Arturia CS-80V User manual

ARTURIA –CS-80 V –USER MANUAL 1
USER MANUAL

ARTURIA –CS-80 V –USER MANUAL 2
Direction
Frédéric Brun Kevin Molcard
Development
Stefano D'Angelo
Baptiste Aubry
Corentin Comte
Baptiste Le Goff
Pierre-Lin Laneyrie
Valentin Lepetit
Samuel Limier
Germain Marzin
Mathieu Nocenti
Pierre Pfister
Benjamin Renard
Design
Glen Darcey
Yannick Bonnefoy
Morgan Perrier,
Sebastien Rochard
Greg Vezon
Sound Design
Jean-Baptiste Arthus Jean-Michel Blanchet
Manual
Jason Valax
Special Thanks
Alejandro Cajica
Denis Efendic
Ruary Galbraith
Dennis Hurwitz
Clif Johnston
Koshdukai
Joop van der Linden
Sergio Martinez
Shaba Martinez,
Miguel Moreno
Daniel Saban
Carlos Tejeda,
Scot Todd-Coate
© ARTURIA S.A. –1999-2016 –All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
http://www.arturia.com

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Table of Contents
1INTRODUCTION ................................................................................................................. 6
1.1 The birth of the Yamahatm CS-80......................................................................................................... 6
1.2 Why a virtual CS-80? .............................................................................................................................. 8
1.3 Arturia’s secret ingredient: TAE®.......................................................................................................... 9
1.3.1 Aliasing-free oscillators ..................................................................................................................... 9
1.3.2 A better reproduction of analog oscillator waveforms................................................................. 10
1.3.3 Direct Filter Circuit Modeling .......................................................................................................... 12
2ACTIVATION AND FIRST START ...................................................................................... 14
2.1 Register and Activate.......................................................................................................................... 14
2.2Initial setup............................................................................................................................................. 14
2.2.1 Audio and MIDI settings: Windows................................................................................................. 14
2.2.2 Audio and MIDI settings: Mac OS X ............................................................................................... 17
2.2.3 Using CS-80 V in plug-in mode ....................................................................................................... 17
3USER INTERFACE .............................................................................................................. 18
3.1 The virtual keyboard ............................................................................................................................ 18
3.2 Toolbar.................................................................................................................................................... 18
3.2.1 Save Preset ..................................................................................................................................... 18
3.2.2 Save Preset As… ............................................................................................................................. 19
3.2.3 Import preset .................................................................................................................................. 19
3.2.4 Export preset................................................................................................................................... 20
3.2.5 Resize window options ................................................................................................................... 20
3.2.6 Audio settings ................................................................................................................................. 21
3.2.7 Preset browser overview ................................................................................................................ 21
3.2.8 MIDI Learn assignment ................................................................................................................... 21
3.2.8.1 Assigning / unassigning controls .......................................................................................................................... 22
3.2.8.2 Min / Max value sliders .......................................................................................................................................... 23
3.2.8.3 Relative control option.......................................................................................................................................... 23
3.2.8.4 Reserved MIDI CC numbers ................................................................................................................................. 23
3.2.9 MIDI controller configuration.......................................................................................................... 24
3.2.10 The lower toolbar............................................................................................................................ 24
3.2.10.1 Current control value ............................................................................................................................................ 24
3.2.10.2 Midi Channel Setting ............................................................................................................................................. 25
3.2.10.3 Panic button and CPU meter .............................................................................................................................. 25
3.2.10.4 Polyphony multiplier .............................................................................................................................................. 25
3.3 The Preset Browser................................................................................................................................ 26
3.3.1 Searching presets ........................................................................................................................... 26
3.3.2 Using tags as a filter........................................................................................................................ 26
3.3.3 The Preset Info section.................................................................................................................... 28
3.3.4 Preset selection: other methods..................................................................................................... 28
3.3.4.1 Selecting a preset by its Type .............................................................................................................................. 29
3.3.5 Playlists ............................................................................................................................................ 30

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3.3.5.1 Add a playlist.......................................................................................................................................................... 30
3.3.5.2 Add a preset........................................................................................................................................................... 30
3.3.5.3 Re-order the presets .............................................................................................................................................. 31
3.3.5.4 Remove a preset ................................................................................................................................................... 31
3.3.5.5 Delete a playlist...................................................................................................................................................... 31
3.4 Overview of the CS-80 V sections ..................................................................................................... 32
3.4.1 Overview of the Single mode (CS-80)............................................................................................ 33
3.4.2 Overview of the Multi Mode .......................................................................................................... 34
3.4.3 Overview of the effects section..................................................................................................... 35
3.4.4 Overview of the modulation matrix ............................................................................................... 35
3.5 Single mode in details ......................................................................................................................... 36
3.5.1 Two lines of synthesis....................................................................................................................... 36
3.5.2 The modulation matrix.................................................................................................................... 40
3.5.3 The sub-oscillator ............................................................................................................................ 41
3.5.4 The keyboard modulations ............................................................................................................ 42
3.5.5 The ring modulator ......................................................................................................................... 43
3.5.6 chorus/tremolo ............................................................................................................................... 43
3.5.7 Stereo delay ................................................................................................................................... 44
3.5.8 The pedals ...................................................................................................................................... 44
3.5.9 The arpeggiator.............................................................................................................................. 45
3.5.10 The original preset buttons ............................................................................................................. 46
3.5.11 The ribbon....................................................................................................................................... 46
3.5.12 General settings.............................................................................................................................. 46
3.6 The Multi mode ..................................................................................................................................... 47
4THE BASICS OF SUBTRACTIVE SYNTHESIS ..................................................................... 50
4.1 The three main elements .................................................................................................................... 50
4.1.1 The oscillator (VCO) ....................................................................................................................... 50
4.1.2 The filter or VCF............................................................................................................................... 54
4.1.3 The amplifier or VCA....................................................................................................................... 57
4.2 Other modules ...................................................................................................................................... 57
4.2.1 The keyboard.................................................................................................................................. 57
4.2.2 The envelope generator ................................................................................................................ 58
4.2.3 The low frequency oscillator .......................................................................................................... 59
5A FEW ELEMENTS OF SOUND DESIGN .........................................................................61
5.1 Subtractive sound synthesis................................................................................................................ 61
5.1.1 A basic sound................................................................................................................................. 61
5.1.2 The modulation matrix.................................................................................................................... 62
5.1.3 Use of real time controllers ............................................................................................................. 64
5.1.3.1 Velocity and aftertouch ....................................................................................................................................... 64
5.1.3.2 The ring modulator................................................................................................................................................. 64
5.2 Multi Mode............................................................................................................................................. 65
5.2.1 Four different sounds on the keyboard.......................................................................................... 66
5.2.2 A composite sonority in unison mode............................................................................................ 66

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5.2.3 Introduction of the arpeggiator in a Multi preset.......................................................................... 67
5.3 Other sides of the CS-80V ................................................................................................................... 69
5.3.1 A step sequencer ........................................................................................................................... 69
5.3.2 Stereo sound without the effects................................................................................................... 70
6END USER LICENSE AGREEMENT ..................................................................................71

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1INTRODUCTION
Arturia would like to thank you for purchasing our synthesizer model: the CS-80 V.
We are confident it will prove to be an extremely valuable addition to your music
production studio. If you’ve purchased our products before, you know we pride
ourselves in faithfully recreating the sound and feel of the original instruments, down
to the smallest detail. CS-80 V is no exception to this rule.
And if this is the first of our products you have owned, you are in for a treat! The
synthesizer upon which this model is based was the absolute pinnacle of analog
synthesizer technology at the time, light-years ahead of the competition.
1.1 The birth of the Yamahatm CS-80
Yamahatm 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 costed $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”.

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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, Yamahatm 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 (83
kg 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.
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.
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.

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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 knob, 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 Multimode 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.
1.3 Arturia’s secret ingredient: TAE®
TAE®(True Analog Emulation) is Arturia's outstanding technology dedicated to the
digital reproduction of the analog circuits used in vintage synthesizers.
TAE®’s software algorithms result in spot-on emulation of analog hardware. This is
why CS-80 V offers an unparalleled quality of sound, as do all of Arturia’s virtual
synthesizers.
TAE®combines three major advances in the domain of synthesis:
1.3.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, especially when
using Pulse Width Modulation (PWM) or Frequency Modulation (FM).
TAE®enables the generation of oscillators which are completely free of aliasing in
all contexts (PWM, FM…), and at no extra CPU cost.

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Linear frequency spectrum of a current well-known software synthesizer
Linear frequency spectrum of an oscillator modeled with TAE®
1.3.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are affected by
the presence of a capacitor in the circuits. The discharge of a capacitor results in
a slight ‘bend’ in the original waveform (most notably for sawtooth, triangular and
square waveforms). TAE®reproduces the result of this capacitor discharge in
software.
Below is the analysis of a waveform from one of the five original instruments Arturia’s
software emulates, followed by one made by TAE®. They are both equally
deformed by the low-pass and high-pass filtering.
Aliasing

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Temporal representation of the “sawtooth” waveform of a hardware synthesizer
Temporal representation of a “sawtooth” waveform reproduced by TAE®
What’s more, the hardware analog oscillators were unstable. In fact, their
waveforms vary 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 see why vintage synthesizers have such a
typical sound.
TAE®reproduces the instability of oscillators, resulting in a fatter and “bigger” sound.

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1.3.3 Direct Filter Circuit Modeling
Due to advances in computer processing power, TAE® 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.
The following graph shows a single example of direct circuit modeling in action.
The peaks represent the generation of harmonics at multiples of the resonant
frequency when a particular filter is in self oscillation mode. These harmonics are
characteristic of hardware synthesizer filters and are due to the non-linear behavior
inherent to their analog circuitry. Anomalies such as these add to the richness and
warmth of the sound produced by the filter.
But you’ll notice there are two lines on the graph: Those are the superimposed
frequency domain plots for both one of Arturia's virtual instruments and the
hardware filter being emulated. They are practically indistinguishable, both on the
graph and to the human ear. The direct recreation of this analog circuitry causes
the same characteristics of the sound to be present, thus giving the user a truly
analog sound.
Comparison of harmonics generated by the filter circuits in self-oscillation
of TAE®and a hardware synthesizer
So here’s the bottom line: when you bring together a bunch of music lovers who
also have a deep understanding of the characteristics of electronic circuits, you
wind up with Arturia. And Arturia now offers you our most impressive software model
yet, the CS-80 V.

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We take great satisfaction in knowing this great synthesizer will help you explore
previously unknown musical territory.

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2ACTIVATION AND FIRST START
2.1 Register and Activate
CS-80 V works on computers equipped with Windows 7 or later and Mac OS X 10.8
or later. You can use the stand-alone version or use CS-80 V as an Audio Units, AAX,
VST2 or VST3 instrument.
Once CS-80 V has been installed, the next step is to register the software.
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 email address during
the registration process.
Once you have acquired an Arturia account you will be able to register the product.
2.2 Initial setup
2.2.1 Audio and MIDI settings: Windows
At the top left of the CS-80 V application is a pull-down menu. It contains various
setup options. Initially you will need to go to the menu and choose the Audio Settings
option to get sound and MIDI flowing in and out.

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CS-80 V main menu
You will then see the Audio MIDI settings window. This works in the same way on both
Windows and Mac OS X, although the names of the devices available to you will
depend on the hardware you are using.

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Audio and MIDI settings window
Starting from the top you have the following options:
Device lets you choose which audio driver you want to use to route sound out
of the instrument. This might be your computer’s own driver like Windows
Audio, or an ASIO driver. The name of your hardware interface may appear
in this field.
Output Channels lets you select which of the available outputs will be used to
route audio out. If you only have two outputs, only two will appear as options.
If you have more than two you can select a specific pair of outputs.
The Buffer Size menu lets you select the size of the audio buffer your computer
uses to calculate sound. A smaller buffer means lower latency between
pressing a key and hearing the note. A larger buffer means a lower CPU load
as the computer has more time to think, but can result in a small latency. Find
the optimum buffer size for your system. A fast, modern computer should easily
be able to operate at 256 or 128 sample buffer size without creating pops or
clicks in the sound. If you are getting clicks, try raising the buffer a little. The
latency is displayed on the right hand side of this menu.
The Sample Rate menu lets you set the sample rate at which audio is sent out
of the instrument. The options here will depend on the capability of your audio
interface hardware though even most computers’ own hardware can
operate at up to 48kHz which is perfectly fine. Higher sample rates use more
CPU power so unless you have a good reason to go up to 96kHz, then 44.1k
or 48k is usually fine. The Show Control Panel button will jump to the system
control panel for whatever audio device is selected.
Play Test Tone helps you to troubleshoot audio issues by confirming whether
sound can be heard through the correct device.

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Your connected MIDI devices will appear in the MIDI Devices area. Click the
check box to accept MIDI from the device you want to use to trigger the
instrument. In standalone mode, CS-80 V listens for all MIDI channels so there’s
no need to specify a channel. You can specify more than one MIDI device at
once.
2.2.2 Audio and MIDI settings: Mac OS X
The process is very similar to initial setup for Windows and the menu is accessed in
the same way. The difference is that OS X uses CoreAudio to handle audio routing
and the audio device selection is made in the second dropdown menu. Apart from
that, the options work the same way as described in the Windows section.
2.2.3 Using CS-80 V in plug-in mode
CS-80 V comes in VST, AU and AAX plug-in formats for use in all major DAW software
such as Cubase, Logic, Pro Tools and so on. You can load it as a plug-in instrument
and its interface and settings work the same way as in standalone mode, with a
couple of differences.
You can automate numerous parameters using your DAW’s automation
system.
You can use more than one instance of CS-80 V in a DAW project. In
standalone mode you can only use one at once.
You can route CS-80 V’s audio outputs more creatively inside your DAW using
the DAW’s own audio routing system.

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3USER INTERFACE
In this chapter we will give an overview of the features available to you with CS-80
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, while also striving to
make sure you never run out of new things to do with it as your knowledge expands.
After reading this chapter you should be ready to delve as deeply into the workings
of CS-80 V as you would like.
3.1 The virtual keyboard
The virtual keyboard lets you play a sound without connecting an external MIDI
device; just click a key to hear the active Voice. Drag the cursor across the keys to
hear a glissando.
The CS-80 V virtual keyboard
3.2 Toolbar
The toolbar that runs along the top edge of the instrument both in standalone and
plug-in mode provides access to many useful features. Let’s look at them in detail.
The first seven of these options can be found by clicking on the CS-80 V section at
the very top left hand corner of the instrument window.
3.2.1 Save Preset
The first option lets you save a preset. If you select this, you are presented with a
window where you can enter information about the preset. In addition to naming it
you can enter the author name, select a bank and type and select some tags that
describe the sound. This information can be read by the preset browser and is useful
for searching the preset banks later. You can also enter freeform text comments in
the Comments field, which is handy for providing a more detailed description.

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The Save Preset window
3.2.2 Save Preset As…
This works in the same way as the Save command, but lets you save a copy of the
preset instead of saving over the original. It’s useful for creating variations on
patches but still keeping individual copies of each one.
3.2.3 Import preset
This command lets you import a preset file, which can be either a single preset or an
entire bank of presets. Both types are stored in the .csx format.
After selecting this option, the default path to these files will appear in the window,
but you can navigate to whichever folder you are using.

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3.2.4 Export preset
You can export and share a single preset using this command. The default path to
these files will appear in the window, but you can create a folder at another location
if you like.
3.2.5 Resize window options
The CS-80 V window can be resized from 60% to 200% of its original size without any
visual artifacts. On a smaller screen such as a laptop you might want to reduce the
interface size so it doesn’t dominate the display. On a larger screen or a second
monitor you can increase the size to get a better view of the controls. The controls
work the same at any zoom level but the smaller ones can be harder to see at the
smaller magnification values.