in time. And for this, we must ink
different modu es between each other.
Let’s take an examp e: an osci ator, which has inputs to modu ate each of its parameters.
Let’s connect the output of an enve ope generator to the osci ator frequency modu ation input,
and there we get a signa depending on the use of a keyboard. Now we’ connect a ow
frequency generator to the impu se width modu ation input and here we have the waveform,
which wi evo ve in time.
But why not have interna cab es, fixed from the start?
Here again, another examp e wi he p. Let’s take an enve ope and two osci ators. The atter
possess three modu ation inputs: a frequency modu ation, an impu se width modu ation and a
vo ume modu ation.
Effecting every combination with fixed connections wou d ob ige us to have six independent
buttons for the modu ation of the parameters.
If we now take 9 osci ators, 6 enve opes, a modu ation whee and a ve ocity setting, we wou d
need… 216 setting buttons.
What can we therefore say for the Moog Modu ar V, which on top of this has three fi ters, a
noise generator, a sequencer and two contro pads?
Connections in a modu ar synthesizer can sometimes seem difficu t, but the often-unexpected
resu ts are a ways a source of great musica inspiration.
Either way, don’t worry, the presets created by experienced musicians wi a ow you, if
necessary, a gent e introduction to the art of sound creation.
This new version presents new modu es and a notab e improvement to the sound qua ity and
synthesis possibi ities. As was the case with the previous versions, it remains faithfu to the
origina Moog Modu ars and offers the possibi ity to organize the arrangement of certain
modu es. Ergonomica y this version remains very c ose to the previous so as not to oose time
earning the different functions again.
2.3 A BETTER EMULATION THANKS TO TAE®
TAE® - standing for True Ana og Emu ation - is a new techno ogy dedicated to the digita
reproduction of ana og circuits.
When imp emented in software code, TAE’s a gorithms guaranty the respect of hardware
specifications. This is why your Moog Modu ar V offers an unpara e ed qua ity of sound.

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 13
In detai , TAE means:
2.3.1 Aliasing-free oscillators:
Standard digita synthesizers produce a iasing in high frequencies, and when using Pu se Width
Modu ation or FM.
TAE® a ows the production of tota y a iasing-free osci ators in a contexts (PWM, FM…), and
at no extra CPU cost.
Linear frequency spectrum of an existing well-known software synthesizer
Linear frequency spectrum of the Moog Modular V oscillator made with TAE®
2.3.2 Better repro uction of analog wave forms:
Origina ana og osci ators used condensers’ un oading to produce common wave shapes (saw
tooth, triang e, square). This means that waveforms were s ight y curved. TAE® a ows the
reproduction of Condenser’s Un oad.
A iasing

14 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
Temporal representation of a waveform on a Modular Moog 55
Temporal representation of the waveform of an existing Moog-like software synthesizer
Temporal representation of the Moog Modular V waveform thanks to TAE
In addition, origina ana og osci ators were unstab e. Actua y, their wave shape was a ways
s ight y different from one period to another. In addition, due to ana og hardware sensitivities,
new period trigger times varied with the temperature and other environmenta conditions.
TAE simu ates the instabi ity of osci ators, he ping to create warmer and fatter sounds.
2.3.3 Better repro uction of analog filters
TAE a ows the emu ation of ana og-designed fi ters in a much more precise way than any
existing digita fi ter. In particu ar, TAE has managed to reproduce the egendary Moog 24dB
ow-pass resonant fi ter with great respect towards the origina .

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 15
Standard 24 dB digital low
pass resonance filter for a
typical software
synthesizer
Very selective 24 dB
resonance filter of the
MiniMoog
TAE made Moog Modular
V resonance filter: First 24
dB resonance filter to be
that selective
Comparative response filters
2.3.4 Implementation of soft clipping
In ana og synthesizers, the resonant fi ter uses a current imiting function, preventing the
signa from being too oud (soft c ipping).
TAE reproduces this current imiting function, making the sound more natura . It a so a ows
fi ters to enter se f-osci ation ike origina hardware synthesizers do.
Low
-
pass resonant filter
Input
Output
Current limiting
emulation

16 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
-1,5
-1
-0,5
0
0,5
1
1,5
-1
-0,8
-0,6
-0,4
-0,2
0
0,2
0,4
0,6
0,8
1
Soft-clipping transfer function

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 17
3INSTALLATION
3.1 W INDOWS I NSTALLATION (XP, VISTA, 7)
Insert the CD-ROM in the drive. Exp ore the CD-ROM content; doub e-c ick on the “Moog
Modu ar V 2 Setup PC.exe” icon
At the first step in the insta ation, choose the fo der to insta the Moog Modu ar V. It wi be
insta ed by defau t in C:\Program Files\Arturia\Moog Modular V2. You can change the
destination with the Browse button.
Choice of installation folder
The Moog Modu ar V2.6 wi be insta ed as a standa one app ication. The fo owing step a ows
you to insta the Moog Modu ar V2.6 as a p ug-in. To do this, choose the protoco (s) that you
use (VST, RTAS). For more information on these protoco s, ook at chapter 9.

18 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
Choosing the protocols
For the VST and RTAS protoco s, you need to choose the insta ation fo der to a ow the host
app ication to use the Moog Modu ar V2.6 as a p ug-in. Se ecting a is a good idea..
Installation folder choice for the VST plug-in
The insta ation program now has enough information to comp ete the insta ation. When the
insta ation process is comp eted, p ease proceed to authorization step (Chapter 3).

ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 19
3.2 I NSTALLATION M AC OS X
Insert the CD-ROM into the drive. Exp ore the content of the CD-ROM, then doub e-c ick on the
icon named “Moog Modu ar V2.6 Setup”.
Fo ow these steps:
Read and accept the End User License Agreement,
Se ect a destination.
When prompted, enter the administrator name and password of your computer in the
authentication window.
Authentication window
The Moog Modu ar V2.6 wi next be insta ed as a standa one app ication, but a so as VST, AU
and RTAS p ug-ins.
The insta ation program now has enough information to comp ete the insta ation. When the
insta ation process is comp eted, p ease proceed to authorization step (Chapter 3).

20 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
4AUTHORIZATION
Now your Moog Modu ar V 2.6 has been insta ed, you have to authorize the synthesizer.
Ear ier versions used an “origina CD + icense number” protection scheme, however, the Moog
Modu ar V 2.6 uses the Soft-eLicenser fu -software so ution. Avoiding the use of a USB port by
defau t, this system a ows using the synthesizer on one machine which must be connected to
the Internet during the authorization process.
To transfer your license on another computer, or simply use your synthesizer on several computers (one instance
at a time), you will need:
_ to use one USB-e icenser hardware dongle (sold separately, also used by many other software editors);
_ in the e icenser Control Center, to drag-and-drop your license from Soft-e icenser to USB-e icenser.
This transfer, requiring a valid Internet connection, can be done both ways:
_ from Soft-e icenser to USB-e icenser;
_ from USB-e icenser to Soft-e icenser.
For any further technical detail, please check our website www.arturia.com/elicenser.
4.1 R EGISTRATION
The first step is to register your software in order to obtain the activation code that wi enab e
you to actua y use the software.
You shou d have handy the Serial Number of Moog Modu ar V and the Unlock Co e (these
are an integra part of the software and are printed on a sma p astic card):
Connect your computer to the Internet, and go to this web page:
http://www.arturia.com/login
If you don’t have any Arturia account yet, p ease create one now, this wi bring you to this
form: