Arturia solina v User manual

ARTURIA –Solina V –USER MANUAL 1
USER MANUAL

ARTURIA –Solina V –USER MANUAL 2
Direction
Frédéric Brun Kevin Molcard
Development
Pierre-Lin Laneyrie (project manager)
Theo Niessink (lead)
Stefano D'Angelo
Baptiste Aubry
Corentin Comte,
Adrien Courdavault
Baptiste Le Goff
Valentin Lepetit
Samuel Limier
Germain Marzin
Mathieu Nocenti
Pierre Pfister
Benjamin Renard
Design
Glen Darcey
Shaun Ellwood
Morgan Perrier
Sebastien Rochard
Greg Vezon
Sound Design
Glen Darcey
Boele Gerkes
Randy Lee
Theo Niessink
Erik Norlander
Pierce Warnecke
Manual
Randy Lee
Tomoya Fukuchi
Jason Valax
Special Thanks
Chuck Capsis
Denis Efendic
Ben Eggehorn,
David Farmer
Ruary Galbraith
Jeff Haler
Koshdukai
Simon McDonnell
Lewyn Mitchell
Ken Flux Pierce
Daniel Saban
Chad Wagner
ARTURIA S.A. –1999-2016 –All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
http://www.arturia.com

ARTURIA –Solina V –USER MANUAL 3
Table of Contents
1INTRODUCTION .................................................................................................................5
1.1 History of the original instrument .........................................................................................................5
1.1.1 String theories ................................................................................................................................... 5
1.1.1.1 Chamberlin and Mellotron .....................................................................................................................................6
1.1.1.2 Ken Freeman: string synthesist................................................................................................................................6
1.1.1.3 Eminent......................................................................................................................................................................6
1.1.2 The ARP String Ensemble .................................................................................................................. 7
1.1.2.1 Arrival of the fittest ................................................................................................................................................... 7
1.1.2.2 Form factor................................................................................................................................................................8
1.1.2.3 A string of spinoffs ....................................................................................................................................................8
1.1.2.4 String songs: a selected discography...................................................................................................................9
1.2 Physical modeling synthesis................................................................................................................10
1.2.1 Music and math: yet another link .................................................................................................. 10
1.2.2 A computational conundrum........................................................................................................ 10
1.2.3 The endless revolution .................................................................................................................... 11
2ACTIVATION AND FIRST START ......................................................................................12
2.1 Register and Activate..........................................................................................................................12
2.2Initial setup.............................................................................................................................................12
2.2.1 Audio and MIDI settings: Windows................................................................................................. 12
2.2.2 Audio and MIDI settings: Mac OS X ............................................................................................... 15
2.2.3 Using Solina V in plug-in mode....................................................................................................... 16
3USER INTERFACE ..............................................................................................................17
3.1 The virtual keyboard ............................................................................................................................17
3.2 Toolbar....................................................................................................................................................17
3.2.1 Save Preset ..................................................................................................................................... 17
3.2.2 Save Preset As…............................................................................................................................. 18
3.2.3 Import preset .................................................................................................................................. 18
3.2.4 Export preset................................................................................................................................... 19
3.2.5 Resize window options ................................................................................................................... 19
3.2.6 Audio settings ................................................................................................................................. 20
3.2.7 Preset browser overview ................................................................................................................ 20
3.2.8 Open and Close Advanced section ............................................................................................. 21
3.2.9 MIDI Learn assignment ................................................................................................................... 21
3.2.9.1 Assigning / unassigning controls ..........................................................................................................................22
3.2.9.2 Min / Max value sliders ..........................................................................................................................................23
3.2.9.3 Relative control option..........................................................................................................................................23
3.2.9.4 Reserved MIDI CC numbers .................................................................................................................................23
3.2.10 MIDI controller configuration.......................................................................................................... 24
3.2.11 The lower toolbar............................................................................................................................ 24
3.2.11.1 Current control value ............................................................................................................................................24
3.2.11.2 MIDI Channel setting .............................................................................................................................................25

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3.2.11.3 MIDI preferences: the PREF button......................................................................................................................25
3.2.11.4 Panic button and CPU meter ..............................................................................................................................28
3.2.11.5 Poly...........................................................................................................................................................................28
3.3 The Preset Browser................................................................................................................................29
3.3.1 Searching presets ........................................................................................................................... 29
3.3.2 Using tags as a filter........................................................................................................................ 30
3.3.3 The Preset Info section.................................................................................................................... 31
3.3.4 Preset selection: other methods..................................................................................................... 32
3.3.4.1 Selecting a preset by its Type ..............................................................................................................................33
3.3.5 Playlists ............................................................................................................................................ 33
3.3.5.1 Add a playlist..........................................................................................................................................................33
3.3.5.2 Add a preset...........................................................................................................................................................34
3.3.5.3 Re-order the presets ..............................................................................................................................................34
3.3.5.4 Remove a preset ...................................................................................................................................................34
3.3.5.5 Delete a playlist......................................................................................................................................................34
3.4Main controls.........................................................................................................................................35
3.4.1 Ensemble ........................................................................................................................................ 36
3.5 Open mode...........................................................................................................................................37
3.5.1 Overview......................................................................................................................................... 37
3.5.1.1 Coarse vs. Fine adjustments .................................................................................................................................39
3.5.2 Master section ................................................................................................................................ 39
3.5.3 LFO .................................................................................................................................................. 40
3.5.4 Bass section: Filter, FENV and Sustain ............................................................................................. 42
3.5.5 Bass section: Arpeggiator............................................................................................................... 43
3.5.6 Upper Resonator............................................................................................................................. 44
3.5.7 Effects ............................................................................................................................................. 45
3.5.7.1 Amount controls.....................................................................................................................................................47
3.5.7.2 Effect sends.............................................................................................................................................................47
3.5.7.3 FX 1: Phaser .............................................................................................................................................................48
3.5.7.4 FX 1: Analog Chorus ..............................................................................................................................................48
3.5.7.5 FX 2: Analog Delay ................................................................................................................................................49
3.5.7.6 FX 2: Digital Delay ..................................................................................................................................................50
3.5.7.7 Convolution Reverb...............................................................................................................................................50
4END USER LICENSE AGREEMENT ..................................................................................53

ARTURIA –Solina V –USER MANUAL 5
1INTRODUCTION
Arturia would like to thank you for purchasing our latest modeling synthesizer, Solina
V. We are confident it will become a valuable addition to your music production
studio.
If you’ve purchased our products before, you know we take great pride in
recreating the sound and feel of the original instruments. And then we top it off
with 21st century features the products might have had if the technology had been
available at the time!
And if this is the first Arturia product you have owned, it is an excellent way to
become acquainted with our stuff.
The instrument upon which this virtual model is based played an important part in
many hit songs of the 1970s and early 1980s. And naturally it was a perfect fit for
the various forms of symphonic rock that flourished in those days, filling the spot that
had previously been held by the mercurial Mellotron.
Since you obviously appreciate the Solina sound, we thought you might enjoy a
brief look backward at what it took to bring this marvelous instrument to life.
1.1 History of the original instrument
1.1.1 String theories
In the early days of rock music there were very few options available to the
keyboard player in a band. The nicer clubs would have a grand piano or a
Hammond, the not-so-nice ones might have an upright piano (tuning optional),
and the vast majority had nothing at all; if you wanted to play, you needed to bring
something with you.
Unfortunately, the options were limited to electric pianos and portable organs
(some more portable than others). And while those instruments were certainly
capable of producing some great sounds, there was a hole they couldn’t fill: the
irreplaceable lushness of a room full of violins, violas, cellos and contrabasses.
There’s something about the sound of these instruments that can take a sweet love
song and turn it into a heart-rending expression of the human condition.
And it was impractical for studios to hire a small orchestra except for the most
important artists. The average musician could only dream that he might one day
hear his music with something more than basic instrumentation.
So the stage was set for an instrument that would help fill these needs. Thankfully,
certain technological innovations were just around the corner.

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1.1.1.1 Chamberlin and Mellotron
One of the first attempts to solve this problem was a keyboard which traces its roots
to the late 1940s, when a gentleman named Harry Chamberlin began
experimenting with ways to trigger strips of magnetic recording tape from an
organ-style keyboard. His first device played back pre-recorded drum loops, and
he followed this with a series of keyboards that would play tapes of various
orchestral instruments. The age of samplers began with analog tapes!
A bit of industrial drama led to an overlap between the Chamberlin products and
their younger, more famous cousins, the Mellotrons. Suffice it to say that these
products were used extensively by major artists such as the Beatles, the Moody
Blues, King Crimson, Genesis, Led Zeppelin and Yes.
However, their size, unreliability and price tag made them unsuitable for many
people. The need for another solution was building.
1.1.1.2 Ken Freeman: string synthesist
As a keyboard player in the mid-1960s, Ken Freeman saw first-hand the need for an
instrument to help him reproduce the string arrangements of popular music when
his band played live shows. But a Mellotron was out of the question for most of the
reasons already cited.
He discovered through experiments with a Selmer Clavioline and a triple-head
delay unit that a single voice with vibrato could be made to sound like an
ensemble with the proper application of the delay unit’s three LFOs. This discovery
fueled his imagination and set in motion the development of the very first string
synthesizer: the Freeman String Symphonizer.
Unfortunately for Mr. Freeman, the alternate skittishness and sluggishness of the
companies he courted for mass-production of his invention actually prevented the
Symphonizer from being the first string synthesizer to make it to marketplace. But he
deserves our grateful thanks for his pioneering work in this area, which spurred the
development of dozens of similar products.
1.1.1.3 Eminent
In 1972 a Dutch company by the name of Eminent Orgelbouw B.V. broadened
their product line with the introduction of the Eminent 310 series of console organs.
Their targets at the time were the home and theater organ markets, which had
certainly been kind to them.
But perhaps unexpected was the impact the model 310 home organ would have
on the worldwide music scene within a few years. Their novel approach to the string
ensemble issue caught the attention of an artist by the name of Jean Michel Jarre,
who used the Eminent 310 strings for his seminal albums Oxygène and Équinoxe,
released in 1976 and 1978, respectively.
Prior to that Eminent must have recognized they had something special on their
hands, something that could stand on its own as a product and also fill a need that
had been simmering in an untapped marketplace for many years. And so in 1974,

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two years after the initial introduction of the 310 series organs, the Eminent Solina
was born.
The Solina had a 4-octave keyboard and only offered a handful of sounds. But they
were important sounds, ones that had been missing in the minds of many musicians:
warm, ensemble strings that could fill out the sound while the guitarist took a solo;
high string lines that could soar above the song and make it sparkle. And perhaps
most importantly, these sounds could be carried from gig to gig by one person,
even though at nearly 50 pounds the Solina was quite heavy by today’s standards.
But there was still one more step to be taken before the world would be introduced
to perhaps one of the most sought-after vintage keyboards of all time: the ARP
String Ensemble.
1.1.2 The ARP String Ensemble
It’s no mistake that the Eminent Solina and ARP String Ensemble sound alike: they
are the same keyboard with different labels. ARP had actually been in pursuit of an
ensemble synthesizer of their own design for some time, and for various reasons
discontinued their efforts and struck an agreement with Eminent to “rebadge” their
Solina as an ARP product.
ARP was no “new kid on the block,” though, which is probably why the much larger
Eminent agreed to the deal; ARP had already established itself solidly within the
synthesizer marketplace with several impressive products, including the now-
legendary Odyssey. And so an unusual partnership was forged that proved to be
a very wise move for both parties.
Note: the first production version of the ARP String Ensemble was actually named
the “ARP Model 2100 String Ensemble SE-IV”. But that’s a bit unwieldy, so this manual
will gradually transition from the name “ARP String Ensemble” to “Solina” to give
credit where credit is due.
1.1.2.1 Arrival of the fittest
As mentioned previously, the ARP String Ensemble was not the first ensemble
keyboard to reach the ready hands of keyboard players around the world. But at
some point after its release in 1974 it became the standard-bearer for all that
followed.
In fact, the String Ensemble has proven not only to be the most popular product
ARP ever made, but also the one with the most identifiable sound. The average
person might hear a synth lead and not know whether it was an ARP, a Bob Moog's
creation or an Oberheim, but the ARP String Ensemble has always benefited from
a strong sound identity, easily recognizable. Some other synths were even
sometimes mistaken for a String Ensemble so much it was a sound reference. Case
in point: Jean Michel Jarre’s Oxygène and Équinoxe albums, which were released
years after the ARP String Ensemble hit the streets, used the Eminent 310, not an
ARP.

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And even though its sound was obviously synthesized, as opposed to the “real”
strings provided by the Mellotron tapes, it had certain advantages that made it the
natural selection for keyboard players around the world: smaller size and weight,
no tapes to tune or break, and it didn’t cost as much as a house.
ARP drove the point home in their marketing materials with statements like “You
can hold a chord until you drop from exhaustion. That certainly beats the eight-
second limit found on other systems.” This was true: the Mellotron tapes were not
loops; when a key was pressed they played for about 8 seconds before reaching
the end, and after that they needed to reset their position.
To put things in perspective, that’s 2 bars of 4/4 time at 60 bpm. This forced the
keyboard player to be mindful when voicing chords, so as not to have a crucial
note drop out at a bad time. But the String Ensemble imposed no such limitation.
1.1.2.2 Form factor
Another great thing the Solina had in its favor were its dimensions, especially the
width (38”) and depth (14.5”). It stacked well on top of other “foundational”
keyboards like the Rhodes, Wurlitzer and Hammond. It also had a sturdy, flat top,
so it in turn could be used as a stackable surface for a smaller synth such as the
Odyssey.
So by the time the Solina was packed into its flight case, it took up less room in the
tour bus cargo bay than almost anything else in the keyboard player’s rig. All things
taken together, ARP and Eminent had produced a best-seller.
1.1.2.3 A string of spinoffs
It is said that imitation is the most sincere form of flattery. In the business world,
though, it is an attempt to eat the other guy’s lunch. The Solina and its siblings held
their own for quite a few years against a slew of competitors, and it is amazing they
did as well as they did. Take a look at just a small sample of what they were up
against:
Year
ARP model
Competition
1973
Logan String Melody I
1974
Solina/SE-IV
Crumar Stringman, EKO Stradivarius
1975
Omni
Roland RS-101
1976
Godwin String Concert S249, Jen SM2007 String Machine, Roland RS-202
Korg PE-2000
1977
Omni 2
Crumar Orchestrator, Hohner K4 / Stringer (USA) / String Performer (Europe)
Elgam String Ensemble, Logan String Melody II, Multivox MX202
Oberheim Eight-voice

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1978
Quadra
Farfisa Soundmaker, Roland RS-505
Oberheim OB-1
Sequential Circuits Prophet 5
1979
Quartet*
Crumar Performer, Korg Lambda, Roland VP-330, Yamaha SK-10/20/30/50D
Siel Orchestra (*rebadged for ARP as the Quartet)
Oberheim OB-X
1980
Godwin Model 749 String Concert, Korg Trident
Oberheim OB-Xa
1981
Roland Jupiter 8
Note the appearance of the first 8-voice programmable synthesizer in 1977,
followed rapidly by others of varying polyphony but increasing popularity. By 1981
the competition was too fierce, the research and development costs were too
high, and the public interest in ensemble synthesizers had waned. Sadly, ARP
Instruments, Inc. was forced to close its doors.
But its legacy lives on in the 21st century, as synthesizer enthusiasts are once again
paying top dollar for ARP synthesizers, including the Solina String Ensemble. And it is
with the utmost respect for the history of the technology and the music it inspired
that we offer to you the Arturia Solina V.
1.1.2.4 String songs: a selected discography
The Solina string sound has been used to great effect on many albums through the
years. Here is a brief overview:
Dream Weaver –Gary Wright
The Grand Illusion –Styx
Come Get It! –Rick James
Thrust –Herbie Hancock
Wish You Were Here –Pink Floyd
I’m In You –Peter Frampton
Captain Fantastic –Elton John
Rumours –Fleetwood Mac
The Age of Plastic –The Buggles
Premiers Symptômes –Air
We could go on and on; there are literally thousands of recordings where the Solina
sound played a major role. And now with Solina V we hope to see many thousands
more!

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1.2 Physical modeling synthesis
When you want to create a sound, there are many methods of synthesis from which
to choose:
Additive, which creates a timbre by adding various waveforms together
Subtractive, in which partials of an audio signal are attenuated by a filter to
reduce the original harmonic content of the sound
Frequency Modulation (FM), where waveforms are used in
carrier/modulator relationships and tuned according to the harmonic series
to produce overtones in the carrier waves
Wavetable, which offers a wide selection of digital waveforms and then
allows them to be layered, filtered, and/or used as the crossfade targets of
an X/Y controller or a looping envelope
Sample Playback, where recordings of a sound are triggered by a playback
device, and can be transposed by increasing the playback speed when
different pitches are required
Granular, which splits samples into very short “grains” and allows them to be
manipulated through a myriad of playback options, and
Physical modeling. In this method the output waveform is calculated
according to a set of equations and algorithms derived through extensive
analysis of a physical sound source.
1.2.1 Music and math: yet another link
A physical model attempts to codify the laws of physics that govern a particular
form of sound generation. A model typically will have multiple parameters, some
of which are constants that describe the physical materials and dimensions of the
instrument, while others are time-dependent components representing the
player´s interaction with the instrument, such as plucking a string, pressing a valve,
or reducing the pressure of his embouchure, etc.
This idea has been around for a long time, but development has been hindered
until recently because processors that were powerful enough to handle the
computational complexity of the physical models either didn’t exist or were too
expensive.
But if you’ve been watching the technological trajectories, you know those days
are in the past. And we’re just as happy about that as you are.
1.2.2 A computational conundrum
Here’s an example of what must be taken into account while developing a
physical model. To recreate the sound of a drum, for instance, a formula must be
in place to represent all of the ways the collision between a drum stick and a drum
head sends shockwaves through a two-dimensional membrane. Among other
things, the formula must incorporate:

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The properties of the striker: its rigidity, the velocity of the hit, the material,
and how/where the strike happens
The membrane: its mass density, elasticity, woven fabric vs. plastic vs. skin,
etc.
The sympathetic resonances of the membrane and the body of the drum
The conditions at the membrane boundaries: is there a rigid termination to
the drum´s body, or are there multiple, independently adjustable pressure
points?
The ancillary and perhaps lingering response of additional components,
such as the snares under a snare drum.
Similar complexities can be found in instruments such as an acoustic guitar. A few
years ago, a French scientist finally completed a comprehensive modeling of all
acoustic guitar parameters. The calculations to produce the sound took three
days!
The second-biggest challenge of physical modeling synthesis is to simplify the
algorithms wherever possible without sacrificing the essential nature of the
instrument being modeled. The goal is to achieve an efficient model which can be
used interactively, in real time, without limiting the spontaneous paths a musician
may take during a rush of creativity.
1.2.3 The endless revolution
There are several methods of physical modeling synthesis, including Karplus-Strong
algorithms, digital waveguide synthesis, and formant synthesis. Each one uses a
different paradigm to bring a modeled sound to its musical fruition.
The salient point here is that physical modeling synthesis is capable of recreating
the character of a “real” instrument during performance, including its subtle
nuances of expression, while using a thousand times less hard drive space than the
“sampling” method would take to produce an inferior result.
Not to rub it in, but we really should mention the ability of physical modeling
algorithms to combine parameters into instruments that have never existed. There
is no limit to the types of sounds physical modeling synthesis can produce!
And when you gather a bunch of music fanatics who also possess a knowledge of
the pertinent laws of physics and an in-depth understanding of the characteristics
of electronic circuits, you wind up with Arturia. And Arturia now offers you our latest
brainchild, the Solina V.
May it light the fires of creativity for you!

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2ACTIVATION AND FIRST START
2.1 Register and Activate
Solina 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 Solina V as an Audio
Units, AAX, VST2 or VST3 instrument.
Once Solina 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 Solina 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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Solina 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

ARTURIA –Solina V –USER MANUAL 15
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 standalone mode, Solina 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.

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2.2.3 Using Solina V in plug-in mode
Solina 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 Solina V in a DAW project. In
standalone mode you can only use one at once.
You can route Solina V’s audio outputs more creatively inside your DAW
using the DAW’s own audio routing system.

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3USER INTERFACE
Solina V is packed with great features, and in this chapter we’ll make sure you
know what each one does. We think you’ll be amazed by the huge range of
sounds that can be made with this instrument.
And while Solina V is very flexible, there’s nothing complicated about it. That
will always be the main focus of every Arturia product: to unleash your
creativity while remaining easy to use.
3.1 The virtual keyboard
The virtual keyboards in the main Solina V window allow you to play a sound
without the need for an external MIDI device. Just click on a virtual key to hear
the corresponding sound. Drag the cursor across the keys to hear a glissando.
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 Solina
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 .solx 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 Solina 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.

ARTURIA –Solina V –USER MANUAL 20
The Resize Window menu
3.2.6 Audio settings
Here you manage the way the instrument transmits sound and receives MIDI.
See section 2.2 of the manual for full details on this.
3.2.7 Preset browser overview
The Preset browser is invoked by clicking the toolbar button that has four
vertical lines. See section 3.3 of the manual for full details on this. The Filter,
name field and left / right arrows in the toolbar all assist with preset selection.