Arturia CS-80V User's Manual
USER’S MANUAL
version 1.0
Programming:
Nicolas Bronnec
Pierre-Jean Camilieri
Sylvain Gubian
Xavier Oudin
Graphics:
Thomas & Wolfgang Merkle (Bitplant)
Manual:
Jean-Michel Blanchet
Nicolas Bronnec
Frédéric Brun
Houston Haynes
Tom Healy
Akira Naito
Xavier Oudin
David Poncet
Yuji Sano
Mitsuru Sakaue
Sound Designers:
Jean-Michel Blanchet
Glen Darcey
Darrell Diaz
Chris Laurence
Mateo Lupo
Jamie Muhoberac
Chris Pittman
Katsunori Ujiie
Very special thanks to:
Yamaha Corporation
Thanks to:
Elsa Chal-Debeauvais, Randy Fuchs, Mr Tohyama, Akira Naito, Houston Haynes,
Fabrice Paumier, Laurent Falla and the numerous beta testers.
© ARTURIA S.A. – 1999-2003 – All rights reserved.
1, rue de la Gare
38950 Saint-Martin le Vinoux
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 non-disclosure 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.
TABLE OF CONTENTS
1 INTRODUCTION
1.1 The birth of the Yamaha CS-80 7
1.2 Why a virtual CS-80? 10
1.3 A better emulation thanks to TAE 11
1.3.1 Aliasing-free oscillators 11
1.3.2 A better reproduction of analog oscillator waveforms 12
1.3.3 A better reproduction of analog filters 13
1.3.4 Ring modulator 13
2 INSTALLATION
2.1 Windows 14
2.2 Mac OS X 16
2.3 Mac OS 9 17
3 QUICK START
3.1 Use of presets 19
3.2 Methods of playing 21
3.3 Overview of Single mode 23
3.4 The modulation matrix 25
3.5 Overview of Multi mode 26
3.6 The real time controllers and MIDI assign 28
3.7 The effects section 28
4 THE INTERFACE
4.1 Use of presets 30
4.1.1 Choice 30
4.1.2 Creation 32
4.1.3 Saving 32
4.1.4 Importation/Exportation 33
4.2 Using controllers 34
4.2.1 Sliders 34
4.2.2 Knobs 34
4.2.3 Switches 34
4.2.4 Ribbon 34
4.2.5 Setting keyboard zones 35
4.2.6 Keyboard 35
4.2.7 MIDI control 35
5 USING THE CS-80V
5.1 The Single mode 37
5.2 Two lines of synthesis 37
5.3 The modulation matrix 40
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 45
5.10 The arpeggiator 46
5.11 The pre-selection buttons 46
5.12 The ribbon 46
5.13 General settings 47
5.14 The Multi mode 47
6 THE BASICS OF SUBTRACTIVE SYNTHESIS
6.1 The 3 main elements 50
6.1.1 The oscillator 50
6.1.2 The filter 54
6.1.3 The amplifier 56
6.2 Other modules 56
6.2.1 The keyboard 56
6.2.2 The envelope generator 57
6.2.3 The low frequency oscillator 57
7 SOME ELEMENTS OF SOUND DESIGN
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 63
7.2 The Multi mode 64
7.2.1 Four different sounds on the keyboard 64
7.2.2 A composite sonority in unison mode 65
7.2.3 Introduction of the arpeggiator in a Multi preset 66
7.3 Other sides of the CS-80V 67
7.3.1 A step sequencer 67
7.3.2 A stereo sound without effects 68
8 MODES D’UTILISATION DU CS-80V
8.1 Stand-alone 69
8.1.1 Launching the application 69
8.1.2 Setting preferences 69
8.1.3 The tool bar 70
8.1.4 Processor use 71
8.1.5 Panic 71
8.1.6 Saving an instrument 71
8.2 VST 72
8.2.1 Installation 72
8.2.2 Using the instrument in VST mode 72
8.2.3 Connection to a MIDI track 72
8.2.4 Saving presets 73
8.3 Pro Tools 74
8.3.1 Installation 74
8.3.2 RTAS and HTDM standards 74
8.3.3 Opening an instrument 74
8.3.4 Connection to a MIDI node 75
8.3.5 Saving presets 75
8.3.6 Automation 76
8.4 DXi 77
8.4.1 Installation 77
8.4.2 Opening the instrument 77
8.4.3 Connection to a MIDI track 77
8.4.4 Saving presets 78
8.4.5 Automation 78
8.5 Digital Performer 79
8.5.1 Installation 79
8.5.2 Opening the instrument 79
8.5.3 Connection to a MIDI node 79
8.5.4 Saving presets 80
8.5.5 Automation 80
9 APPENDICES
9.1 List of abbreviations (general settings) 81
9.2 List of abbreviations (singles) 82
9.2 Index 84
1 INTRODUCTION
1.1 THE BIRTH OF THE YAMAHA CS-80
Yamaha was created at the end of the 19
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.
th
century, in Hamamatsu, Japan.
The GX-1
The GX-1 was an analog polyphonic synthesizer that was built in order to test the
market. It cost $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, Yamaha 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 (83kgs 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.
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The CS-80
The CS-80 was made popular in the late 70’s and early 80’s by a number of pop groups,
including Electric Light Orchestra, Toto, Paul McCartney and Wings. Other artists and
bands like Vangelis, Bon Jovi, Jean-Michel Jarre, Geoffrey Down, Stevie Wonder and
some others managed to turn the CS-80 into a real myth.
Let us quote Matt Friedmann from the Vintage Synth Explorer website: «No synth sounds
greater. The best examples for its extremely fat sound are ‘Blade Runner’, ‘Mask’, or
‘Bounty’ by Vangelis as well as ‘Dune’ by Toto. (…)
With two analog oscillators per voice, the CS-80 has the potential for some really phat
sounds! A great VCF filter with independent hi pass and low pass resonant filters, a
powerful ring modulator and plenty of modulation controls further enhance the CS-80's
sonic potential. There are 22 preset sounds (6 user) selected from bright and ugly
colored buttons above the keyboard. The keyboard is weighted and has a full 61 keys
with performance controllers for vibrato, pitch, brightness and volume. Surprisingly
there's also a ribbon controller for the pitch-bending. There is no MIDI or cv/gate.»
The first edition of the service manual has a lot of hand-drawn pages, including the main
panel layout.
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The CS-80 Service Manual
In conclusion, let’s also quote another huge reference in the field: Peter Forrest (in the AZ 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.
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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 potentiometer, modifying a wheel
can be enough to radically transform a sound.
But this synthesizer, reproduced identically, despite its particular structure would bring
little innovation to today’s musical landscape.
Arturia has thus brought new life to the myth, remaining faithful to the sound and the
functionality, but also taking it several steps further. As you will see, these new additions
bring a new lease of life to the CS-80V.
The possibility to affect a different sound to each of the polyphonic voices, an
independent keyboard management, positioning in stereo space and particular tuning
allow the amplification of the unique presence and the sonorities of this polyphonic
synthesizer. New combinations have emerged, and the 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.
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1.3 A BETTER EMULATION THANKS TO TAE®
A
®
- True Analog Emulation - is a new technology dedicated to the digital reproduction
TAE
of analog circuits used in vintage synthesizers.
When implemented in software code, TAE’s algorithms guarantee the respect of hardware
specifications. This is why your CS-80V offers an unparalleled quality of sound.
In detail, TAE
1.3.1 Aliasing-free oscillators
Standard digital synthesizers produce aliasing in high frequencies, and also when using
Pulse Width Modulation or FM.
®
allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…),
TAE
and at no extra CPU cost.
®
regroups four major advances in the domain of synthesis:
liasing
Linear frequency spectrum of an existing well-known software synthesizer
Linear frequency spectrum of the CS-80V oscillator made with TAE
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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 saw tooth, 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 «saw tooth» waveform (deformed by high-pass and low-pass
filtering) of the CS-80V
Temporal representation of a «saw tooth» waveform (deformed by high-pass and low-pass
filtering) reproduced by TAE
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.
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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. The curve underneath shows 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
Response curve of the 12
dB low-pass filter 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 sinusoid) 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.
Sine wave
form
Input Output
Amplitude control module
(VCA) with aliasing
correction
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2 INSTALLATION
2.1 WINDOWS INSTALLATION (WIN9X, ME, 2000, XP)
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named «CS-80V Setup PC.exe»
At the first step of the installation, choose the destination folder for the CS-80V
installation. By default, it will be installed at the location C:\Program Files\Arturia\CS80V. You can change the destination with the Browse button.
Choose the installation folder
Next, have your license number ready and enter it with your first and last names in the
user information window.
User information window
The CS-80V will next be installed as a standalone application. The following stage will let
you choose to install the CS-80V as a plug-in. To do this, choose the protocol(s) that you
wish to use (VST, RTAS or DXi). For more information on these protocols, go to chapter
8.
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Choice of protocols
For the VST and RTAS protocols, you must choose an installation folder in order for the
host application to use the CS-80V as a plug-in. If you do not know how to make this
choice, go to chapter 8.
Choice of VST plug-in installation folder
The installation program now has enough information to complete the installation. In a
few seconds, you will be able to use the CS-80V.
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2.2 MAC OS X INSTALLATION
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named «CS-80V Setup Mac».
Enter the administrator name and password of your computer in the authentication
window.
Authentication window
The CS-80V will next be installed as a stand-alone program. The following step will let
you choose to install the CS-80V as a plug-in. Then, choose the protocol that you wish to
use (VST, RTAS/HTDM). For more information on these protocols, go to chapter 8.
By default the CS-80V will be installed in the Applications folder. But you can choose the
disk and installation folder for the CS-80V.
Choice of protocols, disk and installation folder
Next, have your license number ready and enter it with your first and family names in
the user information window.
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The installation program now has enough information to complete the installation. In a
few seconds, you will be able to use the CS-80V.
2.3 MAC OS 9 INSTALLATION
Insert the CD-ROM into the drive. Explore the contents of the CD-ROM, double click on
the icon named «CS-80V Setup Mac».
The following stage will let you choose to install the CS-80V as a plug-in. To do this,
choose the protocol(s) that you wish to use (VST, RTAS/HTDM, and MAS). For more
information on these protocols, go to chapter 8.
By default the CS-80V will be installed in the Applications folder. But you can choose the
disk and installation folder for the CS-80V.
Choice of protocols, disk and installation folder
Next, have your license number ready and enter it with your first and family names in
the user information window.
User information window
The installation program can automatically detect folders containing VST plug-ins on your
computer.
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Auto detection of VST folders
Choose the applications for which you wish to install the CS-80V as a VST plug-in.
Choice of VST applications
For each of the selected applications, if several versions are present on your computer,
select the version for which you want to install the CS-80V as a VST plug-in.
Choice of the version of Logic Audio
The installation program now has enough information to complete the installation. In a
few seconds, you will be able to use the CS-80V.
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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 6, 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
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, it allowed only 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 «Brass1».
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 «JMB».
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.
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Choose the «SUB BANK» called «Brass» and finally select «Brass1» among the
«PRESETS».
Select the preset brass1
The CS-80V is shipped with 400 presets, which will allow you to get to know the sounds
of the synthesizer. A bank called «User / Temp» proposes a selection of presets which
allow you to work from a basic template when programming a sound.
(The sound «1 voice», for example, is presented with a single active synthesis line: an
oscillator is directed to the low-pass filter, the signal is then routed towards the VCA.)
It is also possible to visualize the totality of presets corresponding to a type of 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».
3.1.1 Modifying this preset
For this, we’ll begin with a simple manipulation.
Modify the brilliance of the «Brass 1» 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.
In the same manner, you can change the range of the oscillator by decreasing the
linear «Feet I» 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’)
Change the brilliance of the sound
With these first settings, you have already modified the preset «1 voice». 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.
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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:
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 (the original CS-80)
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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
mono) 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
You also have the option to 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 surface.
You can activate the reduced mode by clicking on the «Kbd» icon, which is on the
right of the tool bar.
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The reduced mode
3.3 OVERVIEW OF 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,
saw-tooth 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 after touch 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.
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 «1_voice» (in the «User / Temp» sub bank). The structure of this
sound is very basic: the oscillator1 saw tooth waveform is active and the signal is
directed through the low-pass filter (the high-pass filter is deactivated), and then the
output amplifier.
The route of the preset sound «1_voice»
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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 («ResL»). 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 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 (sub osc., envelopes, etc…) which will modulate 10 destinations (freq. Osc.,
freq. VCF, etc.…).
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 «1_voice»:
Open the hatch of the matrix to access the parameters.
Among the modulation sources, choose the oscillator low frequency1 («Sub1» or
LFO).
Choose the cut-off frequency for the low pass1 filter among the destinations
Modulate the frequency of the low-pass filter (LPF1) with the LFO (Sub 1)
Between the LCD screens is a knob («Amt»). 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.
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3.5 OVERVIEW OF 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 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»).
Let’s use an example:
Choose the preset «split1» in the «Templates» bank and «Multi1» sub-bank. In this
example, the 8 voices all have the same settings.
The first 4 voices will occupy zone1 (C1 to C3), the fifth will occupy zone2 (C#3 to C5),
the sixth will occupy zone 3 (C#5 to C6) and finally the seventh and eighth will occupy
zone 4 (C#6 to C7).
Each of the 4 zones receives one different single sound (the «singles» named 1,2,3 and
4).
Allocation of voices to the different zones on the keyboard
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 1.00).
Detune this voice by lightly turning the knob «Detune» to the right (value of +1.00)
Multi mode voice settings
Now change the pan position of the second single (fully to the left - value 1.00L)
Detune the third (put the knob «Detune» to a value of 0.96)
Lightly change the pan position of this single to the right - value 0.78R)
Detune the fourth (put the knob «Detune» to a value of +1.00)
Place these 4 voices to «Unison» mode by selecting the «UniLast» function in the
«play mode» menu in the edit zone.
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