Arturia CS-80V User Manual
USER’S MANUAL
ARTURIA – CS-80V – USER’S MANUAL
2
Programming:
Robert Bocquier (Lead Developer V2)
Nicolas Bronnec (Lead Developer V1)
Pierre-Jean Camilieri
Thomas Diligent
Sylvain Gubian
Xavier Oudin
Graphics:
Thomas & Wolfgang Merkle [Bitplant]
Manual:
Antoine Back (V2)
Silvère Letellier (V2)
Houston Haynes (V2)
Tomoya Fukuchi (V2)
Yasu Tanaka (V2)
Jean-Michel Blanchet
Yuji Sano
Sound Designers:
Jean-Michel Blanchet
Sylvère Letellier
A. Gonzales
Christian Giudicelli
Howard Scarr
Jaime Newman
Ludovic Llorca
M. Fabio
Scott Solida
Glen Darcey
Darrell Diaz
Chris Laurence
Mateo Lupo
Jamie Muhoberac
Chris Pittman
Katsunori Ujiie
ARTURIA – CS-80V – USER’S MANUAL
Thanks to:
Pascal Blin, Elsa Chal-Debeauvais, Randy Fuchs, Mr Tohyama, Akira Naito, Houston
Haynes, Fabrice Paumier, Laurent Falla and the numerous beta testers.
Very special thanks to:
Yamaha Corporationtm
© ARTURIA S.A. – 1999-2014 – All rights reserved.
30, Chemin du Vieux Chêne
38240 Meylan
FRANCE
http://www.arturia.com
Information contained in this manual is subject to change without notice and does not represent a commitment on
the part of Arturia. The software described in this manual is provided under the terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of
this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use,
without the express written permission of ARTURIA S.A.
Other products, logos or company names quoted in this manual are trademarks or registered trademarks of their
respective owners.
November 2014 edition
ARTURIA – CS-80V – USER’S MANUAL
TABLE OF CONTENTS
1 INTRODUCTION ................................................................................................................................................... 5
1.1 THE BIRTH OF THE YAMAHA
1.2 WHY A VIRTUAL CS-80? ...................................................................................................................................... 7
1.3 A BETTER EMULATION THANKS TO TAE® ............................................................................................................ 8
1.3.1 Aliasing-free oscillators ............................................................................................................................... 8
1.3.2 A better reproduction of analog oscillator waveforms ................................................................ ................. 9
1.3.3 A better reproduction of analog filters ....................................................................................................... 10
1.3.4 Ring modulator .......................................................................................................................................... 10
1.1.1 NO END IN SIGHT ............................................................................................................................................. 11
2 ACTIVATION & FIRST START .......................................................................................................................... 12
2.1 REGISTER & ACTIVATE ...................................................................................................................................... 12
3 QUICK START ...................................................................................................................................................... 13
3.1 USE OF PRESETS ................................................................................................................................................. 13
3.2 METHODS OF PLAYING ................................ ................................................................................................ ....... 14
3.3 OVERVIEW OF THE SINGLE MODE (CS-80) ......................................................................................................... 16
3.4 OVERVIEW OF THE MULTI MODE ....................................................................................................................... 18
3.5 THE REAL TIME CONTROLLERS AND MIDI ASSIGNATION .................................................................................... 20
3.6 THE EFFECTS SECTION ....................................................................................................................................... 21
3.7 THE MODULATION MATRIX ................................................................................................................................. 21
TM
CS-80 ................................................................................................................... 5
4 THE INTERFACE ................................................................................................................................................. 23
4.1 USE OF PRESETS ................................................................................................................................................. 23
4.1.1 Choice of a bank, sub-bank, preset ............................................................................................................ 23
4.1.2 Creation of a bank, sub-bank, preset .......................................................................................................... 24
4.1.3 Saving a user preset ................................................................................................................................... 24
4.1.4 Import/ Export of a bank of presets ............................................................................................................ 24
4.2 USING CONTROLLERS ........................................................................................................................................ 25
4.2.1 Sliders ........................................................................................................................................................ 25
4.2.2 Knobs ......................................................................................................................................................... 25
4.2.3 Switches ..................................................................................................................................................... 26
4.2.4 Ribbon ........................................................................................................................................................ 26
4.2.5 Setting keyboard zones ............................................................................................................................... 26
4.2.6 Virtual Keyboard ........................................................................................................................................ 27
4.2.7 MIDI control ................................ ................................................................ ................................ .............. 27
4.3 THE SOUND MAP ................................................................................................ ................................ ................ 29
4.3.1 The MAP main interface ............................................................................................................................ 30
4.3.2 The LIST preset manager ........................................................................................................................... 34
4.3.3 The COMPASS morphing interface ............................................................................................................ 36
5 USING THE CS-80V ................................................................ ................................................................ ............. 38
5.1 SINGLE MODE .................................................................................................................................................... 38
5.2 TWO LINES OF SYNTHESIS ................................ ................................ ................................................................ .. 38
5.3 THE MODULATION MATRIX ................................................................................................................................. 41
5.4 THE SUB-OSCILLATOR ........................................................................................................................................ 42
5.5 THE KEYBOARD MODULATIONS ......................................................................................................................... 43
5.6 THE RING MODULATOR ...................................................................................................................................... 43
5.7 CHORUS/TREMOLO ............................................................................................................................................. 44
5.8 STEREO DELAY ................................................................................................................................................... 44
5.9 THE PEDALS ....................................................................................................................................................... 44
5.10 THE ARPEGGIATOR ........................................................................................................................................... 45
5.11 THE ORIGINAL PRESET BUTTONS ...................................................................................................................... 46
5.12 THE RIBBON ..................................................................................................................................................... 46
5.13 GENERAL SETTINGS ......................................................................................................................................... 46
5.14 THE MULTI MODE ............................................................................................................................................ 47
6 THE BASICS OF SUBTRACTIVE SYNTHESIS .............................................................................................. 50
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6.1 THE THREE MAIN ELEMENTS .............................................................................................................................. 50
6.1.1 The oscillator (VCO) .................................................................................................................................. 50
6.1.2 The filter or VCF ........................................................................................................................................ 53
6.1.3 The amplifier or VCA ................................................................................................................................. 55
6.2 OTHER MODULES ............................................................................................................................................... 56
6.2.1 The keyboard .............................................................................................................................................. 56
6.2.2 The envelope generator .............................................................................................................................. 56
6.2.3 The low frequency oscillator ...................................................................................................................... 57
7 A FEW ELEMENTS OF SOUND DESIGN ........................................................................................................ 60
7.1 SUBTRACTIVE SOUND SYNTHESIS ...................................................................................................................... 60
7.1.1 A basic sound ............................................................................................................................................. 60
7.1.2 The modulation matrix ............................................................................................................................... 61
7.1.3 Use of real time controllers ........................................................................................................................ 62
7.2 MULTI MODE ..................................................................................................................................................... 63
7.2.1 Four different sounds on the keyboard ....................................................................................................... 64
7.2.2 A composite sonority in unison mode ......................................................................................................... 64
7.2.3 Introduction of the arpeggiator in a Multi preset ....................................................................................... 65
7.3 OTHER SIDES OF THE CS-80V ............................................................................................................................ 66
7.3.1 A step sequencer ......................................................................................................................................... 66
7.3.2 Stereo sound without the effects ................................................................................................................. 67
8 MODES OF OPERATION .................................................................................................................................... 68
8.1 STANDALONE ..................................................................................................................................................... 68
8.1.1 Launch the application ............................................................................................................................... 68
8.1.2 Configuration of the instrument ................................................................................................................. 68
8.2 VST 2 ................................................................................................................................................................ 69
8.3 VST 3 ................................................................................................................................................................ 69
8.4 RTAS ................................................................................................................................................................. 69
8.5 AU ..................................................................................................................................................................... 69
8.6 64 BIT COMPATIBILITY ........................................................................................................................................ 69
8.7 USE IN CUBASE/NUENDO (VST) ........................................................................................................................ 70
8.7.1 Instrument use in VST mode ....................................................................................................................... 70
8.7.2 Rescan the plug-in directory in Cubase ..................................................................................................... 70
8.7.3 Saving of presets ....................................................................................................................................... 71
8.8 USING IN PRO TOOLS (RTAS) ............................................................................................................................ 71
8.8.1 Opening of the plug-in ............................................................................................................................... 71
8.8.2 Saving the presets ....................................................................................................................................... 72
8.8.3 Automation under Pro Tools ...................................................................................................................... 72
8.9 USING IN LOGIC, MAC OS X (AU) .................................................................................................................... 72
8.10 USING IN ABLETON LIVE (AU AND VST) ......................................................................................................... 73
9 APPENDICES ........................................................................................................................................................ 75
9.1 GENERAL PARAMETERS FOR ALL POLYPHONIC VOICES ....................................................................................... 75
9.2 PARAMETERS APPLIED TO A PARTICULAR TONE................................................................................................... 76
10 CS-80V END USER LICENSE AGREEMENT ................................................................................................ 78
ARTURIA – CS-80V – USER’S MANUAL
1 INTRODUCTION
1.1 THE BIRTH OF THE YAMAHA
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.
TM
CS-80
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”.
One of the strong features of the GX-1 is the superposition of the two full-sized velocitysensitive 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.
ARTURIA – CS-80V – USER’S MANUAL
The CS-80
The CS-80 was made popular in the late 70’s and early 80’s by a number of pop groups,
including Electric Light Orchestra, Toto, Paul McCartney and Wings. Other artists and bands
like Vangelis, Bon Jovi, Jean-Michel Jarre, Geoffrey Down, Stevie Wonder and some others
managed to turn the CS-80 into a real myth.
Let us quote Matt Friedmann from the Vintage Synth Explorer website:
“No synth sounds greater. The best examples for its extremely fat sound are ‘Blade Runner’,
‘Mask’, or ‘Bounty’ by Vangelis as well as ‘Dune’ by Toto. (…)
With two analog oscillators per voice, the CS-80 has the potential for some really phat
sounds. A great VCF filter with independent hi pass and low-pass resonant filters, a powerful
ring modulator and plenty of modulation controls further enhance the CS-80's sonic potential.
There are 22 preset sounds (6 user) selected from bright and ugly colored buttons above the
keyboard. The keyboard is weighted and has a full 61 keys with performance controllers for
vibrato, pitch, brightness and volume. Surprisingly there's also a ribbon controller for the
pitch-bending. There is no MIDI or CV/Gate.”
The first edition of the service manual has a lot of hand-drawn pages, including the main
panel layout.
ARTURIA – CS-80V – USER’S MANUAL
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.
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.
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Aliasing
Arturia has thus brought new life to the myth, remaining faithful to the sound and the
functionality, but also taking it several steps further. As you will see, these new additions
bring a new lease of life to the CS-80V.
The possibility to affect a different sound to each of the polyphonic voices, an independent
keyboard management, positioning in stereo space and particular tuning allow the
amplification of the unique presence and the sonorities of this polyphonic synthesizer. New
combinations have emerged, and the Multi mode will open enormous perspectives for those
who take the time to discover its characteristics.
To this we have added a modulation matrix, which widens the possibilities of creative
combinations.
A new version which respects the past while bringing the possibilities of the present and
future, this was our vision for this CS-80V.
1.3 A BETTER EMULATION THANKS TO TAE®
TAE® - True Analog Emulation - is a new technology dedicated to the digital reproduction of
analog circuits used in vintage synthesizers.
When implemented in software code, TAE® algorithms guarantee the respect of hardware
specifications. This is why your CS-80V offers an unparalleled quality of sound.
In detail, TAE® regroups four major advances in the domain of synthesis:
1.3.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse
Width Modulation or FM.
TAE® allows the production of totally aliasing-free oscillators in all contexts (PWM, FM, etc.),
and at no CPU extra cost.
Linear frequency spectrum of an existing well-known software synthesizer
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Linear frequency spectrum of the CS-80V oscillator made with TAE®
1.3.2 A better reproduction of analog oscillator waveforms
The waveforms produced by the oscillators in analog synthesizers are marked by the presence
of a condenser in the circuits. The discharge of the condenser results in a light bend in the
original waveform (notably for sawtooth, triangular and square waveforms). TAE® allows the
reproduction of this condenser discharge. Underneath is the analysis of a waveform from the
original CS-80 original, and that of the CS-80V. They are both equally deformed by the CS-80
low-pass and high—pass filtering.
Temporal representation of a sawtooth waveform,
deformed by high-pass and low-pass filtering, of the original CS-80
Temporal representation of a sawtooth waveform,
deformed by high-pass and low-pass filtering, reproduced by TAE®
ARTURIA – CS-80V – USER’S MANUAL
Response curve of the 12 dB lowpass filter of the original CS-80
Response curve of the 12 dB lowpass filter of the CS-80V
What’s more, the original analog oscillators were unstable. In fact, their waveform lightly
varied 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 find one of the characteristics that participated in the typical sound of vintage
synthesizers.
TAE® reproduces the instability of oscillators, bringing a “fatter” and “bigger” sound.
1.3.3 A better reproduction of analog filters
TAE® allows the more precise emulation of analog filters over standard digital filters. To obtain
this result, the TAE® technology is based on the analysis of the analog circuits to be
reproduced, and converts them in algorithms that faithfully mimic the characteristics of the
original filters. These curves show the comparison of the original CS-80 filter and that of the
CS-80V.
Response curve of the 12 dB low-pass filter of the original CS-80 and the CS-80V
1.3.4 Ring modulator
The CS-80V includes a ring modulator, just like the original CS-80. The ring modulator allows
the application of a waveform (a sine wave) to another, in order to transform it. The result is
a more brilliant sound, distorted, and enriched in harmonics. As a result of this increase in the
number of harmonics, standard ring modulation algorithms create an audible aliasing. To
avoid this unwanted effect, TAE® includes a module for the dynamic control of the amplitude
with aliasing correction, which removes every trace of aliasing in the signal coming from the
ring modulator.
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Amplitude control module
(VCA) with aliasing
correction
Input
Output
Sine wave
form
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.
1.1.1 NO END IN SIGHT
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 main 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.
If that were not amazing enough, it should be mentioned that physical modeling algorithms
have the ability to combine parameters into instruments that have never existed. There is no
limit to the types of sounds that can be produced!
And when you bring together a bunch of music lovers who also have a tremendous grasp of
the applicable laws of physics and the characteristics of electronic circuits, you wind up with
Arturia. And Arturia now offers you our latest marriage of math and music, the Solina V.
May it help you weave the music of your dreams!
ARTURIA – CS-80V – USER’S MANUAL
2 ACTIVATION & FIRST START
CS-80 V works on computers equipped with Windows 7 or 8 and Mac OS X 10.7 or later. You
can use the stand-alone version or use CS-80 V as an Audio Units, AAX, VST2 or VST3
instrument.
2.1 REGISTER & ACTIVATE
Once the 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 e-mail address during the registration
process.
Once you have acquired an Arturia account you will be able to register the product.
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Effects
Lines I & II
synthesis
parameters
Ribbon controller
Virtual
keyboard
Arpeggiator
Modulation
matrix
Tool bar
Multimode
Ring
modulator
3 QUICK START
This chapter will help you to familiarize yourself with the general usage of the CS-80V. You will
be presented with an overview of the different sections of the synthesizer as well as the Single
voice and Multi mode settings. You will find a precise and detailed description of all settings
and controllers in the chapters that follow.
Chapter 8 A few elements of sound design will be of particular interest for users who have
never worked with a subtractive synthesizer, but wish to understand the basics in this domain.
The CS-80V front panel
3.1 USE OF PRESETS
Use of presets is one of the main areas of evolution of the CS-80V when compared to the
original. In fact, the original CS-80 only allowed 4 spaces in memory for saving 4 sounds.
In the CS-80V, a preset (memorized sound) contains all parameter settings of the synthesis
voice (Single), as well as Multi mode parameters and the different real time controllers and
effects needed to reproduce the sound.
To get to know a few of the different sounds contained in the CS-80V, we will select the preset
J.M.B_4Vces_unis.
For this, click on the button BANK (at the left of the display indicating the name of the bank
currently in use). By clicking, you will see a dropdown menu indicating the available banks.
Choose the bank JM.Blanchet.
When the menu appears, it opens sub menus in a step-by-step manner. This allows us to
get to the sub-bank and presets of a sound designer with a single click.
Choose the sub-bank called Basses and finally select J.M.B_4Vces_unis among the presets.
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Select a preset
The CS-80V is shipped with about 800 presets, which will allow you to get to know the sounds
of the synthesizer. A bank called Templates proposes a selection of presets which allow you to
work from a basic template when programming a sound.
It is also possible to view sounds by sub-bank by choosing the option All in the bank. For example, to see all bass
presets, click on All in the bank selections and then on Bass.
Let’s modify this preset. For this, we’ll begin with a simple modification.
Modify the brilliance of the preset sound with the brilliance controller on the synthesizer.
For this, increase or decrease the green linear BRILL knob on the control panel (above the
virtual keyboard). The tone of the sound will become more or less “brilliant”. Set this knob
to your convenience.
Change the brilliance of the sound
In the same manner, you can change the range of the oscillator by decreasing the linear
FEET knob to one of the 6 values expressed in feet like organs. The lower the number, the
higher the pitch. (The standard tuning can be found at the value 8’)
With these first settings, you have already modified the preset J.M.B_4Vces_unis. You can now
save the sound that you have just created.
To save a user preset (User), click on the save icon in the tool bar: the settings of the
current sound will be saved in the preset being used without changing its name. If the
current preset is a factory preset, the factory preset will not be replaced.
To choose another destination for the sound, click on the Save as icon and then choose the
destination. For example, select New in the choice of banks. 2 new bank and sub-bank
locations as well as a new preset are immediately created. The names New bank, New sub-
bank and New preset appear in their respective displays.
Click on each of these displays to customize the name for each of these 3 parts: bank, sub-
bank, and preset.
3.2 METHODS OF PLAYING
The CS-80V offers 2 playing modes:
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The Single mode allows you to play a single sound (here we will call it timbre)
redistributed across the keyboard.
The Multi mode allows you to play a group of single timbres distributed across 4 zones on
the keyboard (Split), or several single timbres superimposed across the keyboard (Unison).
The Single mode (similar to the original CS-80)
The Multi mode
The Single mode presents the exact architecture of the original CS-80, which is a single timbre, distributed across
the whole of the keyboard with an 8 note polyphonic limit.
The Multi mode takes from the GX1, the “father” of the CS-80, which used 3 keyboards (2 polyphonic and 1
monophonic) and a separate pedal keyboard to play different sonorities distributed to each of the keyboards.
To get to the Multi mode, click on the button to open the hatch situated above the
synthesis parameters. A virtual LED display on the right of the tool bar now indicates Multi
mode is active.
To go back to Single mode, simply click on the close hatch button. The LCD display now
indicates Single.
Opening the Multi mode hatch
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You also have the option to only keep the keyboard and its assignable controllers visible on
the screen by clicking on the KBD icon. The advantage being quick access to real time
controllers and sound presets while having a reduced work area.
You can activate this reduced mode by clicking on the KBD icon, which is on the right of the
tool bar.
The reduced mode
3.3 OVERVIEW OF THE SINGLE MODE (CS-80)
The single mode contains 62 synthesis parameters, which will allow you to create a nearly
infinite variety of sounds. The controllers associated with these parameters are found
regrouped in 2 rows just under the Multi hatch.
Each of these 2 rows is composed of:
1 oscillator (VCO), which provides the base audio signal with its 3 waveforms: square,
sawtooth and triangle. Also, this section allows control of the pitch of the oscillator (the
frequency) and the impulse width of the waveforms.
1 low frequency oscillator (SUB OSCILLATOR) used to modulate the impulse width.
A high-pass resonant filter, tied to the 12 dB / 24 dB cutoff selector.
A low-pass resonant filter, tied to the 12 dB / 24 dB cutoff selector.
An ADR envelope that modulates the high-pass and low-pass filters.
1 amplifier (VCA) allowing the amplification of the signal coming from the filter to
direct it to the stereo output.
An ADSR envelope modulates the signal going through the amplifier.
Velocity and aftertouch settings on volume (VCA) and brilliance (VCF).
The synthesis parameters
A series of 24 buttons of factory presets will give you base examples for the programming of synthesis parameters.
These presets are found on the control panel. They offer the presets of the original CS-80.
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Synthesis line presets
Let’s see how to quickly create a polyphonic sound that evolves through time:
To really understand the programming of the CS-80V, let’s take a very simple sound. Select the
preset 2VCO_1VCF_Link from the Templates / Filters sub-bank.
First, set the mix output to first voice as the image below:
Start by reducing the cut-off frequency of the low-pass filter (LPF). This will make the
sound more muted. For this, set the linear green LPF knob.
Set the cut-off frequency
Note that the filter cut-off frequency is modulated by an ADR envelope (Attack, Decay and
Release).
To really hear the effect from the ADR envelope on the filter cut-off frequency, increase the
value for the resonance (RES). This will amplify the filtering effect and the sound will start
to make the cutoff frequency more pronounced, producing a “whistle” effect.
Change the length of attack for this envelope (A) so that the brilliance increases slower or
faster when a note is played.
In the same manner, change the value for the decay (D). The brilliance will also decrease
faster or slower while you are holding the note.
The parameters of the filter envelope
You have probably noticed that a different envelope can also modulate the amplitude of the
sound (VCA):
Increase the attack time (A) so that the volume of the sound progressively increases.
Do the same thing with the release (R); the volume will progressively decrease when you
release the note.
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The ADSR envelope controllers
3.4 OVERVIEW OF THE MULTI MODE
The CS-80V allows the creation of 8 parallel voices and thus, in theory, 8 different sounds
played at the same time.
On the original CS-80, a note was controlled by a card that was filled with electronic circuits that represented the
complete synthesis architecture. It is for this reason that we could, for example, obtain notable differences in the
settings of a sound between the notes played and the tuning of the oscillator.
The CS-80V conserves this ideal: you can program eight different sounds (eight voices), which are assignable in a
multitude of applications.
With the Multi mode, it is possible for you to assign each of these 8 voices to 4 keyboard zones
and to 4 different MIDI channels. These 8 voices can also be superimposed across the entire
keyboard in order to create a composite sound that is very rich and expressive (Unison mode).
Let’s follow this example:
Choose the preset Tremolo in the Templates low frequency bank and Effects sub-bank. In
this example, the 8 voices all have the same settings.
First, open the Multi mode to access the parameters.
Now, set the different zones as follows:
1.1 The first 4 voices will occupy zone1 (C1 to B3);
1.2 The fifth voice will occupy zone2 (C4 to C5);
1.3 The sixth voice will occupy zone 3 (C5 to C6)
1.4 The seventh & eighth voices will occupy the zone 4 (C6 to C7).
1.5 All these zones must be configured on all MIDI channels by selecting Omni, close to
the Keyboard range.
The voice modes allow you to play differently according the voice:
1.6 Set the UniLast for each voice
1.7 Deactivate the PORTA, R.MOD and FX buttons for each voice
1.8 Set the FEET voice to 16”, this will create a bass for the low part of the keyboard.
Keyboard and MIDI configuration Feet configuration
In order to get a polyphonic voice you have to set number of polyphonic voices in the tool
bar, x3 is enough for our sound:
Set the polyphony
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Here you can see the zone assignment:
The keyboard zone assignment
Before changing the different mode parameters, please deactivate the tremolo effect
(TREM) in the effect zone.
Now let’s apply some change to our sound:
Start by changing the pan position of the first voice. Place the sound on the right: turn the
knob PAN fully to the right (value of 1.00R).
Detune this voice by slightly turning the detune knob (DET) to the right (value of +1.40).
Now change the pan position of the second single fully to the left (value 1.00L).
Detune this voice by turning the knob DET to the left (value of +0.9945).
Apply the same changes to the third and fourth voice.
Place these 4 voices to unison mode by selecting the UniLast setting in the VOICE MODE
menu in the edit zone. The sound of the first 4 voices is “deeper” as a result of the
detuning of the 4 voices, and “widened” as a result of the pan position settings between all
of the voices.
The fifth Single placed in zone 2 must now be configured as a Random voice mode. It will
play a polyphonic accompaniment sound.
Random mode
Activate the ring modulator on this Single to obtain a modulate sound that will be played on
the second zone.
Ring mode activation
Your keyboard now contains 4 different zones: first is a bass, second is a polyphonic keyboard,
and third and fourth are leads.
You can change the parameters of all the voices as you want, for example, you can change the
patch of each voice. Then you can play up to 8 different sounds on 4 zones. To do that, just
click on the patch number close to the zone number. Select your patch and edit it by clicking
on the red Edit button.
It’s also possible to define various parameters like arpeggio or the MIDI channel of the zone.
Below you will find a list of these parameters:
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For each of the 8 voices, you can set:
The choice of zone (from 1 to 4 or no zone)
Transposition (in semitones)
Fine tuning
Volume
Pan position
Portamento/Glissando
Ring modulator
Chorus and delay effects
To quickly isolate a voice (where the EDIT button is lit) and play it across the whole keyboard, just close the Multi
panel.
For the 4 zones:
The MIDI channel (from 1 to 16 and Omni)
The low and high notes (from C2 to C8)
The playing mode (rotating polyphonic trigger, reassigned, reinitialized, monophonic
unison)
Arpeggio activity
If you wish to preserve CPU power, avoid using the Rotate mode, rather place the zone on ReAssign mode.
3.5 THE REAL TIME CONTROLLERS AND MIDI ASSIGNATION
Like its excellent ancestor, the CS-80V is particularly adapted to real time playing. One of the
major points of evolution when compared to the original is the possibility to assign any CS-80V
knob to an external MIDI controller.
Let’s look at an example:
Click on “MIDI Learn” button of the toolbar
Click on the brilliance knob (BRILL). A MIDI assign dialog then appears.
Move the MIDI controller of your choice (the modulation wheel for example). The CS-80V
knob will move with it.
Next, you can automate the movements of your MIDI controller in your MIDI sequencer or
simply make it evolve in real time when you are playing live.
MIDI assigning of the Brilliance knob
As you have previously read, the CS-80V has a large number of controllers acting on the
tuning, tone (brilliance) or the volume of a sound:
The keyboard receives velocity and polyphonic aftertouch information
A ribbon controller lets you continuously control any synthesizer parameter through a
modulation matrix, the base assignment being oscillator frequency.
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3.6 THE EFFECTS SECTION
The effects section lets you add Chorus, Stereo Delay or even a Ring Modulator t o your sound.
You can also impose a Portamento/Glissando to what you play on the keyboard.
Settings concerning sustain and expression pedals are also available in this section.
Let’s keep the Tremolo example and see how to use the effects within Multi mode:
Deactivate the FX button for Single1. We won’t place effects on the bass sound.
Sending sound to the effects
Leave the FX button activated on the singles you want.
It is important to know that effect settings are the same for all singles with the same patch.
Activate the ON/OFF switch for Chorus and Delay in the effects section, on the left of the
virtual keyboard.
Set the Delay MIX knob to counterbalance the dry sound of the Singles and the return of
the delay.
Next turn the Delay SPEED knob to set the speed of the repetitions.
Finally, set the chorus depth by turning the DEPTH knob.
You can choose between two types of chorus: Chorus and Tremolo. The Tremolo
oscillations are faster than those of the Chorus. This effect is ideal for auto pan effects.
The effects section
Of course, all of the settings that we have modified during these chapters can be saved in the
preset that you have created.
3.7 THE MODULATION MATRIX
On the left of the synthesis parameters is a second hatch, smaller than the one for Multi mode.
This contains an extension of the possibilities for modulation when compared to the original
CS-80. It is presented in the form of a modulation matrix in which we choose 10 sources
(SubOsc, EG, etc.) which will modulate 10 destinations (VCO 1 Freq, LP 2 res, etc.).
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The modulation matrix
The choice of source and destination is done by clicking on LCD screens. The individual matrix
positions will offer 12 modulation sources and 38 destinations, with an attenuation control in
between.
Let’s apply 2 supplementary types of modulation to the preset 2VCO_1VCF_Link:
Open the hatch of the matrix to access the parameters.
Among the modulation sources, choose the first low frequency oscillator (LFO 1).
Choose the cut-off frequency for the low-pass filter among the destinations by selecting LP
1 cut.
Modulate the frequency of the low-pass filter (LP 1 cut) with the LFO (LFO 1)
Between the LCD screens is a knob (AMOUNT). It allows you to set the level of modulation
by applying positive values (by turning to the right) or negative values (by turning to the
left).
Turn the knob to the right for a positive value
After this modulation is set, the cut-off frequency will vary in a cyclic manner, to the
frequency of LFO1. You can also set the speed of the Sub Oscillator by changing the value
of the SPEED button.
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4 THE INTERFACE
4.1 USE OF PRESETS
Presets let you memorize the sounds of the CS-80V. A preset contains all of the information
pertaining to the reproduction of a sound. In the program, the presets are classed in banks
and sub-banks. Each bank contains a certain number of sub-banks, which generally determine
a type of sound: sub-bank Basses, sub-bank Effects, etc. Each sub-bank contains within itself
a certain number of presets.
The CS-80V is shipped with several factory banks. But it is possible to create new user banks
of sounds, each containing a number of sub-banks and presets. For security, the factory banks
cannot be directly modified. It is nonetheless possible to create a sound based on a factory
preset by saving it as a user preset.
4.1.1 Choice of a bank, sub-bank, preset
The bank, sub-bank and preset currently in use by the CS-80V are each permanently displayed
in the synthesizer tool bar.
Display of current bank, sub-bank and preset
To choose a preset in the current sub-bank, click on the button on the left of the field, and a
dropdown menu appears with a list of the presets of the same sub-bank. You can choose
another preset by selecting the corresponding line in the dropdown menu. As soon as the
preset has been chosen, you can play the new sound on your MIDI keyboard or from your
sequencer.
Choice of a preset in the same sub-bank
In the dropdown menu concerning the banks, the All option allows you to open a sub-list with
all of the sub-banks available in all of the banks. This gives you access directly to all of the
presets of a given type, for example all of the basses, no matter which bank they are in.
This function is particularly useful to quickly see all of the presets of the same type.
When a preset has been modified an asterisk appears next to its name in the tool bar.
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4.1.2 Creation of a bank, sub-bank, preset
To create a new bank, click on the left sided arrow button. The dropdown menu displays the
names of all of the existing banks of sounds, and a line called New bank... Click on New
bank... to create a new bank of sounds. You can then change the name of this bank by clicking
on its name in the tool bar and entering the new name.
To create a new sub-bank, just click on the middle sided button, and select New sub-bank...
You can also change the name of the new sub-bank.
Finally, to create a new preset, click on the right sided arrow button, and select New preset...
The new preset is created, recording the current settings of the CS-80V. You can thus work on
the settings of a sound, and save the sound again with the same preset name by clicking on
the save button (see the following paragraph). You can also change the name of the new
preset by clicking on its name.
4.1.3 Saving a user preset
To save your setting modifications in the current preset, click on the Save button in the tool
bar of the CS-80V.
Save button in the tool bar
If you want to save your settings under another preset name, click on the Save As button in
the tool bar. A dropdown menu appears and allows you choose an existing preset (in this case,
the contents of the existing preset will be replaced with the current settings), or to save your
settings as a new preset (in this case, click on New preset... in the sub-bank of your choice).
Save As button and Save menu in the tool bar
When you are working from a factory preset, which cannot be deleted, clicking on the Save
button will not replace the current factory preset, but will instead automatically open the Save
As menu to save the current settings as a user preset.
4.1.4 Import/ Export of a bank of presets
It is possible to import new banks of presets conceived for the CS-80V. To import a new bank
of presets, click on the preset bank import button on the tool bar:
Preset bank import button on the tool bar
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