Arturia CZ V User Manual
USER MANUAL
Special Thanks
DIRECTION
Frédéric BRUN Kevin MOLCARD
DEVELOPMENT
Marie PAULI
Oliver LARKIN
Alexandre ADAM
Baptiste AUBRY
Corentin COMTE
SOUND DESIGN
Jean-Michel BLANCHET
BigTone
Cubic SPLINE
Don SOLARIS
DESIGN
Baptiste LE GOFF
Pierre PFISTER
SPECIAL THANKS
Andrew CAPON
Bernd WALDSTÄDT
Chuck ZWICKY
Daniel TINEN
Kevin ARCAS
Loris DE MARCO
Mathieu NOCENTI
Pierre PFISTER
Pierre-Lin LANEYRIE
EDT
Joseph HOLLO
Lyli JORDY
Maxime DANGLES
Morgan PERRIER
Shaun ELLWOOD
Fernando Manuel
RODRIGUES
Gustavo BRAVETTI
Jeffrey CECIL
Raynald DANTIGNY
Samuel LIMIER
Simon CONAN
Timothée BÉHÉTY
Yann BURRER
Maxime AUDFRAY
Minim MUSIC
NewLoops
Paul SCHILLING
Jonas SELLAMI
Marco CORREIA
"Koshdukai"
Peter TOMLINSON
Terry MARSDEN
Arnaud BARBIER
Matthieu COUROUBLE
Florian MARIN
Thomas KOOT
Simon GALLIFET
Jay JANSSEN
Mat HERBERT
MANUAL
Daniel TINEN (Author)
Minoru KOIKE
© ARTURIA SA – 2019 – All rights reserved.
11 Chemin de la Dhuy
38240 Meylan
FRANCE
www.arturia.com
Vincent LE HEN
Charlotte METAIS
Jose RENDON
Holger STEINBRINK
Jack VAN
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 29 April 2019
Thank you for purchasing CZ V!
This manual covers the features and operation of Arturia’s CZ V, the latest in a long line of
powerful virtual instruments.
Be sure to register your software as soon as possible! When you purchased CZ V you were
sent a serial number and an unlock code by e-mail. These are required during the online
registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update the hardware that has been purchased.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable. If you encounter
any hearing loss or ringing in the ears, you should consult an audiologist.
Introduction
Congratulations on your purchase of Arturia's CZ V!
We’d like to thank you for purchasing CZ V, a virtual instrument recreation of the classic
Casio Phase Distortion synths from the 1980s.
Arturia has a passion for excellence, and CZ V is no exception. Listen to the preset sounds,
tweak a few controls, skim through the features, or dive as deep as you like; it is easy
to understand and use. We are confident that the CZ V will be a valuable addition to your
instrument collection, and that you'll have a lot of fun with it.
Be sure to visit the www.arturia.com website for information about all of our other great
hardware and software instruments. They have become indispensable, inspiring tools for
musicians around the world.
Musically yours,
The Arturia team
Table Of Contents
1. WELCOME TO CZ V!.................................................................................................................................................... 4
1.1. Emulating Casio's Phase Distortion Synthesis.................................................................................................... 4
1.2. Features of CZ V..................................................................................................................................................................... 5
2. ACTIVATION & FIRST START ................................................................................................................................ 6
2.1. System requirements ......................................................................................................................................................... 6
2.2. Install and Activate the CZ V license....................................................................................................................... 6
2.2.1. The Arturia Software Center (ASC)................................................................................................................................................................... 6
2.3. Initial setup............................................................................................................................................................................... 7
2.3.1. Audio and MIDI settings: Windows ................................................................................................................................................................. 7
2.3.2. Audio and MIDI settings: macOS..................................................................................................................................................................... 8
2.3.3. CZ V as a plug-in ......................................................................................................................................................................................................... 9
3. QUICK TOUR OF THE ARTURIA CZ V........................................................................................................... 10
3.1. Upper toolbar: Configuration, Presets, and MIDI.......................................................................................... 10
3.1.1. CZ V menu (top left corner of app window) ............................................................................................................................................ 10
3.1.2. Preset List........................................................................................................................................................................................................................ 14
3.1.3. Hide/Reveal Advanced features....................................................................................................................................................................... 16
3.1.4. MIDI CC Learn mode .............................................................................................................................................................................................. 16
3.1.5. Master Tune.................................................................................................................................................................................................................... 16
3.1.6. Octave................................................................................................................................................................................................................................. 17
3.1.7. Unison Detune ............................................................................................................................................................................................................... 17
3.1.8. Waveform and Envelope illustration.............................................................................................................................................................. 17
3.2. Central programming tabs ........................................................................................................................................... 17
3.3. Virtual keyboard area ..................................................................................................................................................... 18
3.3.1. The virtual keyboard................................................................................................................................................................................................ 18
3.3.2. Master Volume............................................................................................................................................................................................................ 19
3.3.3. Parameter name display..................................................................................................................................................................................... 19
3.3.4. Pitch Bend...................................................................................................................................................................................................................... 19
3.3.5. Modulation Wheel..................................................................................................................................................................................................... 19
3.3.6. Macro faders 1-4 ...................................................................................................................................................................................................... 20
3.3.7. Wave scope................................................................................................................................................................................................................. 20
3.3.8. Vibrato............................................................................................................................................................................................................................ 20
3.3.9. Arpeggiator ................................................................................................................................................................................................................... 21
3.3.10. Rate and Sync .......................................................................................................................................................................................................... 21
3.3.11. Pattern ............................................................................................................................................................................................................................ 22
3.3.12. Line Select, Ring and Noise Modulation switches............................................................................................................................. 23
3.3.13. Portamento................................................................................................................................................................................................................. 23
3.3.14. Poly.................................................................................................................................................................................................................................. 23
3.3.15. Lower toolbar............................................................................................................................................................................................................ 24
4. SYNTHESIS SECTION / TAB ................................................................................................................................ 29
4.1. Lines 1 and 2 .......................................................................................................................................................................... 29
4.2. Selecting and controlling waveforms................................................................................................................. 30
4.2.1. Waveform options................................................................................................................................................................................................... 30
4.2.2. DCW, Level, and Pan............................................................................................................................................................................................ 30
4.2.3. Simple and Compound waves......................................................................................................................................................................... 31
4.2.4. Digitally Controlled Wave: DCW’s impact on the resulting waveform.................................................................................. 31
4.2.5. DCW Envelope ........................................................................................................................................................................................................... 32
4.2.6. How to edit envelopes in the Synthesis window ................................................................................................................................ 33
4.2.7. AMP envelope ............................................................................................................................................................................................................. 34
4.2.8. Pitch envelope ............................................................................................................................................................................................................ 35
4.3. Detune, Modulation, and Noise Source............................................................................................................... 35
4.3.1. Detune (Oct, Note, and Fine).............................................................................................................................................................................. 35
4.3.2. Modulation: Ring and Noise............................................................................................................................................................................... 36
4.3.3. Noise Source ................................................................................................................................................................................................................ 37
4.4. Unison and UNISON DETUNE.................................................................................................................................... 37
5. ENVELOPES ................................................................................................................................................................... 39
5.1. Navigating the ENVELOPES window...................................................................................................................... 39
5.2. Editing Envelopes.............................................................................................................................................................. 40
5.2.1. Selecting an Envelope Mode ............................................................................................................................................................................. 40
5.2.2. Top-Line Envelope Parameters...................................................................................................................................................................... 40
5.2.3. Bottom-Line Envelope Parameters............................................................................................................................................................... 42
5.2.4. Copying and Pasting Envelopes..................................................................................................................................................................... 43
5.3. CZ Envelopes........................................................................................................................................................................ 44
5.3.1. About Rate...................................................................................................................................................................................................................... 45
5.3.2. Editing a CZ envelope............................................................................................................................................................................................ 45
5.4. DADSR Envelopes .............................................................................................................................................................. 47
5.5. MSEG envelopes................................................................................................................................................................. 48
5.5.1. Editing an MSEG envelope................................................................................................................................................................................... 48
5.5.2. Points................................................................................................................................................................................................................................ 48
5.5.3. Adjust the Time.......................................................................................................................................................................................................... 48
5.5.4. Time-shifting multiple points............................................................................................................................................................................ 49
5.5.5. Levels ............................................................................................................................................................................................................................... 49
5.5.6. Slopes............................................................................................................................................................................................................................... 49
5.5.7. Bipolar (Pitch and Mod envelopes only) .................................................................................................................................................. 50
5.5.8. Looping envelopes ................................................................................................................................................................................................... 51
5.5.9. Sync .................................................................................................................................................................................................................................. 52
5.5.10. Grid and zoom ........................................................................................................................................................................................................ 53
6. MODULATIONS.......................................................................................................................................................... 55
6.1. Modulation matrix .............................................................................................................................................................. 55
6.1.1. How signal flows through the matrix ........................................................................................................................................................... 56
6.1.2. Mod Source to multiple destinations ............................................................................................................................................................ 56
6.1.3. Mod destination controlled by multiple sources.................................................................................................................................... 57
6.1.4. Connecting Mod Sources to Mod Destinations ....................................................................................................................................... 57
6.1.5. The 9-16 tab ................................................................................................................................................................................................................... 59
6.2. Combos / Lfo / S&H tab ................................................................................................................................................ 59
6.2.1. LFOs ................................................................................................................................................................................................................................... 59
6.2.2. Sample and Hold...................................................................................................................................................................................................... 63
6.2.3. Combinate .................................................................................................................................................................................................................... 65
6.3. Modulations: Envelopes tab ........................................................................................................................................ 68
6.3.1. Mod Envelope Poly ................................................................................................................................................................................................... 69
7. FX (Effects).................................................................................................................................................................... 70
7.1. Series and parallel module configuration.......................................................................................................... 70
7.2. Selecting an effect .............................................................................................................................................................. 71
7.3. Enabling / disabling an effect ..................................................................................................................................... 71
7.4. Editing the effects............................................................................................................................................................... 72
7.4.1. Reverb ................................................................................................................................................................................................................................ 72
7.4.2. Delay.................................................................................................................................................................................................................................. 73
7.4.3. Chorus............................................................................................................................................................................................................................... 74
7.4.4. Phaser............................................................................................................................................................................................................................... 75
7.4.5. Flanger.............................................................................................................................................................................................................................. 76
7.4.6. Multimode Filter.......................................................................................................................................................................................................... 77
7.5. Overdrive.................................................................................................................................................................................. 77
7.6. Compressor ............................................................................................................................................................................ 78
7.7. Bitcrusher ................................................................................................................................................................................. 79
8. Preset Browser........................................................................................................................................................... 80
8.1. Searching presets.............................................................................................................................................................. 80
8.2. Using tags as a filter ........................................................................................................................................................ 81
8.3. Tag category windows................................................................................................................................................... 81
8.4. Results window................................................................................................................................................................... 82
8.5. The Preset Info section.................................................................................................................................................. 83
8.5.1. Making new tag categories ................................................................................................................................................................................ 84
8.5.2. Edit information for multiple presets .......................................................................................................................................................... 84
8.6. Preset selection: other methods .............................................................................................................................. 85
8.7. Playlists .................................................................................................................................................................................... 85
8.7.1. Add and name a playlist....................................................................................................................................................................................... 85
8.7.2. Delete a playlist .......................................................................................................................................................................................................... 87
9. MIDI CONTROLLERS AND CONFIGURATIONS....................................................................................... 88
9.1. MIDI Learn controller assignment.......................................................................................................................... 88
9.1.1. Assigning / unassigning controls..................................................................................................................................................................... 89
9.1.2. Min / Max value sliders.......................................................................................................................................................................................... 89
9.1.3. Relative control option .......................................................................................................................................................................................... 90
9.1.4. Reserved MIDI CC numbers............................................................................................................................................................................. 90
9.2. MIDI controller configurations .................................................................................................................................. 91
10. SOFTWARE LICENSE AGREEMENT............................................................................................................... 92
1. WELCOME TO CZ V!
1.1. Emulating Casio's Phase Distortion Synthesis
The CZ V is Arturia’s faithful re-creation, in virtual instrument form, of the Casio CZ series of
synthesizers which were introduced in the mid-1980s. Eight different models of the CZ series
were built, ranging from the budget-priced CZ 101 up to the full-scale CZ 1. In a sense, the CZ
synths were a bridge between the traditional subtractive synthesis method used by Moog,
Arp, Oberheim, and Sequential Circuits, and the FM synthesis method used by Yamaha in
their DX7 series. Famous artists who used CZ synths include Cirrus, Moby, Jimi Tenor, Vince
Clarke, Jimmy Edgar, The Orb, JeanMichel Jarre, and They Might Be Giants.
The unique sound character of CZ synthesizers stems from their use of a synthesis
technique called
from an oscillator with a fixed set of harmonic overtones (such as a square wave, sawtooth
wave etc.), which is then dynamically filtered to change the tone, PD synthesis starts with a
dynamic waveform that changes its overtones over time, yielding classic synth sounds at a
lower cost.
For example, a PD waveform may begin its attack as a sine wave, morph into a square
wave, and decay back into a sine wave, under the control of an envelope. Casio called
this a Digital Control Wave, or DCW. This allows the CZ to emulate the filter sweep effect
of a traditional analog synthesizer without the expense of multipole filters (VCFs). To
further emulate this effect, three of the stock waveforms are resonant versions of triangle,
trapezoidal, and sawtooth waves.
In PD synthesis, it is possible to create a compound waveform with two different halves:
for example, the first cycle can be a sawtooth wave, and the second cycle can be a pulse
wave. It’s like getting two oscillators for the price of one. In the original hardware, you had a
choice of eight different waveforms; the CZ V gives you those, plus the ability to draw your
own waveform. In the original keyboards, you couldn’t combine two resonant waveforms;
our modern software instrument doesn’t have that limitation.
There are two Lines available to generate sound in the CZ, and each Line has its own
waveforms, Pitch, DCW, and Amplitude envelopes, as well as Level and Pan controls.
When both Lines are enabled, one line can be detuned from the other across a six-octave
range. The two lines can be ring modulated to create entirely different sum and difference
frequencies, a classic synthesizer technique. A noise generator and noise modulation
complete the sonic possibilities.
One of the good things about the CZ line is that they were much easier to program than
a DX7 (for example) due to their simpler architecture. Each button allowed the musician to
access a restricted control set fitting in the small display screen. The only difficulty was
editing envelopes because no real-time graphic display of a current state was available (like
every synth at that time).
With the Arturia CZ V, you get the classic Casio sounds in a virtual instrument, with a
modern graphic user display that is intuitive to use and offers more creative control. We
have added several other features to bring CZ synthesis into the 21st century, without
changing its classic capabilities: internal digital signal processing (reverb, chorus,
compression, overdrive, etc.), a 16-by-16 modulation matrix (so you can map almost any
modulation source to any destination), a multisegment envelope option featuring up to 16
segments with adjustable slopes, the ability to stack up to 8 voices in unison, and more.
Most importantly, while the Casio CZ-101 and CZ-1000 had only eight DCOs (Digitally
Controlled Oscillators), limiting the polyphony to 8 voices, (only 4 voices if two Lines were
used simultaneously), the CZ V has up to 32-voice polyphony even when two Lines are in
use.
phase distortion
(PD). Instead of starting with a single, static waveform
Arturia - User Manual CZ V - WELCOME TO CZ V! 4
1.2. Features of CZ V
• Runs as a standalone application in Windows or Mac, or as an instrument plugin
for DAWs in Audio Units, AAX, VST 2.4 or VST 3 formats
• Two independent sound generators, each with simple or compound waveforms,
stereo panning, and their own pitch, DCW (waveform) and amplitude envelopes
• Choose from eight of the original CZ waveforms (saw, square, pulse, double sine,
saw pulse, resonant sawtooth, resonant triangle, resonant trapezoid), or draw
your own custom waveform
• With compound waveforms, sound up to four waveforms per note without
affecting polyphony
• Stack up to eight layers of a patch with adjustable detuning between layers for
classic analog depth and character
• Ring and noise modulation
• Noise generator with adjustable color
• Three different envelope types, independently selectable:
• A versatile set of modulation sources and destinations:
CZ V also offers these popular features:
• Onscreen virtual keyboard with 4-octave range, pitch bend and modulation
• Powerful arpeggiator
• An arsenal of studio-quality digital effects:
• MIDI-assignable parameter control
• Hundreds of factory presets in easy-to-browse banks
• Preset search browser can filter by Type, Style, Name, etc.
• Arrange factory and user presets into Playlists for live use
We've listed a lot of features here but the proof is in the playing. We enjoyed developing
this so much, we had to keep reminding ourselves that this was work! CZ V is at once a
playground, a factory, and a world of its own.
And now ... Arturia's CZ V.
◦ Original Casio CZ eight-stage
◦ Classic DADSR (delay-attack-decay-sustain-release)
◦ Arturia's versatile Multisegment syncable 16-stage envelope with
adjustable slopes for each stage and looping capability
◦ 16-by-16 Modulation matrix makes it easy to patch any of the 24
modulation sources to any of the 51 modulation destinations
◦ Three Combinate mod sources, each of which acts as a
mathematical combination of two other mod sources
◦ Four definable, assignable Macro sources for complex, simultaneous
modulations
◦ Two syncable LFO sources with 6 waveshapes, up to 20 seconds of
delay, and key retriggering
◦ Preassigned Vibrato LFO with simple, easy-to-access top panel
controls
◦ Two independent MOD envelopes, with selectable CZ/DADSR/MSEG
formats
wheels
◦ Four simultaneous effects which can be used in series, or in 2 chains
of 2 effects for each Line
◦ Chorus/flange/phaser, reverb, delay, multimode filter, overdrive,
compression, bitcrusher
5 Arturia - User Manual CZ V - WELCOME TO CZ V!
2. ACTIVATION & FIRST START
2.1. System requirements
Your first step before installing CZ V is to make sure that your computer hardware and
software meets these minimum specifications:
Win 7+ (64bit) 10.10+
• 4 GB RAM; 2.5 GHz CPU
• 1GB free hard disk space
• OpenGL 2.0 compatible GPU
You can use the stand-alone version of CZ V or use it as an instrument plug-in within a 64-bit
digital audio workstation as an Audio Units, AAX, VST 2.4 or VST 3 instrument.
2.2. Install and Activate the CZ V license
Once CZ V has been installed, the next step is to activate your license for the software. This
is a simple process that involves a different software program: the Arturia Software Center
that is included in the installation package, but appears as a separate app.
2.2.1. The Arturia Software Center (ASC)
If for some reason the ASC wasn't installed with your CZ V package, please go to this web
page: Arturia Updates & Manuals
The Arturia Software Center is at the top of the list. Once you've located it, download the
version of the installer that you need for your system (macOS with file extension ".pkg" or
Windows with file extension ".exe").
Follow the installation instructions and then:
• Launch the Arturia Software Center (ASC)
• Log into your Arturia account (or create one if you haven't already)
• Scroll down to the My Products section of the ASC
• Click the Activate button.
That's all there is to it!
Arturia - User Manual CZ V - ACTIVATION & FIRST START 6
2.3. Initial setup
2.3.1. Audio and MIDI settings: Windows
At the top left of the CZ V stand-alone application window is a pull-down menu. It contains
various setup options. Initially you will need to go to this menu and choose the Audio
Settings option to get MIDI flowing in and sound flowing out.
!: this applies only to the CZ V standalone application, not when you're running CZ V as an instrument
plugin in a digital audio workstation. In that case, audio and MIDI settings are set from within the DAW
sequencer or mixer screens.*
You will then see the Audio MIDI settings window. This works in the same way on both
Windows and macOS, although the names of the devices available to you will depend on
the hardware you are using.
Starting from the top you have the following options:
• Device lets you choose which audio driver you want to use to route sound out of
the instrument. This might be your computer’s own driver like Windows Audio, or
an ASIO driver. The name of your hardware interface may appear in this field.
• Output Channels lets you select which of the available outputs will be used to
route audio out. If you only have two outputs, only two will appear as options. If
you have more than two you can select a specific pair of outputs.
7 Arturia - User Manual CZ V - ACTIVATION & FIRST START
• The Buffer Size menu lets you select the size of the audio buffer your computer
uses to calculate sound. A smaller buffer means lower latency time between
pressing a key and hearing the note. A larger buffer means a lower CPU load as
the computer has more time to think, but can result in a small latency (delay).
Find the optimum buffer size for your system. A fast, modern computer should
easily be able to operate at 256 or 128 sample buffer size without creating pops
or clicks in the sound. If you are getting clicks, try raising the buffer a little. The
latency time for each sample buffer setting in milliseconds is listed on the right
hand side of this menu.
• The Sample Rate menu lets you set the sample rate at which audio is sent out
of the instrument. The options here will depend on the capability of your audio
interface hardware though even most computers’ own hardware can operate at
up to 48kHz which is perfectly fine. Higher sample rates use more CPU power so
unless you have a good reason to go up to 96kHz, then 44.1k or 48k is usually
fine.
• The Show Control Panel button will jump to the system control panel for
whatever audio device is selected.
• Play Test Tone helps you to troubleshoot audio issues by confirming whether
sound can be heard through the correct device.
• Your connected MIDI devices will appear in the MIDI Devices area. Click the
check box to accept MIDI from the device you want to use to trigger the
instrument. In "All" mode, CZ V listens for all MIDI channels so there’s no need to
specify a channel. You can specify more than one MIDI device at once.
2.3.2. Audio and MIDI settings: macOS
The process is very similar to initial setup for Windows and the menu is accessed in the
same way. The difference is that macOS uses CoreAudio to handle audio routing and the
audio device selection is made in the second dropdown menu. Apart from that, the options
work the same way as described in the Windows section.
In the upper left corner, click and scroll down to select Audio Settings.
!: this applies to the CZ V standalone application, not when you're running CZ V as an instrument
plugin in a digital audio workstation (DAW). In that case, audio and MIDI settings are set from within
the DAW sequencer or mixer screens.
This will bring up a pop-up window where you can assign the CZ sound to a valid audio
output of your Mac.
In this picture, we’re using the Built-in Output of the Mac. Depending on what your audio
interface is, you can assign it to any output that is available in the Apple utility Audio MIDI
Setup, available in the Finder at Applications/Utilities.
Arturia - User Manual CZ V - ACTIVATION & FIRST START 8
2.3.2.1. Tempo
When you're operating in standalone mode, this controls the master clock speed of all
parameters whose SYNC button is on. For example, when the tempo here is set to 120 BPM
(beats per minute), an LFO or the Arpeggiator whose Rate is set to 1/4 (quarter note) will
synchronize to play 2 cycles or beats per second; if their Rate is set to 1/8 (eighth note) they
will play 4 cycles/beats per second, and so on.
2.3.3. CZ V as a plug-in
CZ V comes in VST, VST3, AU and AAX plug-in formats for use in all major DAW software
such as Cubase, Logic, Pro Tools, Digital Performer, Garage Band and so on. You can load it
as a plug-in instrument and its interface and settings work the same way as in standalone
mode, with a few differences:
• The instrument will now synchronize to your DAW’s host tempo/bpm rate, when
tempo is a factor (e.g., when a parameter is in SYNC mode).
• You can automate numerous parameters using your DAW’s automation system.
• You can use multiple instances of CZ V in a DAW project. In standalone mode,
only one instance is available.
• Any additional audio effects your DAW has available may be used to process the
sound, including delay, chorus, filters, etc.
• You can route CZ V’s audio outputs freely inside your DAW using the DAW’s own
audio routing system.
The first time you boot up your DAW after installing CZ V, the DAW will verify the plugin
format, and then it should be available as an option in the menu of an instrument track.
Check the manual of your DAW for more information.
9 Arturia - User Manual CZ V - ACTIVATION & FIRST START
3. QUICK TOUR OF THE ARTURIA CZ V
Now that all that computer stuff is out of the way, it's time to get familiar with your
instrument. This chapter is just a brief overview to get you started; most features are
covered in more detail in later chapters.
The layout of the CZ V screen is very intuitive. There are four horizontal areas on the CZ V
window: the upper toolbar, the central programming area (which can be hidden when not
needed; see Advanced mode [p.16] below), the virtual keyboard area at the bottom of the
window, and the lower toolbar. We'll start with the upper toolbar since that's where you can
start playing right away.
3.1. Upper toolbar: Configuration, Presets, and MIDI
The upper toolbar of the CZ application window is where you'll find controls for saving and
recalling presets, a few configuration controls, and the MIDI configuration window.
!: Note that the "upper toolbar" is NOT the computer system's toolbar at the top of the computer
screen which contains the standard application features like About, Preferences and Exit (PC) or Quit
(Mac) commands.
3.1.1. CZ V menu (top left corner of app window)
In Chapter 2 [p.7], we already used this dropdown menu to access the Audio Settings for the
CZ V. Most of the other commands in this menu involve presets and are already familiar to
most users (Save, Save As, Import, Export). These functions are covered in detail in Chapter
8 [p.80] but deserve a quick look here.
Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V 10
3.1.1.1. Saving presets from the CZ V Master Menu
The upper-left corner of the CZ window contains a few shortcuts regarding presets:
Save saves the current state of the CZ V as a User patch with the current name. If you are
editing a factory preset, you must first Save As… using a different name. Names can be up
to 32 characters long. If you want to start from scratch, select New Preset...
3.1.1.2. Import
Import is the command when you want to add a patch to your CZ library from outside your
studio, or from an archive. You can import a single preset, an entire bank of presets, or a
playlist. This command will bring up a popup directory window for your computer; simply
navigate to a valid file (it MUST be in either the .czvx format, or as a MIDI System Exclusive
.syx file) and click Open. These features let you share sounds between systems and with
other users.
3.1.1.3. Export
When you want to share a preset you’ve made with someone else, or transfer patches to another computer, use the Export command and its submenus to export either a single preset or your whole User bank. This generates a .czvx format file that may be uploaded, emailed, saved to a separate backup drive, etc.
11 Arturia - User Manual CZ V - QUICK TOUR OF THE ARTURIA CZ V
3.1.1.4. Resize Window
To resize the CZ V window to fit your screen: Click on Resize Window, which reveals another
submenu, and select the size you want, from 50% to 200%. At 70%, the entire CZ app
window can be seen on a typical 1440 x 900 laptop screen. On a smaller screen you may
want to reduce the interface size so it doesn't dominate the display. On a larger screen or a
second monitor you can increase the size to get a better view of the controls and graphics.
The controls work the same at any zoom level but the smaller ones can be harder to see at
the smaller zoom values.
See Maximize View [p.28] in the lower menubar section for another way to change the
window zoom.
If your computer has a number keypad on the side, you can zoom in and out by holding
Control and pressing the "+" and "-" keys on that keypad.
3.1.1.5. Tutorials
This feature guides you through the operation of the CZ V step-by-step. The Welcome tutorial
runs automatically when you first start the CZ V; you can run it again from this menu at any
time.
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3.1.1.6. Help
The Help menu is where you have access to this user manual, and a link to a list of FAQs
(Frequently Asked Questions) about the CZ V on the Arturia website.
3.1.1.7. About
At the bottom of the upper-left CZ menu is About. Click on this to see a list of the extremely
talented people who built this software for you, and to see what version of the software you
have. Click anywhere on the CZ window to close the popup.
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3.1.1.8. Preset Library
To the right of the CZ V menu in the upper left corner, is an icon that looks like books on
a shelf (|||\). This is the icon for the Preset library and browser. Clicking on this brings up a
SEARCH screen that occupies the whole window (except the upper and lower toolbars). This
is a great place to search for exactly the right preset. Its features are explained in detail in
Chapter 8 [p.80].
To return to the main screen, press the blue "X" at the same location where the Preset library
icon was.
The Preset Library in SEARCH mode. The search term is "PIPE", not filtered
by TYPE or STYLE, but only the User bank is selected for search. The center
shows the 2 presets in the User bank that have the word "PIPE" in them,
and on the right are the details of the chosen preset.
3.1.2. Preset List
The icons and data fields across the center of the upper tool bar all give you quick access to
presets, also known as patches or programs. The TYPE filter, preset number and name, and
left / right arrows here give you easy access to the hundreds of presets in memory so you
can get up and playing quickly without doing any programming.
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To quickly audition presets:
Move your cursor to the Preset name field and click. A dropdown menu appears with a list
of available presets, (filtered by the TYPE field, or ALL TYPES). Click on the one you want to
play.
Preset list
Alternatively, you can click on the arrows to the right of the name to move up or down the
current preset list one at a time, without having to use the dropdown menu.
If you make changes to a preset, an asterisk (*) will appear after its name.
3.1.2.1. Browse presets with MIDI controller
At the bottom of the Preset browser window on the left side is a field labeled Browse presets with MIDI Controller. It will configure the CZ V to work with an Arturia controller so you can
browse the preset search results without having to map any controllers to those functions.
The CZ V will detect which Arturia controller you are using and will be configured
automatically to enhance the preset browsing experience. Refer to the documentation for
your controller to learn more.
If you want to defeat this feature, click the menu window and select None.
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3.1.3. Hide/Reveal Advanced features
When you aren't editing presets, just playing them, you can hide the central programming
area to reduce the size of the CZ V window. To access Advanced mode and show the central
programming screen, click the two downward arrows to the left of the MIDI symbol in the
upper menu bar. You can also click the blank area on the right side of the top panel to enter
Advanced mode. Either way the central programming area will open, so you can build your
own custom presets.
To exit Advanced mode and close the central programming area, click the two upward
arrows, which are now blue.
When you're ready to learn more about these features, we suggest starting with the
Synthesis [p.29] section.
3.1.4. MIDI CC Learn mode
On the right side of the upper toolbar, is the symbol for a MIDI jack. If you click on this,
all of the CZ V's parameters that may be addressed via MIDI continuous controller (CC)
commands will be highlighted in purple on the screen. Click on any parameter, then send
the CC message you want this parameter to be controlled by from your hardware (or DAW
sequencer) to the CZ V. The two are automatically linked, and the control image turns red.
For more details on this, see Chapter 9 [p.88].
• You won't be able to modify any settings as long as you're in this mode. Click the
MIDI icon again to leave this mode.
• On the right of the MIDI icon, the downward arrow opens up the MIDI Controller
Configs menu, which lets you save and recall different MIDI CC setups. MIDI
Controller configurations are covered in detail in chapter 9 [p.91].
3.1.5. Master Tune
Click and drag on this control to adjust the tuning of the CZ V to match other instruments
if necessary. At the 12 o'clock position, zero, it is in standard concert pitch (A440). At
full clockwise the tuning is +100 cents (hundreds of a semitone) sharp, and at full
counterclockwise it is -100 cents flat, a full semitone in either direction.
Double-click on the control to set it back to zero.
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3.1.6. Octave
Click and drag on this control to shift the pitch of the entire instrument by octaves (for
example, to make a middle C sound as a low C). Concert pitch is at the 12 o'clock position.
Turn it counter-clockwise to shift the instrument down one or two octaves, or clockwise to
shift it up one or two octaves.
Double-click on the control to set the octave to the normal, middle position (0).
3.1.7. Unison Detune
This control works in conjunction with the Unison field in the lower toolbar. The CZ V has
the capability of stacking additional copies of the sound to make a fatter sound, like voice
doubling. When the Unison toolbar field is set between 2 and 8, the Unison Detune knob
detunes these voice copies from each other and pans each voice across the stereo output.
See Unison [p.25] for more detail.
♪: If Unison is set at 1, the Unison Detune knob has no effect.
3.1.8. Waveform and Envelope illustration
To the right of the UNISON DETUNE knob are images of the eight stock waveforms in the
original Casio instruments. To the right of those is an illustration of the stages of the original
Casio envelope.
These are just images from the CZ-101's top panel, they are not controls.
3.2. Central programming tabs
If the Advanced view mode is turned on, just under the Arturia CZ V title bar, you'll see four
tabs labeled SYNTHESIS, ENVELOPES, MODULATIONS, and FX. You could think of the process
of making a new sound in the CZ as moving from left to right.
You start with SYNTHESIS, the most important window in the software. Here you select
the basic waveforms that actually produce the sound, and the balance between sound
generators. The synthesis window also includes graphic displays of the envelopes, which
are shown in greater detail on the next tab. Chapter 4, Synthesis [p.29] covers the synthesis
tab in detail.
The waveforms then get processed through ENVELOPES that determine the dynamic
character of the sound: how they attack, how their tone changes over time as you hold the
key, how loud they are as you hold the key, and how they fade out and/or change tone after
you release the key. They contain the sound the way a paper envelope contains a letter. See
Chapter 5 [p.39] for more detail about envelopes.
In MODULATIONS, you can change the pitch and timbre of the sound by assigning a
modulation source to any of 51 different destinations inside the CZ V. Modulation sources
can be hardware controllers such as a pitch bend wheel, modulation wheel, key velocity
and aftertouch; or internal sources such as low-frequency oscillators (LFOs) and envelopes.
Any of these sources can be routed to affect parameters like vibrato depth, levels, the speed
and level of envelope stages, etc. Chapter 6 [p.55] covers the modulations tab.
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Finally, in the FX (Effects) tab you have access to four modules of digital signal processing
to make the sound richer and create space around the sound. Each module can contain an
effect such as a reverb, delay, chorus, or overdrive. Modules can be in a single four-module
path or two parallel paths of two modules each. Chapter 7 [p.70] tells you what you need to
know about effects.
3.3. Virtual keyboard area
The virtual keyboard occupies the lower section of the CZ V window. This is a visual display
of a typical hardware controller that allows you to play and modify sounds without the need
for an external MIDI device. You can click and drag on controllers to change them, and click
on a switch or indicator to turn it on and off.
3.3.1. The virtual keyboard
The virtual keyboard is always available. It makes it easy to audition sounds while you're
programming without taking your hands away from the computer. Simply click on a virtual
key to hear the currently selected sound. You can also drag the cursor across the keys to
hear a glissando.
Clicking near the front edge of the key results in a higher velocity note; clicking near the
back of the key produces a soft velocity.
♪: To use velocity in a program, use it as a Mod Source in the modulation matrix and assign it to a
Mod Destination. For example, assigning Velocity to Line 1 Level will make the sound louder the harder
you play the keyboard.
When the CZ V is in standalone mode, you can play sounds from your QWERTY keyboard,
after clicking in the virtual keyboard window. Natural notes are on the "home" row of the
keyboard, sharps and flats are on the row above it, as in this table:
Letter A W S E D F T G Y H U J K O L
Note C C# D Eb E F F# G Ab A Bb B C C# D
• To shift the QWERTY playing range up an octave: Press the letter "X"
• To shift the QWERTY playing range down an octave: Press the letter "Z."
If you have an AZERTY keyboard, the layout goes like this:
Letter Q Z S E D F T G Y H U J K O L
Note C C# D Eb E F F# G Ab A Bb B C C# D
• To shift the AZERTY playing range up an octave: Press the letter "X"
• To shift the AZERTY playing range down an octave: Press the letter "W."
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3.3.2. Master Volume
The fader on the left side of the keyboard is the master volume control for the CZ V. Click
and drag the knob to select a value within the range of +24 to -80 decibels (dB). Double-click
the knob to reset the value to the default value of 0.00 dB.
This parameter will also respond to incoming MIDI CC #7 (MIDI volume) messages by
default.
3.3.3. Parameter name display
Just below the master volume control, at the left-hand side of the lower toolbar, notice
a readout showing the name of the control that the cursor is currently pointing at or
modifying. This is not just for the master volume control, it's for any control on the screen.
Just hover the cursor over a control and its name will appear in this lower left-hand corner of
the window. The current value of the control will pop up in a text ballon next to your cursor.
3.3.4. Pitch Bend
Click on this wheel and drag up to bend the pitch up, or drag down to bend the pitch
down. The pitch wheel will return to zero when it is released. This automatically bends the
Pitch of both Lines, without requiring any patching in the MODULATIONS tab. The amount
of maximum pitch bend is determined by the Bend Range [p.24] parameter, in the lower
toolbar.
The pitch bend wheel is also a modulation source which can affect any modulation target
that it's assigned to. It will also respond to the appropriate MIDI pitch bend input. See
Modulations [p.55] for more information.
3.3.5. Modulation Wheel
Like the pitch bend wheel next to it, you can click and drag on the mod wheel to move it.
Unlike the pitch wheel, the mod wheel will stay in its current location until it's moved. The
mod wheel appears as a mod source in the modulations tab, but doesn't have a default
assignment. Its MIDI CC (continuous controller) number is 01.
♪: The CZ V has a vibrato [p.20] section on the top panel that's permanently assigned to pitch.
If you want the mod wheel to control vibrato, simply assign ModWheel to Vibrato Depth in the
modulation matrix. This assignment is created automatically when importing a System Exclusive file.
See Modulations [p.55].
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3.3.6. Macro faders 1-4
These are general-purpose continuous controllers that can be assigned to any targets in the
modulation matrix. They provide a quick way to alter the sound of a preset. The great thing
about a Macro control is that it can be assigned to an external MIDI control, which allows
that control to alter as many parameters as you want with a single motion.
At the bottom of each Macro fader is a name field. You can enter any name you like for
each controller. Names can be different for every preset, and are stored with the preset.
3.3.7. Wave scope
Above the center section of the keyboard is a section of the window showing you an image
of the two waveforms currently being generated. This is a dynamic display; the waveforms
will change as the DCW amount is changed by modulators as you play. There are numeric
data fields in this section that allow you to change the DCW amount and the Level of each
Line. This is covered in detail in Chapter 4 [p.29].
3.3.8. Vibrato
Vibrato constantly varies the frequency of the sound above and below concert pitch. The
CZ V has a dedicated low-frequency oscillator (LFO) assigned to vibrato, which retriggers
each time you play a key. The controls in the VIBRATO section give you convenient access
to these common parameters:
• Clicking on the WAVE window displays a pop-up menu that lets you select the
waveform of the low-frequency oscillator that can vary the pitch of the sound:
Sine, Triangle, Square, Saw Down, Saw Up, and S&H (Sample and Hold).
• The RATE control sets the speed of the vibrato.
• SYNC synchronizes the rate of the vibrato with the other synchronized
parameters in the system, instead of being independent. When SYNC is on, the
rate is adjustable from 8:1 to 1/32 of the master clock rate (the tempo set in the
Audio Settings window of the CZ V master menu [p.7], or the tempo of a DAW).
• DEPTH determines how deep the vibrato will be. When this control is full counterclockwise (at 0) there will be no vibrato; click and drag up on this control to
increase the amount of vibrato.
• DELAY delays the onset of vibrato from 0 milliseconds to about 5 seconds,
followed by a linear fade-in proportional to the delay time.
Vibrato Depth and Vibrato Rate appear as destinations (targets) in the modulation matrix
and may be controlled by envelopes, MIDI continuous controllers etc., but these onscreen
controls are not mod sources. For more information see Chapter 6 [p.55].
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3.3.9. Arpeggiator
An arpeggiator allows you to hold down one or more notes and hear those notes played
back, one after the other. When a single note is held it will be repeated; when two or more
notes are held the arpeggiator will alternate between the notes. With an Arpeggiator, the
pitch values are defined by which keys you hold down. Octave jumps can still be defined
and randomized, so the arpeggios can be as crazy as you want them to be.
An arpeggio is basically an outline of a chord; rather than hearing all of the notes at once,
they are delivered at different times. Many great pieces of music have arpeggios at their
core, from Bach's Prelude 1 in C Major to Eddie Van Halen's hammer-on segment in Eruption.
In some ways an arpeggiator is more improvisational than a step sequencer, because you
can decide on the spur of the moment to change which notes the arpeggio will produce by
changing which notes you are holding, and how many. The creative possibilities are endless.
To turn on the Arpeggiator, press the ON button. As you hold a note or notes on the
keyboard, it will arpeggiate according to the current PATTERN.
Press the HOLD button to keep the pattern going even after you let go of the keys. The
pattern will keep playing until you play another key or chord to start a new pattern.
3.3.10. Rate and Sync
These two controls determine the speed of the arpeggio. When SYNC is off, the rate is
adjustable from 0.1 to 50 Hz. When SYNC is on, the rate is adjustable from 1/2 to 1/64th of
the current tempo, with 1/4 equaling one beat. The tempo is set in the Audio MIDI Settings,
or, when run as an instrument plugin, by the DAW's tempo setting.
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3.3.11. Pattern
When you click on the PATTERN window of the arpeggiator, a drop-down menu allows you
to make a selection from six different response patterns for the arpeggiator, and how many
octaves the arpeggiator will cover.
From top to bottom the options are:
Mode Description
As
Played
Up
Down
Updown 1
Updown 2
Random Held notes are played back in random order.
Held notes will be arpeggiated in the same order they were played.
Notes are played back in ascending order. New notes are inserted into the arpeggio as they are
played.
Notes are played back in descending order. New notes are inserted into the arpeggio as they are
played.
Held notes are played back in ascending order and then descending order. The highest and lowest
notes are triggered twice and then the direction is reversed.
Held notes are played back in ascending order and then descending order. The highest and lowest
notes are triggered only once and then the direction is reversed.
3.3.11.1. Octave
When 1 is selected, the arpeggiator will play just the notes in the keyboard range you're
playing. When 2 is selected, it will play those notes, then repeat them an octave higher
before restarting the cycle. Octaves 3 and 4 do the same thing: play the notes of the Mode
through a 3 or 4 octave range.
3.3.11.2. Gate
This determines the duration of each note of the arpeggiator. Full counter-clockwise
produces short, staccato notes; full clockwise produces long, legato notes.
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3.3.12. Line Select, Ring and Noise Modulation switches
This upper right-hand corner of the virtual keyboard section of the window is linked to the
SYNTHESIS tab above. Briefly, it controls which sound generators are on, and whether the
sound generators are modulated by each other (ring modulation) or by the internal noise
generator. See the next chapter [p.29] for information about these.
3.3.13. Portamento
The PORTAMENTO control sets the amount of time it takes to go from one pitch to another.
When it's set to zero, there is no glide time between notes. As you increase the portamento
time, it will take longer and longer to go from one note to the next. Portamento effects were
often used by musicians such as Keith Emerson and Rick Wakeman.
• When POLY is off and PORTAMENTO is set above zero, the pitch will glide from
the last note played to the current note, even if you release the key between
notes.
• Generally speaking, when POLY is on, and you release the keys between notes,
there won't be a portamento effect; but if you play legato, there will be. (This
depends on the length and type of envelopes, as well.)
• When you are using the Arpeggiator, there will always be a glide between notes
if the PORTAMENTO control is above zero, regardless of the POLY setting.
3.3.14. Poly
The CZ V has up to 32-note polyphony when the POLY switch is on. Most original analog
synthesizers were monophonic: they could play only one note at a time. Turn POLY off when
you want to play single-note solos that recreate the classic synthesizer solo sounds. When
POLY is off, envelopes will not retrigger when you play legato; if you play multiple notes, it
will sound only the last note played.
♪: To play in mono mode (where only one note plays at a time, but the envelopes retrigger for each
note played), leave POLY on but set the Polyphony in the lower toolbar to 1.
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3.3.15. Lower toolbar
At the very bottom of the CZ V window, underneath the virtual keyboard, is the lower toolbar
covering various MIDI features, great features we want to make sure you don't miss. In
section 3.3.3 [p.19] we already covered the parameter name display on the far left of the
toolbar, but now let's explore the parameters towards the right side of the lower toolbar:
!: If you can't see the lower toolbar, you may need to scroll down to the bottom of the window, or
use the Resize Window [p.12] menu to reduce the window size.
3.3.15.1. CZ DAC
DAC stands for Digital to Analog Converter. At the time the original Casio instruments were
built, DACs weren't as advanced or as quiet as they are today. But, they were part of the
sound of the instrument, so we modeled the sonic performance of the old CZ series DAC as
an option on the output of the CZ V. Click on the On logo to turn it off it and bypass this DAC
modeling for a cleaner sound.
3.3.15.2. Bend Range
This is where you set how many semitones up or down the PITCH BEND wheel will shift the
frequency when it is set to its maximum or minimum. For example, a setting of 2 will shift
the pitch up a whole tone when the wheel is at its maximum, and a setting of 12 will shift it
up an octave.
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3.3.15.3. Unison
When you want to get a fatter sound from the CZ V by stacking several copies of the sound
on top of each other, click on this field and select a number from 2 to 8. At these settings, the
UNISON DETUNE knob in the upper toolbar becomes active, and you can increase the pitch
difference between the unison voices to emulate the slightly-out-of-tune character of early
analog oscillators. As you increase the setting of DETUNE, each unison voice is panned to a
slightly different place in the stereo output.
Increased values of Unison use up polyphony, of course: when Unison is set to 1, the
polyphony value (displayed just to the right in the toolbar) can be a maximum of 32 voices;
when Unison is set to 2, it goes down to a maximum polyphony of 16 voices, and when set
to 8, only 4 voices. See Unison Detune [p.17] for more information.
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