Arturia CZ V User manual

USER MANUAL

Special Thanks
DIRECTION
Frédéric BRUN Kevin MOLCARD
DEVELOPMENT
Marie PAULI
Oliver LARKIN
Alexandre ADAM
Baptiste AUBRY
Corentin COMTE
Kevin ARCAS
Loris DE MARCO
Mathieu NOCENTI
Pierre PFISTER
Pierre-Lin LANEYRIE
Raynald DANTIGNY
Samuel LIMIER
Simon CONAN
Timothée BÉHÉTY
Yann BURRER
Arnaud BARBIER
Matthieu COUROUBLE
Florian MARIN
SOUND DESIGN
Jean-Michel BLANCHET
BigTone
Cubic SPLINE
Don SOLARIS
EDT
Joseph HOLLO
Lyli JORDY
Maxime DANGLES
Maxime AUDFRAY
Minim MUSIC
NewLoops
Paul SCHILLING
Thomas KOOT
Simon GALLIFET
DESIGN
Baptiste LE GOFF
Pierre PFISTER
Morgan PERRIER
Shaun ELLWOOD
Jonas SELLAMI
SPECIAL THANKS
Andrew CAPON
Bernd WALDSTÄDT
Chuck ZWICKY
Daniel TINEN
Fernando Manuel
RODRIGUES
Gustavo BRAVETTI
Jeffrey CECIL
Marco CORREIA
"Koshdukai"
Peter TOMLINSON
Terry MARSDEN
Jay JANSSEN
Mat HERBERT
MANUAL
Daniel TINEN (Author)
Minoru KOIKE
Vincent LE HEN
Charlotte METAIS
Jose RENDON
Holger STEINBRINK
Jack VAN
© ARTURIA SA – 2019 – All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
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 reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 29 April 2019

Thank you for purchasing CZ V!
This manual covers the features and operation of Arturia’s CZ V, the latest in a long line of
powerful virtual instruments.
Be sure to register your software as soon as possible! When you purchased CZ V you were
sent a serial number and an unlock code by e-mail. These are required during the online
registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update the hardware that has been purchased.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable. If you encounter
any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia's CZ V!
We’d like to thank you for purchasing CZ V, a virtual instrument recreation of the classic
Casio Phase Distortion synths from the 1980s.
Arturia has a passion for excellence, and CZ V is no exception. Listen to the preset sounds,
tweak a few controls, skim through the features, or dive as deep as you like; it is easy
to understand and use. We are confident that the CZ V will be a valuable addition to your
instrument collection, and that you'll have a lot of fun with it.
Be sure to visit the www.arturia.com website for information about all of our other great
hardware and software instruments. They have become indispensable, inspiring tools for
musicians around the world.
Musically yours,
The Arturia team

Table Of Contents
1. WELCOME TO CZ V! .................................................................................................................................................... 4
1.1. Emulating Casio's Phase Distortion Synthesis.................................................................................................... 4
1.2. Features of CZ V..................................................................................................................................................................... 5
2. ACTIVATION & FIRST START ................................................................................................................................ 6
2.1. System requirements ......................................................................................................................................................... 6
2.2. Install and Activate the CZ V license....................................................................................................................... 6
2.2.1. The Arturia Software Center (ASC)................................................................................................................................................................... 6
2.3. Initial setup............................................................................................................................................................................... 7
2.3.1. Audio and MIDI settings: Windows ................................................................................................................................................................. 7
2.3.2. Audio and MIDI settings: macOS..................................................................................................................................................................... 8
2.3.3. CZ V as a plug-in ......................................................................................................................................................................................................... 9
3. QUICK TOUR OF THE ARTURIA CZ V........................................................................................................... 10
3.1. Upper toolbar: Configuration, Presets, and MIDI.......................................................................................... 10
3.1.1. CZ V menu (top left corner of app window) ............................................................................................................................................ 10
3.1.2. Preset List........................................................................................................................................................................................................................ 14
3.1.3. Hide/Reveal Advanced features ....................................................................................................................................................................... 16
3.1.4. MIDI CC Learn mode .............................................................................................................................................................................................. 16
3.1.5. Master Tune.................................................................................................................................................................................................................... 16
3.1.6. Octave................................................................................................................................................................................................................................. 17
3.1.7. Unison Detune ............................................................................................................................................................................................................... 17
3.1.8. Waveform and Envelope illustration .............................................................................................................................................................. 17
3.2. Central programming tabs........................................................................................................................................... 17
3.3. Virtual keyboard area ..................................................................................................................................................... 18
3.3.1. The virtual keyboard................................................................................................................................................................................................ 18
3.3.2. Master Volume ............................................................................................................................................................................................................ 19
3.3.3. Parameter name display..................................................................................................................................................................................... 19
3.3.4. Pitch Bend...................................................................................................................................................................................................................... 19
3.3.5. Modulation Wheel..................................................................................................................................................................................................... 19
3.3.6. Macro faders 1-4 ...................................................................................................................................................................................................... 20
3.3.7. Wave scope................................................................................................................................................................................................................. 20
3.3.8. Vibrato ............................................................................................................................................................................................................................ 20
3.3.9. Arpeggiator ................................................................................................................................................................................................................... 21
3.3.10. Rate and Sync .......................................................................................................................................................................................................... 21
3.3.11. Pattern ............................................................................................................................................................................................................................ 22
3.3.12. Line Select, Ring and Noise Modulation switches............................................................................................................................. 23
3.3.13. Portamento................................................................................................................................................................................................................. 23
3.3.14. Poly.................................................................................................................................................................................................................................. 23
3.3.15. Lower toolbar............................................................................................................................................................................................................ 24
4. SYNTHESIS SECTION / TAB ................................................................................................................................ 29
4.1. Lines 1 and 2 .......................................................................................................................................................................... 29
4.2. Selecting and controlling waveforms................................................................................................................. 30
4.2.1. Waveform options................................................................................................................................................................................................... 30
4.2.2. DCW, Level, and Pan ............................................................................................................................................................................................ 30
4.2.3. Simple and Compound waves......................................................................................................................................................................... 31
4.2.4. Digitally Controlled Wave: DCW’s impact on the resulting waveform.................................................................................. 31
4.2.5. DCW Envelope ........................................................................................................................................................................................................... 32
4.2.6. How to edit envelopes in the Synthesis window ................................................................................................................................ 33
4.2.7. AMP envelope ............................................................................................................................................................................................................. 34
4.2.8. Pitch envelope ............................................................................................................................................................................................................ 35
4.3. Detune, Modulation, and Noise Source............................................................................................................... 35
4.3.1. Detune (Oct, Note, and Fine).............................................................................................................................................................................. 35
4.3.2. Modulation: Ring and Noise............................................................................................................................................................................... 36
4.3.3. Noise Source ................................................................................................................................................................................................................ 37
4.4. Unison and UNISON DETUNE.................................................................................................................................... 37
5. ENVELOPES ................................................................................................................................................................... 39
5.1. Navigating the ENVELOPES window...................................................................................................................... 39
5.2. Editing Envelopes.............................................................................................................................................................. 40
5.2.1. Selecting an Envelope Mode ............................................................................................................................................................................. 40
5.2.2. Top-Line Envelope Parameters ...................................................................................................................................................................... 40
5.2.3. Bottom-Line Envelope Parameters............................................................................................................................................................... 42

5.2.4. Copying and Pasting Envelopes..................................................................................................................................................................... 43
5.3. CZ Envelopes........................................................................................................................................................................ 44
5.3.1. About Rate...................................................................................................................................................................................................................... 45
5.3.2. Editing a CZ envelope............................................................................................................................................................................................ 45
5.4. DADSR Envelopes .............................................................................................................................................................. 47
5.5. MSEG envelopes................................................................................................................................................................. 48
5.5.1. Editing an MSEG envelope................................................................................................................................................................................... 48
5.5.2. Points................................................................................................................................................................................................................................ 48
5.5.3. Adjust the Time.......................................................................................................................................................................................................... 48
5.5.4. Time-shifting multiple points ............................................................................................................................................................................ 49
5.5.5. Levels ............................................................................................................................................................................................................................... 49
5.5.6. Slopes............................................................................................................................................................................................................................... 49
5.5.7. Bipolar (Pitch and Mod envelopes only) .................................................................................................................................................. 50
5.5.8. Looping envelopes ................................................................................................................................................................................................... 51
5.5.9. Sync .................................................................................................................................................................................................................................. 52
5.5.10. Grid and zoom ........................................................................................................................................................................................................ 53
6. MODULATIONS .......................................................................................................................................................... 55
6.1. Modulation matrix .............................................................................................................................................................. 55
6.1.1. How signal flows through the matrix ........................................................................................................................................................... 56
6.1.2. Mod Source to multiple destinations ............................................................................................................................................................ 56
6.1.3. Mod destination controlled by multiple sources.................................................................................................................................... 57
6.1.4. Connecting Mod Sources to Mod Destinations ....................................................................................................................................... 57
6.1.5. The 9-16 tab ................................................................................................................................................................................................................... 59
6.2. Combos / Lfo / S&H tab................................................................................................................................................ 59
6.2.1. LFOs ................................................................................................................................................................................................................................... 59
6.2.2. Sample and Hold...................................................................................................................................................................................................... 63
6.2.3. Combinate .................................................................................................................................................................................................................... 65
6.3. Modulations: Envelopes tab ........................................................................................................................................ 68
6.3.1. Mod Envelope Poly ................................................................................................................................................................................................... 69
7. FX (Effects).................................................................................................................................................................... 70
7.1. Series and parallel module configuration.......................................................................................................... 70
7.2. Selecting an effect .............................................................................................................................................................. 71
7.3. Enabling / disabling an effect ..................................................................................................................................... 71
7.4. Editing the effects............................................................................................................................................................... 72
7.4.1. Reverb ................................................................................................................................................................................................................................ 72
7.4.2. Delay.................................................................................................................................................................................................................................. 73
7.4.3. Chorus............................................................................................................................................................................................................................... 74
7.4.4. Phaser............................................................................................................................................................................................................................... 75
7.4.5. Flanger.............................................................................................................................................................................................................................. 76
7.4.6. Multimode Filter .......................................................................................................................................................................................................... 77
7.5. Overdrive.................................................................................................................................................................................. 77
7.6. Compressor ............................................................................................................................................................................ 78
7.7. Bitcrusher ................................................................................................................................................................................. 79
8. Preset Browser........................................................................................................................................................... 80
8.1. Searching presets.............................................................................................................................................................. 80
8.2. Using tags as a filter ........................................................................................................................................................ 81
8.3. Tag category windows ................................................................................................................................................... 81
8.4. Results window................................................................................................................................................................... 82
8.5. The Preset Info section.................................................................................................................................................. 83
8.5.1. Making new tag categories ................................................................................................................................................................................ 84
8.5.2. Edit information for multiple presets .......................................................................................................................................................... 84
8.6. Preset selection: other methods .............................................................................................................................. 85
8.7. Playlists .................................................................................................................................................................................... 85
8.7.1. Add and name a playlist....................................................................................................................................................................................... 85
8.7.2. Delete a playlist .......................................................................................................................................................................................................... 87
9. MIDI CONTROLLERS AND CONFIGURATIONS....................................................................................... 88
9.1. MIDI Learn controller assignment.......................................................................................................................... 88
9.1.1. Assigning / unassigning controls..................................................................................................................................................................... 89
9.1.2. Min / Max value sliders.......................................................................................................................................................................................... 89
9.1.3. Relative control option .......................................................................................................................................................................................... 90
9.1.4. Reserved MIDI CC numbers............................................................................................................................................................................. 90
9.2. MIDI controller configurations .................................................................................................................................. 91

10. SOFTWARE LICENSE AGREEMENT............................................................................................................... 92

1. WELCOME TO CZ V!
1.1. Emulating Casio's Phase Distortion Synthesis
The CZ V is Arturia’s faithful re-creation, in virtual instrument form, of the Casio CZ series of
synthesizers which were introduced in the mid-1980s. Eight different models of the CZ series
were built, ranging from the budget-priced CZ 101 up to the full-scale CZ 1. In a sense, the CZ
synths were a bridge between the traditional subtractive synthesis method used by Moog,
Arp, Oberheim, and Sequential Circuits, and the FM synthesis method used by Yamaha in
their DX7 series. Famous artists who used CZ synths include Cirrus, Moby, Jimi Tenor, Vince
Clarke, Jimmy Edgar, The Orb, JeanMichel Jarre, and They Might Be Giants.
The unique sound character of CZ synthesizers stems from their use of a synthesis
technique called phase distortion (PD). Instead of starting with a single, static waveform
from an oscillator with a fixed set of harmonic overtones (such as a square wave, sawtooth
wave etc.), which is then dynamically filtered to change the tone, PD synthesis starts with a
dynamic waveform that changes its overtones over time, yielding classic synth sounds at a
lower cost.
For example, a PD waveform may begin its attack as a sine wave, morph into a square
wave, and decay back into a sine wave, under the control of an envelope. Casio called
this a Digital Control Wave, or DCW. This allows the CZ to emulate the filter sweep effect
of a traditional analog synthesizer without the expense of multipole filters (VCFs). To
further emulate this effect, three of the stock waveforms are resonant versions of triangle,
trapezoidal, and sawtooth waves.
In PD synthesis, it is possible to create a compound waveform with two different halves:
for example, the first cycle can be a sawtooth wave, and the second cycle can be a pulse
wave. It’s like getting two oscillators for the price of one. In the original hardware, you had a
choice of eight different waveforms; the CZ V gives you those, plus the ability to draw your
own waveform. In the original keyboards, you couldn’t combine two resonant waveforms;
our modern software instrument doesn’t have that limitation.
There are two Lines available to generate sound in the CZ, and each Line has its own
waveforms, Pitch, DCW, and Amplitude envelopes, as well as Level and Pan controls.
When both Lines are enabled, one line can be detuned from the other across a six-octave
range. The two lines can be ring modulated to create entirely different sum and difference
frequencies, a classic synthesizer technique. A noise generator and noise modulation
complete the sonic possibilities.
One of the good things about the CZ line is that they were much easier to program than
a DX7 (for example) due to their simpler architecture. Each button allowed the musician to
access a restricted control set fitting in the small display screen. The only difficulty was
editing envelopes because no real-time graphic display of a current state was available (like
every synth at that time).
With the Arturia CZ V, you get the classic Casio sounds in a virtual instrument, with a
modern graphic user display that is intuitive to use and offers more creative control. We
have added several other features to bring CZ synthesis into the 21st century, without
changing its classic capabilities: internal digital signal processing (reverb, chorus,
compression, overdrive, etc.), a 16-by-16 modulation matrix (so you can map almost any
modulation source to any destination), a multisegment envelope option featuring up to 16
segments with adjustable slopes, the ability to stack up to 8 voices in unison, and more.
Most importantly, while the Casio CZ-101 and CZ-1000 had only eight DCOs (Digitally
Controlled Oscillators), limiting the polyphony to 8 voices, (only 4 voices if two Lines were
used simultaneously), the CZ V has up to 32-voice polyphony even when two Lines are in
use.
Arturia - User Manual CZ V - WELCOME TO CZ V! 4

1.2. Features of CZ V
• Runs as a standalone application in Windows or Mac, or as an instrument plugin
for DAWs in Audio Units, AAX, VST 2.4 or VST 3 formats
• Two independent sound generators, each with simple or compound waveforms,
stereo panning, and their own pitch, DCW (waveform) and amplitude envelopes
• Choose from eight of the original CZ waveforms (saw, square, pulse, double sine,
saw pulse, resonant sawtooth, resonant triangle, resonant trapezoid), or draw
your own custom waveform
• With compound waveforms, sound up to four waveforms per note without
affecting polyphony
• Stack up to eight layers of a patch with adjustable detuning between layers for
classic analog depth and character
• Ring and noise modulation
• Noise generator with adjustable color
• Three different envelope types, independently selectable:
◦Original Casio CZ eight-stage
◦Classic DADSR (delay-attack-decay-sustain-release)
◦Arturia's versatile Multisegment syncable 16-stage envelope with
adjustable slopes for each stage and looping capability
• A versatile set of modulation sources and destinations:
◦16-by-16 Modulation matrix makes it easy to patch any of the 24
modulation sources to any of the 51 modulation destinations
◦Three Combinate mod sources, each of which acts as a
mathematical combination of two other mod sources
◦Four definable, assignable Macro sources for complex, simultaneous
modulations
◦Two syncable LFO sources with 6 waveshapes, up to 20 seconds of
delay, and key retriggering
◦Preassigned Vibrato LFO with simple, easy-to-access top panel
controls
◦Two independent MOD envelopes, with selectable CZ/DADSR/MSEG
formats
CZ V also offers these popular features:
• Onscreen virtual keyboard with 4-octave range, pitch bend and modulation
wheels
• Powerful arpeggiator
• An arsenal of studio-quality digital effects:
◦Four simultaneous effects which can be used in series, or in 2 chains
of 2 effects for each Line
◦Chorus/flange/phaser, reverb, delay, multimode filter, overdrive,
compression, bitcrusher
• MIDI-assignable parameter control
• Hundreds of factory presets in easy-to-browse banks
• Preset search browser can filter by Type, Style, Name, etc.
• Arrange factory and user presets into Playlists for live use
We've listed a lot of features here but the proof is in the playing. We enjoyed developing
this so much, we had to keep reminding ourselves that this was work! CZ V is at once a
playground, a factory, and a world of its own.
And now ... Arturia's CZ V.
5 Arturia - User Manual CZ V - WELCOME TO CZ V!

2. ACTIVATION & FIRST START
2.1. System requirements
Your first step before installing CZ V is to make sure that your computer hardware and
software meets these minimum specifications:
Win 7+ (64bit) 10.10+
• 4 GB RAM; 2.5 GHz CPU
• 1GB free hard disk space
• OpenGL 2.0 compatible GPU
You can use the stand-alone version of CZ V or use it as an instrument plug-in within a 64-bit
digital audio workstation as an Audio Units, AAX, VST 2.4 or VST 3 instrument.
2.2. Install and Activate the CZ V license
Once CZ V has been installed, the next step is to activate your license for the software. This
is a simple process that involves a different software program: the Arturia Software Center
that is included in the installation package, but appears as a separate app.
2.2.1. The Arturia Software Center (ASC)
If for some reason the ASC wasn't installed with your CZ V package, please go to this web
page: Arturia Updates & Manuals
The Arturia Software Center is at the top of the list. Once you've located it, download the
version of the installer that you need for your system (macOS with file extension ".pkg" or
Windows with file extension ".exe").
Follow the installation instructions and then:
• Launch the Arturia Software Center (ASC)
• Log into your Arturia account (or create one if you haven't already)
• Scroll down to the My Products section of the ASC
• Click the Activate button.
That's all there is to it!
Arturia - User Manual CZ V - ACTIVATION & FIRST START 6

2.3. Initial setup
2.3.1. Audio and MIDI settings: Windows
At the top left of the CZ V stand-alone application window is a pull-down menu. It contains
various setup options. Initially you will need to go to this menu and choose the Audio
Settings option to get MIDI flowing in and sound flowing out.
!: this applies only to the CZ V standalone application, not when you're running CZ V as an instrument
plugin in a digital audio workstation. In that case, audio and MIDI settings are set from within the DAW
sequencer or mixer screens.*
You will then see the Audio MIDI settings window. This works in the same way on both
Windows and macOS, although the names of the devices available to you will depend on
the hardware you are using.
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.
7 Arturia - User Manual CZ V - ACTIVATION & FIRST START

• 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 time 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 (delay).
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 time for each sample buffer setting in milliseconds is listed 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.
• 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 "All" mode, CZ 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.
2.3.2. Audio and MIDI settings: macOS
The process is very similar to initial setup for Windows and the menu is accessed in the
same way. The difference is that macOS 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.
In the upper left corner, click and scroll down to select Audio Settings.
!: this applies to the CZ V standalone application, not when you're running CZ V as an instrument
plugin in a digital audio workstation (DAW). In that case, audio and MIDI settings are set from within
the DAW sequencer or mixer screens.
This will bring up a pop-up window where you can assign the CZ sound to a valid audio
output of your Mac.
In this picture, we’re using the Built-in Output of the Mac. Depending on what your audio
interface is, you can assign it to any output that is available in the Apple utility Audio MIDI
Setup, available in the Finder at Applications/Utilities.
Arturia - User Manual CZ V - ACTIVATION & FIRST START 8

2.3.2.1. Tempo
When you're operating in standalone mode, this controls the master clock speed of all
parameters whose SYNC button is on. For example, when the tempo here is set to 120 BPM
(beats per minute), an LFO or the Arpeggiator whose Rate is set to 1/4 (quarter note) will
synchronize to play 2 cycles or beats per second; if their Rate is set to 1/8 (eighth note) they
will play 4 cycles/beats per second, and so on.
2.3.3. CZ V as a plug-in
CZ V comes in VST, VST3, AU and AAX plug-in formats for use in all major DAW software
such as Cubase, Logic, Pro Tools, Digital Performer, Garage Band 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 few differences:
• The instrument will now synchronize to your DAW’s host tempo/bpm rate, when
tempo is a factor (e.g., when a parameter is in SYNC mode).
• You can automate numerous parameters using your DAW’s automation system.
• You can use multiple instances of CZ V in a DAW project. In standalone mode,
only one instance is available.
• Any additional audio effects your DAW has available may be used to process the
sound, including delay, chorus, filters, etc.
• You can route CZ V’s audio outputs freely inside your DAW using the DAW’s own
audio routing system.
The first time you boot up your DAW after installing CZ V, the DAW will verify the plugin
format, and then it should be available as an option in the menu of an instrument track.
Check the manual of your DAW for more information.
9 Arturia - User Manual CZ V - ACTIVATION & FIRST START

3. QUICK TOUR OF THE ARTURIA CZ V
Now that all that computer stuff is out of the way, it's time to get familiar with your
instrument. This chapter is just a brief overview to get you started; most features are
covered in more detail in later chapters.
The layout of the CZ V screen is very intuitive. There are four horizontal areas on the CZ V
window: the upper toolbar, the central programming area (which can be hidden when not
needed; see Advanced mode [p.16] below), the virtual keyboard area at the bottom of the
window, and the lower toolbar. We'll start with the upper toolbar since that's where you can
start playing right away.
3.1. Upper toolbar: Configuration, Presets, and MIDI
The upper toolbar of the CZ application window is where you'll find controls for saving and
recalling presets, a few configuration controls, and the MIDI configuration window.
!: Note that the "upper toolbar" is NOT the computer system's toolbar at the top of the computer
screen which contains the standard application features like About, Preferences and Exit (PC) or Quit
(Mac) commands.
3.1.1. CZ V menu (top left corner of app window)
In Chapter 2 [p.7], we already used this dropdown menu to access the Audio Settings for the
CZ V. Most of the other commands in this menu involve presets and are already familiar to
most users (Save, Save As, Import, Export). These functions are covered in detail in Chapter
8 [p.80] but deserve a quick look here.
Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V 10

3.1.1.1. Saving presets from the CZ V Master Menu
The upper-left corner of the CZ window contains a few shortcuts regarding presets:
Save saves the current state of the CZ V as a User patch with the current name. If you are
editing a factory preset, you must first Save As… using a different name. Names can be up
to 32 characters long. If you want to start from scratch, select New Preset...
3.1.1.2. Import
Import is the command when you want to add a patch to your CZ library from outside your
studio, or from an archive. You can import a single preset, an entire bank of presets, or a
playlist. This command will bring up a popup directory window for your computer; simply
navigate to a valid file (it MUST be in either the .czvx format, or as a MIDI System Exclusive
.syx file) and click Open. These features let you share sounds between systems and with
other users.
3.1.1.3. Export
When you want to share a preset you’ve made with someone else, or transfer patches
to another computer, use the Export command and its submenus to export either a single
preset or your whole User bank. This generates a .czvx format file that may be uploaded,
emailed, saved to a separate backup drive, etc.
11 Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V

3.1.1.4. Resize Window
To resize the CZ V window to fit your screen: Click on Resize Window, which reveals another
submenu, and select the size you want, from 50% to 200%. At 70%, the entire CZ app
window can be seen on a typical 1440 x 900 laptop screen. On a smaller screen you may
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 and graphics.
The controls work the same at any zoom level but the smaller ones can be harder to see at
the smaller zoom values.
See Maximize View [p.28] in the lower menubar section for another way to change the
window zoom.
If your computer has a number keypad on the side, you can zoom in and out by holding
Control and pressing the "+" and "-" keys on that keypad.
3.1.1.5. Tutorials
This feature guides you through the operation of the CZ V step-by-step. The Welcome tutorial
runs automatically when you first start the CZ V; you can run it again from this menu at any
time.
Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V 12

3.1.1.6. Help
The Help menu is where you have access to this user manual, and a link to a list of FAQs
(Frequently Asked Questions) about the CZ V on the Arturia website.
3.1.1.7. About
At the bottom of the upper-left CZ menu is About. Click on this to see a list of the extremely
talented people who built this software for you, and to see what version of the software you
have. Click anywhere on the CZ window to close the popup.
13 Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V

3.1.1.8. Preset Library
To the right of the CZ V menu in the upper left corner, is an icon that looks like books on
a shelf (|||\). This is the icon for the Preset library and browser. Clicking on this brings up a
SEARCH screen that occupies the whole window (except the upper and lower toolbars). This
is a great place to search for exactly the right preset. Its features are explained in detail in
Chapter 8 [p.80].
To return to the main screen, press the blue "X" at the same location where the Preset library
icon was.
3.1.2. Preset List
The icons and data fields across the center of the upper tool bar all give you quick access to
presets, also known as patches or programs. The TYPE filter, preset number and name, and
left / right arrows here give you easy access to the hundreds of presets in memory so you
can get up and playing quickly without doing any programming.
The Preset Library in SEARCH mode. The search term is "PIPE", not filtered
by TYPE or STYLE, but only the User bank is selected for search. The center
shows the 2 presets in the User bank that have the word "PIPE" in them,
and on the right are the details of the chosen preset.
Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V 14

To quickly audition presets:
Move your cursor to the Preset name field and click. A dropdown menu appears with a list
of available presets, (filtered by the TYPE field, or ALL TYPES). Click on the one you want to
play.
Alternatively, you can click on the arrows to the right of the name to move up or down the
current preset list one at a time, without having to use the dropdown menu.
If you make changes to a preset, an asterisk (*) will appear after its name.
3.1.2.1. Browse presets with MIDI controller
At the bottom of the Preset browser window on the left side is a field labeled Browse presets
with MIDI Controller. It will configure the CZ V to work with an Arturia controller so you can
browse the preset search results without having to map any controllers to those functions.
The CZ V will detect which Arturia controller you are using and will be configured
automatically to enhance the preset browsing experience. Refer to the documentation for
your controller to learn more.
If you want to defeat this feature, click the menu window and select None.
Preset list
15 Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V