Arturia PRE V76 User Manual

USER MANUAL

Special Thanks

DIRECTION

Frédéric Brun Kevin Molcard

DEVELOPMENT

Vincent Travaglini

Nicolo Comin

DESIGN

Martin Dutasta Shaun Elwood Morgan Perrier

MANUAL

Fernando Rodrigues Morgan Perrier Florian Marin

BETA TESTERS

Fernando Rodrigues

Ben Eggehorn

Paolo Negri

© ARTURIA SA – 2020 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin
FRANCE

www.arturia.com

Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.

All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.

Product version: 1.2

Revision date: 11 February 2020

François Reme

Raynald Dantigny

Terry Marsden

Peter Tomlinson

Marco Correia

Bapiste Aubry

Pierre Pfister

Jay Janssen

Luca Lefèvre

Chuck Zwicky

Matthieu Courouble

Ken Flux Pierce

Dwight Davies

Thank you for purchasing Pre V76!

This manual covers the features and operation of Pre V76.

Be sure to register your software as soon as possible! When you purchased Pre V76 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 Pre V76

Since the late 1990s, Arturia has received acclaim from players and reviewers alike for
designing state-of-the art software emulations of the venerable analog synthesizers from
the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a modular system that
was introduced in 2010, to the Matrix 12 V (2015), the Synclavier V (2016), and most recently
the Buchla Easel V, the DX7 V and the CMI V, Arturia's passion for synthesizers and sonic
purity has given demanding musicians the best software instruments for professional audio
production.

Arturia also has a growing expertise in the audio field, and in 2017 launched the AudioFuse,
a pro studio quality audio interface that features two proprietary DiscretePRO® microphone
preamplifiers and a set of top-notch AD/DA converters.

The Arturia Pre V76 is the culmination of over a decade of experience in recreating the most
iconic tools of the past.

Arturia has a passion for excellence and accuracy. This led us to conduct an extensive
analysis of every aspect of the V76 (and V612) hardware and its electrical circuits, even
modeling the changes in behavior over the course of time. Not only have we faithfully
modeled the sound and behavior of this unique preamp, we have added some features that
were unimaginable in the days the Telefunken V76 was being manufactured.

Pre V76 runs as a plug-in in all major formats inside your DAW. It has easy MIDI learn
functionality for hands-on control of most parameters, and as a plug-in also allows
parameter automation for greater creative control.

DISCLAIMER: All manufacturer and product names mentioned in this manual are
trademarks of their respective owners, which are in no way associated or affiliated with
Arturia. The trademarks of other manufacturers are used solely to identify the products of
those manufacturers whose features and sound were studied during Pre V76 development.
All names of equipment inventors and manufacturers have been included for illustrative and
educational purposes only and do not suggest any affiliation or endorsement of Pre V76 by
any equipment inventor or manufacturer.

The Arturia team

Table Of Contents

1. WELCOME ......................................................................................................................................................................... 2

1.1. Arturia's secret ingredient: TAE®................................................................................................................................... 3

1.2. Arturia's Pre V76..................................................................................................................................................................... 5

2. ACTIVATION AND FIRST START.......................................................................................................................... 6

2.1. Activate the Pre V76 License.......................................................................................................................................... 6

2.1.1. The Arturia Software Center (ASC).................................................................................................................................................................... 6

2.1.2. Pre V76 as a plug-in.................................................................................................................................................................................................... 7

2.2. QuickStart: A basic patch................................................................................................................................................ 8

3. USER INTERFACE ....................................................................................................................................................... 10

3.1. The Control Panel............................................................................................................................................................... 10

3.2. The Toolbar.............................................................................................................................................................................. 11

3.2.1. Save....................................................................................................................................................................................................................................... 11

3.2.2. Save As…............................................................................................................................................................................................................................ 11

3.2.3. Import Preset................................................................................................................................................................................................................. 11

3.2.4. Export Menu .................................................................................................................................................................................................................. 12

3.2.5. Resize Window options......................................................................................................................................................................................... 12

3.2.6. Preset Selection.......................................................................................................................................................................................................... 12

3.3. The lower toolbar ............................................................................................................................................................... 13

3.3.1. Output LED Sensitivity............................................................................................................................................................................................. 13

3.3.2. Bypass.............................................................................................................................................................................................................................. 13

3.3.3. CPU meter ..................................................................................................................................................................................................................... 13

3.4. The Preset browser........................................................................................................................................................... 14

4. Pre V76 OVERVIEW .................................................................................................................................................. 15

4.1. What is a preamp? ............................................................................................................................................................ 15

4.2. What does a preamp do? ............................................................................................................................................ 16

4.3. What is an EQ?..................................................................................................................................................................... 17

4.4. What does equalization do?........................................................................................................................................ 17

4.5. A V76 preamp and a V612 EQ in a plug-in......................................................................................................... 18

4.5.1. Signal Flow ..................................................................................................................................................................................................................... 18

4.5.2. The preamp section................................................................................................................................................................................................. 19

4.5.3. The EQ section ............................................................................................................................................................................................................ 19

4.5.4. Output and global controls ............................................................................................................................................................................... 20

4.5.5. Mid/Side mode............................................................................................................................................................................................................ 21

5. Pre V76 CONTROL PANEL .................................................................................................................................... 24

5.1. Single Channel (Mono).................................................................................................................................................... 24

5.1.1. Single Channel Preamp Section....................................................................................................................................................................... 24

5.1.2. Single Channel EQ Section.................................................................................................................................................................................. 25

5.1.3. Single Channel Output Section......................................................................................................................................................................... 26

5.2. Double Channel .................................................................................................................................................................. 27

5.2.1. Double Channel Preamp Section..................................................................................................................................................................... 27

5.2.2. Double Channel EQ Section .............................................................................................................................................................................. 29

5.2.3. Output Section............................................................................................................................................................................................................. 31

5.2.4. Some final words..................................................................................................................................................................................................... 32

6. Software License Agreement........................................................................................................................... 33

1. WELCOME

As part of the rebuilding effort after World War II, the Northwest German Radio
(Nordwestdeutsche Rundfunk or NWDR) was established in 1948, as a public corporation.

The NWDR faced the need to develop a complete new equipment standard for the German
radio network. This was done in cooperation with the Institute of Broadcast Technology
of Hamburg, and one of the results of their work was the V72, developed between 1949
and 1952 as a microphone and main studio amplifier, under the technical supervision of
Professor Nestler. Nestler had previously been the head of R&D for the Telefunken Electro
Acoustic Lab. Telefunken itself was a joint-venture of two other German companies, AEG and
Siemens, and was established in 1903.

It should be mentioned that Telefunken was granted exclusive and unlimited access to
scientific resources from state universities, private companies and all branches of the
military regarding radio broadcast and audio production, and this led them holding almost
all of the European patents relating to radio and audio electronic circuits up into the early
1960s.

Modeled after the pre-war V41 (created in 1928), the V72 had many circuits that were almost
identical, but incorporated some modern advancements. After using EF40 tubes in the
earlier models, manufacturers quickly changed to the sonically superior EF804 and EF804S.
Early V72 models were built by a company called Maihak, and also by Telefunken. In 1954,
Siemens and Tonographie Apparatebau (TAB) became sub-contractors and took over the
manufacturing of the V72 line.

The V72 wasn't a single model. Actually, there was an entire family of V72 tube amplifiers,
all built around the same V72 circuit: the V71, the V76, the V77 and the V78, and also many
variations, as the V72a, the V72b, the V72s, the V74a, the V70 and the V77b.

Besides the German radio broadcast, the V72 was used by most of the European recording
companies like EMI, Decca/Telefunken and others. Siemens designed the V72s to
accommodate the specific needs of these recording studios. These units featured a fixed
gain of 40dB and lower input impedance. Apparently, it was EMI who commissioned
Siemens to build the special 40dB gain V72s modules ("s" stands for studio), opposed to the
34dB gain of the V72 which was the standard throughout the German broadcast industry.
Around three-hundred V72s modules were manufactured in total.

The V76 was two V72 cascaded in series, with additional control features. The unit was
capable of achieving 76dB of gain and driving a signal farther with little to no loss. More
importantly, the unit came with a switchable input pad. This allowed the user to change
the gain in 6dB steps across 12 positions - much more control than the original V72 had.
Additionally, the V76 typically came with either an 80Hz or 120Hz High Pass filter allowing
the user to get rid of rumble from the mic stand when recording voice. There was a special
V76m version though that had no filters and a full frequency response from 20Hz to 20kHz.
This version was regarded more as a reference amplifier.

The V76 was designed for applications where the "standard" V72 could not provide enough
gain (like for example, dynamic mics) and where it was essential to have a switchable
variety of gain steps plus some selectable high and low frequency pre-filtering. Although the
high end frequencies sound muffled when compared to a V72, many engineers preferred
the V76 due to the extra controls, increased gain and huge bass sound it was capable of
delivering.

The main versions of the V76 available were:

2 Arturia - User Manual Pre V76 - WELCOME

• V76/80, with a switchable High Pass Filter at 80Hz and 300Hz (and a third
position with the two filters coupled), and a Low Pass Filter with a fixed
frequency of 3kHz. Both filters could be turned Off. Besides these, they also had
additional fixed input filters at 40Hz and 15kHz.

• V76/120, with a switchable High Pass Filter at 120Hz and 300Hz (and a third
position with the two filters coupled), and a Low Pass Filter with a fixed
frequency of 3kHz. Both filters could be turned Off. Besides these, they also had
additional fixed input filters at 40Hz and 15kHz.

In 1960, a special V76s version was introduced. The "s" originally stood for "Schallplatte"
(Vinyl Disk), indicating "Studio use", and in 1965 it was even officially changed to "Studio". The
V76s version may be regarded as a successor to the V72s, and was quite different from the
other V76 units, since both the High Pass and Low Pass filters featured multiple switchable
frequencies. Filter inductors were made from a Nickel/Iron alloy, and allegedly offered a
better sound performance than the standard ferrite cores in the 80/120 units.

There were also a few custom versions made over the years. We may consider the
famous EMI REDD.47 as a V72s version with a few different options, but with the same
transformers. This EMI made preamp equipped the famous REDD.51 consoles, used in all
Beatles recordings from 1964 up to 1968. Remember that the previous REDD.17 and REDD.37
consoles were powered by Siemens V72s units, as we mentioned above. One of the EMI
REDD.37 consoles was used in all Beatles recordings up to 1964, when they changed to the
REDD.51.

Telefunken used the V72 units as standard preamplifiers for their broadcast division. The
company (which became AEG-Telefunken in 1967) sold many units to radio stations in
South America, Africa and the Middle-East, where most of them are still in use today, but
despite that stopped the production of the V72 in 1966. Siemens had already stopped their
production in 1964, but built the V72b version until 1966. TAB was the only company that built
the V72a up into the 70s. In the second half of the sixties, vacuum tube devices were being
replaced by transistor-based units everywhere, because the former were more expensive
and difficult to maintain.

Arturia's version that is now presented to you is based on the V76/80. Since these units didn't
have an EQ (just input filters), it is cou pled with another classic unit of the same period, the
V612 EQ. This was a simple 2-band EQ, featuring High Shelf and Low Shelf bands with fixed
frequencies.

1.1. Arturia's secret ingredient: TAE®

TAE® (True Analog Emulation) is Arturia's outstanding technology dedicated to the digital
reproduction of analogue circuits used in vintage synthesizers.

Linear Frequency spectrum of a well known software synthesizer

TAE®’s software algorithms result in spot-on emulation of analogue hardware. This is why
Pre V76 offers an un paralleled quality of sound, as do all of Arturia’s virtual synthesizers
and plug-ins.

Arturia - User Manual Pre V76 - WELCOME 3

Linear frequency spectrum of an oscillator modeled with TAE®

TAE® combines major advances in the domain of synthesis:

Temporal representation of the 'sawtooth'

waveform of a hardware synthesizer

Temporal representation of a 'sawtooth'

waveform reproduced by TAE®

4 Arturia - User Manual Pre V76 - WELCOME

1.2. Arturia's Pre V76

So, what is and what do we get with the Pre V76 preamp and EQ plug-in?

The goal of Arturia was to model the sound of this famous vacuum tube preamp, which is
still a sought-after piece of equipment, as well as add some new features that are helpful
in a modern workflow. For example, an EQ unit of the same period was added, to round
the package and to remain faithful to the approach followed in the other units of this line ­preamp and EQ. We also have a Phase Reverse switch, which didn't exist in the original.

Therefore, we have the amplification circuit, which features a vacuum tube emulation,
capable of very nice and tolerant saturation, and the High Pass Filter, with three filter
choices: 80Hz, 300Hz or both frequencies coupled (as was the case with the original V76/

80). The filter can also be turned Off, by selecting the Flat option. The EQ is a simple two
band EQ with very broad, gentle Baxandall curves and fixed frequencies, around 100Hz for
the Low Shelf, and around 5kHz for the High Shelf. It can be switched Off by clicking the EQ
switch and changing it to the Off position.

Baxandall curves are named after Peter Baxandall, an English audio engineer who first
came up with audio circuits featuring this kind of curve in the 1950s. These are soft
sweeping curves in the bass and treble shelf EQs that give a broad yet musical adjustment.
The slope is lower than usual, and that contributes to the curves' sweetness, since they
sound smoother and more natural.

The plug-in has Single Channel and Double Channel versions. The Double Channel version
can work in three different modes. The default mode is Stereo, which means the Stereo Link
button is the Stereo position and the Stereo Mode switch is in the L/R (Left/Right) position.
When we change this switch to the M/S position, the plug-in enters the Mid/Side mode. This
automatically disables (turns Off) the Stereo Link button.

When the Stereo Link switch is Off, and the Stereo Mode button is in the L/R position, the
plug-in is in Dual Mono mode. In this mode, each channel works independently, which
means we can have the EQ switched On in one channel and Off in the other, for example,
and the phase switched On in one and Off in the other.

Arturia - User Manual Pre V76 - WELCOME 5

2. ACTIVATION AND FIRST START

Pre V76 works on computers equipped with Windows 7 or later and macOS 10.10 or later.
You can use the Pre V76 as an Audio Unit, AAX, VST2 or VST3 plug-in.

Picture of the Arturia Pre V76

2.1. Activate the Pre V76 License

Once the software has been installed, the next step should be to activate your license,so that
you can use it without limitations.

This is a simple process that involves a different software program: the Arturia Software
Center.

2.1.1. The Arturia Software Center (ASC)

If you have not already installed the ASC, go to this web page:

https://www.arturia.com/support/updates&manuals

Look for the Arturia Software Center at the top of the page, and then download the version
of the installer that you need for your system (macOS or Windows).

Follow the installation instructions and then:

• Launch the Arturia Software Center (ASC)

• Log into your Arturia account

• Scroll down to the My Products section of the ASC

• Click the Activate button

6 Arturia - User Manual Pre V76 - ACTIVATION AND FIRST START

That's all there is to it!

2.1.2. Pre V76 as a plug-in

Pre V76 comes in VST, AU and AAX plug-in formats for use in all major DAW software such
as Ableton, Cubase, Logic, Pro Tools and so on. You can load as many instances as you find
useful, and you will also find some other useful features:

• You can automate numerous parameters using your DAW’s automation system;

• Your settings and current plug-in state will become recorded in your project, and
you can pick up exactly where you left off the next time you open it.

Arturia - User Manual Pre V76 - ACTIVATION AND FIRST START 7

2.2. QuickStart: A basic patch

The patch below is an ideal starting point for getting to know the Pre V76 plugin. We will
use the sequencer to modulate some parameters of the plug-in. It illustrates how you can
use Pre V76 to process sound. In the example below, we'll use Cubase, but it will work in a
similar way in other DAWs.

Please load the default factory preset. This ensures that you have all knobs in the correct
starting position.

Let's give it try:

• Load a four-beat clip into an audio track in your DAW (a drum track is ideal for
testing the EQ and saturation).

• Load an instance of Pre V76 as an insert on that same track.

• Make the interface of the Pre V76 visible by clicking its name in the Mixer.

• Now start your DAW and play the loop. It will sound the way it was recorded.
By default, all parameters are in a neutral position. There is still some minor
harmonic distortion, but that's OK with our demonstration.

Pre V76 configured to add some "loudness" to the sound.

The High Pass filter is also switched to cut frequencies

below 80Hz

8 Arturia - User Manual Pre V76 - ACTIVATION AND FIRST START

• Set the Gain to +40dB and take a listen. If the sound is good, you can leave it at
that position. If you notice some distortion, the Gain may be too much. Although
harmonic distortion can be used as a sound design tool, you may want to reduce
it. By raising the Gain, you added some saturation to your signal.

• You may also want to try use the High Pass filter. By default it is flat, but you
may try to use the 80dB low cut, to get rid of some sub-bass frequencies. If not,
just leave it at the Flat position.

• Now increment the High Shelf EQ band (This is labeled High Tone, and also with a
treble clef). Remember that this band is set to a relatively high frequency (5kHz).
However, the EQ curves are very soft so, you should be able to boost generously.
Try a boost of 9. If you think it's too much, reduce the boost until you are pleased
with the result.

• You may also want to boost the Low Shelf EQ band. This one is labeled Low Tone,
and also with a bass clef. Again, since the EQ curves are soft, you should be able
to raise it generously. Try a value of 6. If it's too much, reduce it until you find a
good tone result.

• By incrementing both bass and treble tone, you achieved what is called a
"loudness" curve.

Arturia - User Manual Pre V76 - ACTIVATION AND FIRST START 9

3. USER INTERFACE

The Pre V76 is packed with great features, and in this chapter we’ll take a tour and show
you what it can do. We think you’ll be amazed by the range of audio processing options this
plug-in is capable of.

This plug-in is more flexible than you probably would expect at first sight, due to the relative
simplicity of its User Interface. That will always be the main focus of every Arturia product:
to unleash your creativity while remaining easy to use.

3.1. The Control Panel

We will have a detailed look at the Control Panel in the Pre V76 CONTROL PANEL Chapter

[p.24]

10 Arturia - User Manual Pre V76 - USER INTERFACE

3.2. The Toolbar

The plug-in GUI (Graphical User Interface) has the usual Arturia toolbar that runs across the
top edge, with the Arturia logo / plug-in name on the left (the colored part), followed by the
Library button and the Preset name. This toolbar is common to all current Arturia plug-ins,
and gives access to many important functions. Let’s look at them in detail.

The first seven of these options can be found by clicking on the Arturia Pre V76 button at
the top left-hand corner of the plug-in window. Since these options are also common to all
current Arturia plug-ins, they may be already familiar to you.

3.2.1. Save

This option will overwrite the active preset with any changes you have made, so if you
want to keep the source preset also, use the Save As option instead. See the next section for
information about this.

3.2.2. Save As…

If you select this option, you are presented with a window where you can enter information
about the preset. In addition to naming it, you can enter the Author name, and select a Type.
You can even create your own Type, by entering custom names in the respective place. This
information can be read by the preset browser and is useful for searching the preset later.

3.2.3. Import Preset

This command lets you import a preset file, which can be either a single preset or an entire
bank of presets. Both types are stored in .vprx format.

After selecting this option the default path to these files will appear in the window, but you
can navigate to whichever folder you are using to store presets.

Arturia - User Manual Pre V76 - USER INTERFACE 11

3.2.4. Export Menu

You can export presets in two ways: as a single preset, and as a bank.

• Export Single Preset: Exporting a single preset is handy when you want to share
a preset with someone else. The default path to these files will appear in the
"save" window, but you can create a folder at another location if you like. The
saved preset can be reloaded with the import preset menu option.

• Export Bank: This option can be used to export an entire bank of sounds from the
instrument, which is useful for backing up or sharing presets.

3.2.5. Resize Window options

The Pre V76 window can be resized from 60% to 200% of its original size without any visual
artifacts. On a smaller screen such as a laptop, you might want to reduce the interface
size, so it doesn't dominate the display. On a larger screen or a second monitor, you can
increase the size to get a better view of the controls. The controls work the same at any
zoom level, but they can be harder to see at the smaller magnification values, or when using
high resolution monitors (like HD monitors or higher). The higher the resolution, the bigger
the size that should be used.

3.2.6. Preset Selection

The Preset browser [p.14] can be opened by clicking the library symbol on the toolbar. The

filter, name field and left / right arrows in the toolbar all assist with preset selection.

12 Arturia - User Manual Pre V76 - USER INTERFACE

3.3. The lower toolbar

When you are changing a parameter, you will see a readout showing the value or state
of whatever control you are modifying at the left-hand side of the lower toolbar. It will
also display the current value of a parameter when you place the mouse pointer over that
parameter control in the control panel. This is handy, because you don’t need to touch the
parameter control to read the current value.

At the right-hand side of the lower toolbar are several small windows and buttons. These
are very important features, so let’s take a closer look at them.

3.3.1. Output LED Sensitivity

The Pre V76 has two Glowing Output Lamps (one when in Single Channel configuration) at
the top-right of the control panel. By clicking this button, we can access a menu where we
can calibrate their sensitivity.

We have three options: High, Medium, and Low. By default, High sensitivity is the one
selected.

3.3.2. Bypass

This one is obvious. Activating the bypass option will disable Pre V76 processing.

3.3.3. CPU meter

The CPU meter is used to monitor how much of your computer’s CPU is being used by the
plug-in. If you stress your computer too much, the global performance of your system and
the audio may suffer.

Arturia - User Manual Pre V76 - USER INTERFACE 13

3.4. The Preset browser

The preset browser enables you to search, load and manage preset configurations in Pre
V76. Although this looks and is based on the usual Arturia Preset Browser, it is simpler, and
even easier to work with. You access the preset browser by clicking on the library symbol
next to the Arturia logo on the left.

Picture of the Pre V76 Preset browser

When you click on the library symbol, you will see a screen with all the Presets you have
saved. You can sort the list by several different criteria, to make it easier to find the right
preset. There are two columns. The first one lists the Presets by Name or by "Featured".
Featured are presets that were classified as important by Arturia. The second one lists the
Presets by Type, or Designer.

There is only one attribute visible, which is the one you select by clicking the column title.
By default, Type is the attribute selected. When you select the Designer attribute, the list
changes, and that attribute appears in the second column, in the place where the Type field
was before.

If we want to delete a preset, we may do that by selecting it, and then, by clicking in the
name field, choose the option "Delete current" that's in the bottom of the list.

14 Arturia - User Manual Pre V76 - USER INTERFACE

4. PRE V76 OVERVIEW

As we said already in the Introduction, the Telefunken V76 was particularly noted and
praised for the pleasant sound created by the induced vacuum tube saturation. One of Its
predecessors, the V72s, was even used in the Beatles' recordings up to 1964.

Characterized by a somewhat "muffled" sound, the V76 had however a powerful bass
response. This, coupled with the switching input filters and the capability to raise the power
in 6dB steps across twelve positions, added an extra level of control when compared
with the previous units, making it a sought-after classic, not only in broadcast but also in
recording.

Arturia coupled this vintage preamplifier with an EQ unit of the same period, the V612,
based on germanium transistors that gave it a distinctive sound. It also featured two broad
Baxandall EQ bands with fixed frequencies, and another level of saturation. This allows the
Pre V76 to remain faithful to the spirit of this line (preamp and EQ) and also gives more
flexibility to the user, and a complementary tool to help shape the sound.

The plug-in works as a Single Channel or as a Double Channel, according to the audio
channel it is inserted on. In Single Channel we just have Mono mode, but in Double Channel,
we can use the plug-in in Stereo mode, Mid/Side mode and Dual Mono mode.

4.1. What is a preamp?

A preamplifier (preamp or simply "pre") is a device that takes care of the first stage of
amplification. It is usually designed to boost a weak electrical signal to "working level", to
make it strong enough to be noise-tolerant and for further processing, for example in a
mixing desk. The working level is usually called "line level".

Many of us probably still remember the days of vinyl records. Vinyl records were played by
turntables, a device which had an output with a completely different impedance than, for
example, a tape recorder. The turntable output signal was much weaker. To drive it to a level
strong enough to be audible meant that it had to pass through a circuit that would amplify
it to a level where it could be passed to the main audio amplification circuit. More than that,
the circuit also had to transform the tone, in order to decode the special RIAA encoding tone
curve. Without this previous stage, the signal would be weak and distorted harmonically.

This circuit was (is) a preamplifier, and was usually part of any Hi-Fi amplifier (those special
inputs labeled "phono", which seem to be coming back as of lately). It should be mentioned
that Arturia's AudioFuse audio interface also features a microphone preamp circuit, and it
even features the special RIAA preamp we just mentioned.

But there are other kinds of preamplifiers, that do other things. The preamp devices that
brought us to this point are those typically used to amplify signals from audio sources
such as microphones and instrument pickups. Because of this, preamplifier circuits are now
usually built into audio mixers (and are included in many computer audio interfaces too).

But it wasn't always like this. There was a time when preamps were separate units that
received the signal from microphones and delivered it to the mixing circuit. The V76 was one
of those units. Then they became modules that could be plugged into those mixers (like the
Neve units). Now, they are simply standard equipment. But there are still many other devices
that use preamp circuits besides mixers, as electric guitar and bass players know very well.

Arturia - User Manual Pre V76 - Pre V76 OVERVIEW 15

4.2. What does a preamp do?

A preamp usually is designed and used to do one or more of the following actions:

• Increase the gain from an audio source (for example a microphone)

• Changing the tone (by using filters, for example)

• Lowering the output impedance

• Converting from unbalanced to balanced

One of the most important controllers in a preamp is Gain. Gain just means the amount your
signal level is increased by the circuit. The amount a specific preamp increases your gain is
of utmost importance, because every device your signal will be sent to (in our case probably
the mixer) has an ideal range of signal level it expects in order to operate best. Not every
preamp can effectively drive a power amp, for example. The preamps we are looking into
were usually built to feed the mixing circuit, therefore they usually had a fixed gain amount.

Impedance can be described as the efficiency of the signal transferring from one piece of
gear to another. It is the opposition of a circuit to the flow of alternating current, a result of
the complex sum of resistance and reactance. A good illustration of this is cycling u phill. If
you are in the right gear, pedaling requires some energy; but if you are in the wrong gear, it
requires a lot more energy. An ideal impedance relationship is a very low output impedance
number connecting to a very high in put impedance. That is being "in the right gear". If your
instrument or device has an output impedance that is too close to the in put impedance of
the device you're connecting it to, you will be in the wrong gear, and your signal will be too
weak. That weakness may result in a lower signal level and/or a dull tone.

Preamps are usually "active", meaning they require a power supply. This is because it
requires energy to boost a signal. Currently, the preamps get the energy from the main
power circuit of the mixer. Older preamps like the V76 had their own power circuit built-in.

A balanced circuit is a signal-carrying circuit with two active electrical conductors of equal
impedance with respect to a common reference point, which is usually ground. Each
conductor carries the signal with a polarity that's the inverse of the other one. Usually, both
conductors are enclosed within an overall metallic shield, which does not carry the signal.

Balanced circuits can be found on professional-level microphones, XLR in puts on a mixer,
and balanced connections between an amplifier and speakers. The advantage of these
circuits is that the two signals are going to be decoded in the destination (remember they
were polarity-inverted), and the audio signal will be the difference between the two identical
signals. Any interferences picked up in transit will presumably not be polarity-inverted, and
therefore will have little to no difference between the channels. These will be eliminated,
resulting in an interference-free signal.

An unbalanced circuit is a signal-carrying circuit with only one electrical conductor and an
overall metallic shield. It is usually used in domestic connections, like Hi-Fi, for example.
Although there will be little to no problem in closer connections (input and output are
near to each other, therefore minimizing the risk of possible interferences), they would be
problematic in longer connections (a long wire basically works like an antenna).

That's why when we use microphones or other sound sources that are distant from the
mixer, we have to use balanced connections, and when they don't have them, we have to
connect them to a closer device that will convert the signal from unbalanced to balanced.

16 Arturia - User Manual Pre V76 - Pre V76 OVERVIEW

4.3. What is an EQ?

The equalizer allows you to cut or boost any frequency, or group of frequencies, within the
audio spectrum.

It was one of the first signal processing devices to enter a recording studio. Actually, even
the old domestic radios had some kind of EQ built-in. Usually, besides the control for the
volume, we also had a control for the Bass and another for the Treble. These Bass/Treble
EQs were also usual in Hi-Fi amplifiers.

Of course, in a studio the devices are more complex than that, and usually have more
controls. But in the beginning, they didn't have many of those, either.

Since the equalizer modeled in this plug-in is very old, it is one of those kind of simpler EQ
units, with just a control for Bass and another for Treble.

4.4. What does equalization do?

Equalization usually is used to correct a sound timbre and its harmonic balance. We can use
EQ, for example, to correct a particular sound in a mix, allowing it to “breathe” by boosting
the frequencies that are more important, and sometimes also by decrementing those same
frequencies in other instruments.

We may also use it as a creative tool, for example by manipulating the timbre of a certain
instrument to better match another one during overdubs, or (again) to better fit in the whole
mix.

We can finally use equalization to position an instrument in a three-dimensional stereo
image, increasing the separation between the different timbres.

Of course, this comes at a price, and the price is that every time we adjust frequencies we
create some phase shifting and discrepancies that may deteriorate the original sound.

It's u p to us to balance the use of equalization in order to get a final result that sounds
good and musical. Like with almost everything, EQ must be used only when and where it’s
necessary.

Arturia - User Manual Pre V76 - Pre V76 OVERVIEW 17

4.5. A V76 preamp and a V612 EQ in a plug-in

The Arturia Pre V76 plug-in is not only a preamp, but also an EQ, since Arturia coupled it with
another classic unit of the same period, the V612 EQ.

This means that not only it works as an amplifier, providing you with that pleasant vacuum
tube (valve) saturation effect, it also has an EQ section, which provides further controls to
shape the sound.

That said, if we are going to use the Pre V76 preamp and EQ plug-in, we must be aware
that this is a device with a strong coloration, and that is its main strength. The EQ is very
simple, and it is there just to add a little extra tone control to the sound. This plug-in is mainly
justified by the changes it makes in the timbre, which have been highly praised by audio
professionals for many decades now.

Anyone involved in audio is probably aware or has already heard about the pleasant
saturation effect induced by vacuum tubes (also called valves) in the sound. It's this kind of
saturation effect that, more than anything else, you should expect from the Pre V76, and the
main reason to use it will be the desire to achieve that effect in the sound.

4.5.1. Signal Flow

The signal flow of the Pre V76 follows the logical path for this type of devices. Therefore, the
audio enters through the preamp section, controlled by the Input Gain knobs. This section
adds saturation and harmonic distortion to the signal.

After this stage, the signal enters the EQ section, where it will be further transformed by
boosting or cutting the high and low frequencies. Since the two bands are fixed, we just
have a control to boost or cut the high and low frequencies.

We can also filter the lower bass frequencies, by activating the High Pass filter. The entire
EQ section can be bypassed, by turning Off the Equalizer switch.

The signal is then directed to the main output, where we have the Output Trim knobs to
control the final level.

18 Arturia - User Manual Pre V76 - Pre V76 OVERVIEW

There is a switch to invert the phase of the audio (globally).

There are also two other global switches that affect the way signal is routed and processed
when in Double Channel, as explained below. These are the Stereo Link and the Stereo Mode
switches.

4.5.2. The preamp section

The preamp section is the first section the audio signal passes through when it is received
by the plug-in.

The Input Gain control knobs (potentiometers) are placed at the top right, below the Glowing
Output Level "lamps". Contrary to the original, which had discrete 6dB step values, here
we have continuous values, ranging from +3dB to +76dB. This is quite extreme. However,
you will notice that the tube modeled circuit is quite tolerant. It may be possible to distort
nevertheless, so be careful.

4.5.3. The EQ section

The EQ section of the Pre V76 (which is inspired in another unit of the same period, the V612)
is very simple. We have just two Shelf Bands, with fixed frequencies, one for the highs and
another for the lows.

The High Shelf is labeled with a Treble clef, and also High Tone, and the shelf frequency is
around 5kHz. The Low Shelf is labeled with a Bass clef, and also Low Tone, and the shelf
frequency is around 100 Hz. The EQ curves are the very broad and gentle Baxandall-types,
and we have a boost/cut control with a range of +/- 10dB.

We also have an High Pass Filter, which is located below the two Equalizer bands, in the left
part of the control panel. This filter was part of the original V76 preamp, and has selectable
80Hz, 300Hz and 80+300Hz positions. The last position sums the two previous filters, for
an increased slope effect and a more broad frequency cutoff.

The filter can be turned Off, by positioning the switch at the Flat position.

Below the Input Gain controls, we have switches to bypass the EQ section entirely. This will
affect both the EQ bands and the High Pass filter.

Arturia - User Manual Pre V76 - Pre V76 OVERVIEW 19

4.5.4. Output and global controls

The output level is controlled by the Output Trim controls (potentiometers).

We also have some global controls switches which affect the plug-in behavior globally.
Those are the already mentioned Equalizer On/Off switch, the Phase switch (which inverts
the signal phase when lighted), and, probably the most important ones, the Stereo Link and
Stereo Mode switches.

These ones are only present when we are using the Double Channel configuration, and it's
with them that we choose between the three modes we can use in that configuration.

We have two switches for this: The first one is to activate/deactivate Stereo Link. The second
one is labeled Stereo Mode, and switches between L/R and M/S.

With these two switches, we can choose between the three modes the plug-in works on
when in Double Channel configuration: Stereo, Mid/Side or Dual Mono.

Stereo mode is achieved only if the Stereo Link button is On and we have the second
switch in L/R (Left/Right) position. In this mode, any changes we make to one channel are
reproduced in the other channel as well.

If we switch the Stereo Link to the Off position, we enter the Dual Mono mode. In this mode,
each channel works independently, as if we had two mono channels.

There is a third mode that is activated by changing the Stereo Mode switch to the M/S
position. This mode is called Mid/Side, and in this mode, although we are still in Stereo,
the channels work in a way that is completely different than the traditional Left/Right way.
For this mode each channel has to be independent, which is why the Stereo Link button is
automatically switched Off when we select M/S.

20 Arturia - User Manual Pre V76 - Pre V76 OVERVIEW

4.5.5. Mid/Side mode

Mid/Side mode is a highly effective way of making adjustments to the spacialization of a
mix or master. In Mid/Side, the Mid channel is the center of a stereo image, while the Side
channel is the edges of that same image. When we make adjustments in the Mid channel,
this is perceived in the centered image of the stereo spectrum (we can think of it as the
mono compatible image). For example, a boost in the Mid channel will make the sound more
“mono” (both channels will sound more equal).

On the other hand, when we make adjustments in the side channel, this will have an impact
on the width of the stereo image, and a boost in this channel will be perceived as a more
spacious (wider) stereo sound.

For M/S purposes, the controls on the left side will affect the Mid channel, while the controls
on the right side will affect the Side channel. Also, when in M/S mode the Glowing Output
Level lamps represent the output level of the Mid for the first one (Left), and the output level
of the Side for the second one (Right).

While we're at it, there is a simple test that you can run to check the difference between
stereo, Dual Mono and mid/side processing. Here are the steps to do it:

• Load your favorite DAW;

• Create a new project, and create a stereo audio track;

• Load a stereo clip in that track. A full mix or a sub-mix would be better for the
test we want to do;

• Load an instance of Pre V76 as an insert in that track. Open the Pre V76 window;

• Check that you have the Default preset loaded. You should have the plug-in set
for Stereo, with the Stereo Link button pointing to Stereo, Input Gain at +3dB, all
filters in Flat position, all the EQ section settings at their default values (which
means that, with these settings, the influence of Pre V76 in your track should be
almost neutral), and the Output Trim at 0dB;

• Start the DAW. The stereo clip should sound as you recorded it. You may check
by clicking the Bypass button in the lower toolbar and compare;

• You may try some processing, just to check if the Pre V76 is working. For
example, you may raise the Input Gain to add some saturation (you will not
perceive any change in the overall volume, due to a feature called Autogain
Compensation), and boost the High Tone by turning its knob to +6dB (this will give
a little more "air" to the mix, by reinforcing the high frequencies);

• You may also turn the High Pass Filter to the 80Hz setting. This will cut the bottom
lows;

• Now press Bypass again. You will already be able to notice some differences in
the mix. You probably also noticed that each time you made a change in one
channel it was reflected in the other. This is because we are working in Stereo
mode (the Stereo Mode switch is on the L/R position, and the Stereo Link button
is On);

Arturia - User Manual Pre V76 - Pre V76 OVERVIEW 21

• We will now work in M/S mode. To do this, we'll click the Stereo Mode button to
toggle it to the M/S position. The Stereo Link button should automatically turn Off.
The Pre V76 is now in M/S mode;

• Since no controls have changed, we will not notice any changes in the audio, for
now;

• Let's turn one of the Output Trim knobs to the minimum (-24dB) position. We'll
start with the left, which is now the Mid channel;

• Since we reduced the output of the Mid channel by 24dB, we are now listening to
a very different signal. We almost have no signal in the middle of the spectrum,
and the perceived sound is now located in the edges of the spectrum band
(which are controlled by the Side channel). You may even want to try this with
headphones, which will give you an even better perception;

• Double click the left Output Trim knob. It will return to its default position, and the
sound will return to "normal";

• Now let's reduce the output of the Side channel, by turning the right Output Trim
knob all the way to the left (-24dB position). Now, we almost have no signal in the
edges of the spectrum signal (which are controlled by the Side channel) and are
left with what is almost a mono signal (the Mid channel);

• Note that, even though we turned each of the two channels almost off, we still got
sound on both left and right speakers. This is because we are making changes
in the stereo spectrum and not in the Left or Right channels alone;

22 Arturia - User Manual Pre V76 - Pre V76 OVERVIEW

• Double click the right Output Trim knob. It will return to the default position, and
the sound will be back to "normal" again;

• Now, while leaving the Stereo Link button Off, toggle the Stereo Mode button
again to the L/R position. The Pre V76 is now in Dual Mono mode;

• In this mode, Left and Right channels are completely independent - they work as
if they were two mono tracks;

• Now turn the left Output Trim knob again to the -24dB position. You'll notice that,
this time, the sound on the left speaker will decrease to almost silence, while the
right will remain as it was;

• Double click on the left knob, and do the same with the right knob. This time,
the right speaker will become almost silent, while the left one will play unaltered.
Double click the knob again, to get it back to the default position;

And with this last action, we have concluded our test. By now, you hopefully became
familiar with the three working modes of the Pre V76 in double channel configuration, and
will have a clear idea of what you can do in each of them.

Arturia - User Manual Pre V76 - Pre V76 OVERVIEW 23

5. PRE V76 CONTROL PANEL

The Pre V76 plug-in can be used as a Single Channel (mono) plug-in or as a Double Channel
plug-in. When in Double Channel, we can use it in the traditional Stereo mode (Left/Right)
or the special Mid/Side mode (M/S). We can also use it as a Dual Mono (each of the two
channels works independently).

When in Single Channel configuration, both the preamp and EQ sections have just one
column of controls. The Output section also has just the volume sensor light and the Output
Trim knob.

5.1. Single Channel (Mono)

5.1.1. Single Channel Preamp Section

The Single Channel configuration is automatically loaded when we use the plug-in with
mono channels. The preamp section in the Single Channel configuration is simpler, as are all
the other sections. It is located on the right side of the control panel. The significant elements
start with the Gain control knob at the top.

The original unit had a discrete control, that moved in 6dB steps, but in the Arturia plug-in
version the Input Gain control is continuous, with a range that goes from +3dB up to +76dB.
This is quite an extreme gain range, and although the tube preamp model is extremely
tolerant, it is still possible to create some unpleasant artifacts, nevertheless. At the right
amount, a pleasant saturation is induced. Default value is -3dB (full left).

Pre V76

Single
Channel
Preamp

gain

control

and

Output

24 Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL

You will probably notice that when increasing gain, there isn't an increase in the overall
perceived volume. This is due to the fact that the Pre V76 plug-in has an Automatic Gain
Compensation, which balances the gain induced in this stage so that we don't have to
bother with differences in volume, and can concentrate on the real deal, which is the audio
saturation.

5.1.2. Single Channel EQ Section

As with the preamp section, we also have just one column of controls for the EQ (V612)
section. Let’s take a look at all the controls.

The EQ section of the plug-in is very simple and straightforward. It's a classic two-band EQ,
with High and Low Shelf bands. This is the type of EQ that started it all, and the same type
of EQ that we can find in Hi-Fi devices even today.

Pre V76

Single
Channel

EQ bands

and High

Pass filter

The two bands have very smooth and gentle Baxandall curves, with fixed frequencies:
100Hz for the Low Shelf and 5kHz for the High Shelf. Since both the frequencies and the
bandwidth are fixed, we have just one control for the boost/cut amount. There is one boost/
cut control for each band, naturally, and they are labeled with a Treble Clef and a Bass Clef.
The range is between +10dB and -10dB. Default position is 0.

The High Pass Filter positioned below the two EQ bands was part of the original V76. This is
a High Pass Shelf Filter, with gentle curves.

This filter has several choices. We start with the Flat position (filter Off).

Besides that one, we have the 80Hz position (this was the frequency that differentiated this
model from the V76/120), which cuts off frequencies below 80Hz. The other position cuts
off frequencies below 300Hz. There's a third position that sums the two filters, for a more
effective filtering (higher slope). It's labeled 80+300Hz. Default is Flat (filter bypassed).

Below the filter controls, we have the Phase Reverse switch. This switch reverses the audio
phase, as its name implies. This is actually a feature added by Arturia, since the original
didn't have it.

The EQ section can be bypassed, by turning Off the Equalizer switch that is positioned right
below the Input Gain control. Default position is On.

Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL 25

5.1.3. Single Channel Output Section

The Output section is dominated by the prominent Glowing Output Level lamp indicator
positioned at the top of the control panel. This indicator, which replaces the usual VU meter,
glows in a way resembling the vacuum tubes. It will change color continuously, from green
(lower gain volume) to orange (between reference level and -1dBFS) and bright red when
the signal reaches the analog clipping level.

The glowing sensitivity may be calibrated using the option in the right-hand part of the lower
toolbar.

Single Channel Glowing Output Lamp

(reaching analog clipping) and Output

The Single Channel Output only has another control, which is the Output Trim knob. This
knob controls the Output Volume, and the Glowing Output Level indicator will reflect its
action. The range varies between -24dB and +24dB, with the default value at 0dB (middle
position).

Trim Knob

26 Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL

5.2. Double Channel

The Double Channel configuration is the one we use to process stereo tracks. We don't need
to select it, since the plug-in automatically recognizes if the audio track is mono or stereo,
and opens the proper configuration accordingly.

However, the Double Channel configuration doesn't operate exclusively in Stereo mode. In
fact, we have three modes to work with in this configuration. The default one is, of course,
Stereo mode. We can confirm this because the sections are tied between left and right
channels (the Stereo Link button is On). So, when we move a control in the left channel, the
corresponding control in the right channel follows, and vice-versa.

But we can also work in Mid/Side (M/S) mode and in Dual Mono mode.

An audio tool that supports M/S processing (such as the Pre V76) creates two separate
processes, one for the Mid channel (the center of the stereo image) and one for the Side
channel (the edges of the stereo image), as we explained before [p.21].

To work in this mode, we have to adjust the corresponding switch (which is only present
in Double Channel configuration) to the M/S position. By default it is positioned in the L/R
position, for Left/Right, or Stereo mode.

In this mode the Mid and Side channels work independently, so any changes you make on
one channel are NOT followed by the other channel, as it happened in L/R mode. That's why,
when we switch the Stereo Mode to the M/S position, the Stereo Link button is automatically
turned Off.

As we said, in Mid/Side mode changes in the channel on the left (the Mid Channel) affect
the way we perceive the sound in the center of the stereo spectrum, while changes in the
channel on the right (the Side channel) affect the way we perceive sound in the edges of
the stereo spectrum.

We also have a third mode, which is Dual Mono. In this mode, each of the two channels
works independently, as if they were mono channels. Therefore, any adjustments we make
on one channel will not be followed by the other, and will affect ONLY that channel. This
may seem similar to the behavior of the M/S mode, but it is different because, in this mode,
we are processing each channel in Mono mode, while in M/S mode the processing done on
each channel has influence on the stereo image.

This mode is activated when the Stereo Link button is Off and the Stereo Mode button is in
the L/R position.

By default, the plug-in works in Stereo mode (the Stereo Link button is On and the Stereo
Mode button is in L/R position).

Now, let’s examine each control in Double Channel configuration:

5.2.1. Double Channel Preamp Section

The preamp section in the double channel configuration is similar to the one we have in
Single Channel, except that we have almost every control doubled.

So, we have two Input Gain control knobs on top. The original unit had a discrete control that
moved in 6dB steps, but in the Arturia plug-in version the Gain controls are continuous, with
a range that goes from +3dB up to +76dB. This is quite an extreme gain range, and although
the tube preamp model is extremely tolerant, it can distort nevertheless. At the right amount,
a pleasant saturation is induced. Default value is -3dB (full left).

Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL 27

Pre V76 Double Channel Glowing Output

Lamps and Preamp gain controls

28 Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL

5.2.2. Double Channel EQ Section

As with the Preamp section, the EQ section in Double Channel configuration is basically
the same one we have in Single Channel configuration, except that we have every control
doubled. As we said, the EQ section is very simple and straightforward. It's a classic two­band EQ, with High and Low Shelf bands. This is the type of EQ that started it all, and the
same type of EQ that we can find in Hi-Fi devices even today.

Pre V76 Double Channel EQ bands and

High Pass filters

The two bands have very smooth and gentle Baxandall curves, with fixed frequencies:
100Hz for the Low Shelf and 5kHz for the High Shelf. Since both the frequencies and the
bandwidth are fixed, we only have controls for the boost/cut amount. There is one boost/
cut control for each band, naturally, and they are labeled with a Treble Clef and a Bass Clef,
and also as High Tone and Low Tone. The boost/cut range is between +10dB and -10dB, and
the default position is 0.

Below the EQ controls, we have the High Pass Filters that complement this section. These
High Pass were part of the original V76 circuit, and are very smooth and gentle filters.

The filters have several choices. We start with the Flat position (filters Off).

Besides that one, we have the 80Hz position (this was the frequency that differentiated the
V76/80 model from the V76/120), which cuts off frequencies below 80Hz. The other position
cuts off frequencies below 300Hz. There's a third position that sums the two filters, for a
more effective filtering (higher slope). It's labeled 80+300Hz. Default is Flat (filter bypassed).

Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL 29

Below the filter controls, we have the Phase Reverse switches. These switches reverse the
audio phase, as the name implies. This is actually a feature added by Arturia, since the
original didn't have it.

The EQ section can be bypassed, by turning Off the Equalizer switches that are positioned
right below the Input Gain controls. When Off, both the EQ bands and the High Pass Filter
are bypassed. Default position is On.

♪: Make some changes on the EQ bands. Now, press the EQ button to turn Off the EQ section, and



turn it On again. Hopefully, you'll perceive a noticeable difference in the audio. Despite being just a two

band EQ, each band has a large bandwidth, which means that they act in a large range of frequencies.

30 Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL

5.2.3. Output Section

The Output section, like we already said in the Single Channel description, is dominated
by the prominent Glowing Output Level lamp indicators, which here replace the VU meters.
Since this is a Double Channel configuration, we have not one but two "glowing lamps". They
glow in a way resembling the vacuum tubes, and will change color continuously, from green
(lower gain volume), to orange (between reference level and -1dBFS) and bright red when
the signal reaches analog clipping.

Their glowing sensitivity can be controlled by the "Output LED Sensitivity" option in the right­hand part of the lower toolbar. We can choose between High, Medium, and Low, with High
as the default option.

The lamps are positioned on the top right of the control panel, above the Input Gain controls.
Besides them, the Double Channel Output only has another pair of controls, which are the
Output Trim knobs in the bottom. These knobs control the Output Volume, and the Glowing
Output Level indicator will reflect their action. The range varies between -24dB and +24dB,
with the default value at 0dB (middle position).

Pre V76 Double Channel Preamp and

Output. Notice the Stereo Link and Stereo

Mode switches, right above the Output
Trim controls, and the Glowing Output

Lamps on top

Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL 31

Since the Double Channel configuration has three modes, we have two extra switches,
which allow us to change the working mode. These are positioned right above the Output
Trim knobs, and are very important. Combined, they change the global behavior of the
Double Channel configuration. They are the Stereo Link and the Stereo Mode switches.

The Stereo Link switch is the one right below the two Equalizer On/Off switches. By default,
it is On, which means we are working in Stereo mode.

Below the Stereo Link, we have the Stereo Mode switch. This is another very important
switch. It's where we change the behavior between True Stereo (L/R, which means Left/
Right) or Mid/Side mode (M/S switch position). The Mid/Side mode has been described in
detail in the "Mid/Side mode" entry [p.21] in the "Pre V76 OVERVIEW" chapter, so please refer
to that part if you want to clarify something. Bear in mind, though, that it's with this switch
that we change the mode configuration. Possible configurations are as follows:

• Stereo Link On and Stereo Mode at L/R - True Stereo mode

• Stereo Link Off and Stereo Mode at M/S - Mid/Side mode (Stereo Link is
automatically turned Off)

• Stereo Link Off and Stereo Mode at L/R - Dual Mono mode

5.2.4. Some final words

Some final words to mention something very important. Usually, to change values in the
plug-in controls, we click on the corresponding control and drag the mouse up or down. If
the controls are switches, we simply click them to toggle On or Off. If we want finer editing
values, we can use Ctrl+Drag (Cmd+Drag on macOS). Alternatively, we can mouse Right­Click and Drag. Using this key combination, the values change in a slower way, which allow
us to get more precise values easily.

Double-clicking a control changes it automatically to the default value. This also works with
Alt+Click (Opt+Click on macOS).

And that's it. We just finished describing all the controls you have at your disposal to process
sound in your DAW using the Pre V76. We hope you'll enjoy the plug-in and the results you
get when using it, as much as we enjoyed making it.

32 Arturia - User Manual Pre V76 - Pre V76 CONTROL PANEL

6. SOFTWARE LICENSE AGREEMENT

In consideration of payment of the Licensee fee, which is a portion of the price you paid,
Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to
use this copy of the SOFTWARE.

All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
Arturia permits you only to copy, download, install and use the software in accordance with
the terms and conditions of this Agreement.

The product contains product activation for protection against unlawful copying. The OEM
software can be used only following registration.

Internet access is required for the activation process. The terms and conditions for use of the
software by you, the end-user, appear below. By installing the software on your computer
you agree to these terms and conditions. Please read the following text carefully in its
entirety. If you do not approve these terms and conditions, you must not install this software.
In this event give the product back to where you have purchased it (including all written
material, the complete undamaged packing as well as the enclosed hardware) immediately
but at the latest within 30 days in return for a refund of the purchase price.

1. Software Ownership Arturia shall retain full and complete title to the SOFTWARE recorded
on the enclosed disks and all subsequent copies of the SOFTWARE, regardless of the media
or form on or in which the original disks or copies may exist. The License is not a sale of the
original SOFTWARE.

2. Grant of License Arturia grants you a non-exclusive license for the use of the software
according to the terms and conditions of this Agreement. You may not lease, loan or sub­license the software. The use of the software within a network is illegal where there is the
possibility of a contemporaneous multiple use of the program.

You are entitled to prepare a backup copy of the software which will not be used for
purposes other than storage purposes.

You shall have no further right or interest to use the software other than the limited rights as
specified in this Agreement. Arturia reserves all rights not expressly granted.

3. Activation of the Software Arturia may use a compulsory activation of the software and
a compulsory registration of the OEM software for license control to protect the software
against unlawful copying. If you do not accept the terms and conditions of this Agreement,
the software will not work.

In such a case the product including the software may only be returned within 30 days
following acquisition of the product. Upon return a claim according to § 11 shall not apply.

4. Support, Upgrades and Updates after Product Registration You can only receive support,
upgrades and u pdates following the personal product registration. Support is provided only
for the current version and for the previous version during one year after publication of the
new version. Arturia can modify and partly or completely adjust the nature of the su pport
(hotline, forum on the website etc.), upgrades and updates at any time.

The product registration is possible during the activation process or at any time later through
the Internet. In such a process you are asked to agree to the storage and use of your
personal data (name, address, contact, email-address, and license data) for the purposes
specified above. Arturia may also forward these data to engaged third parties, in particular
distributors, for support purposes and for the verification of the upgrade or u pdate right.

5. No Unbundling The software usually contains a variety of different files which in its
configuration ensure the complete functionality of the software. The software may be used
as one product only. It is not required that you use or install all components of the software.
You must not arrange components of the software in a new way and develop a modified
version of the software or a new product as a result. The configuration of the software may
not be modified for the purpose of distribution, assignment or resale.

Arturia - User Manual Pre V76 - Software License Agreement 33

6. Assignment of Rights You may assign all your rights to use the software to another
person subject to the conditions that (a) you assign to this other person (i) this Agreement
and (ii) the software or hardware provided with the software, packed or preinstalled
thereon, including all copies, upgrades, updates, backup copies and previous versions,
which granted a right to an update or upgrade on this software, (b) you do not retain
upgrades, updates, backu p copies und previous versions of this software and (c) the
recipient accepts the terms and conditions of this Agreement as well as other regulations
pursuant to which you acquired a valid software license.

A return of the product due to a failure to accept the terms and conditions of this Agreement,
e.g. the product activation, shall not be possible following the assignment of rights.

7. Upgrades and Updates You must have a valid license for the previous or more inferior
version of the software in order to be allowed to use an upgrade or update for the software.
Upon transferring this previous or more inferior version of the software to third parties the
right to use the upgrade or update of the software shall expire.

The acquisition of an u pgrade or update does not in itself confer any right to use the
software.

The right of support for the previous or inferior version of the software expires upon the
installation of an upgrade or update.

8. Limited Warranty Arturia warrants that the disks on which the software is furnished is
free from defects in materials and workmanship under normal use for a period of thirty (30)
days from the date of purchase. Your receipt shall be evidence of the date of purchase. Any
implied warranties on the software are limited to thirty (30) days from the date of purchase.
Some states do not allow limitations on duration of an implied warranty, so the above
limitation may not apply to you. All programs and accompanying materials are provided “as
is” without warranty of any kind. The complete risk as to the quality and performance of the
programs is with you. Should the program prove defective, you assume the entire cost of all
necessary servicing, repair or correction.

9. Remedies Arturia's entire liability and your exclusive remedy shall be at Arturia's option
either (a) return of the purchase price or (b) replacement of the disk that does not meet the
Limited Warranty and which is returned to Arturia with a copy of your receipt. This limited
Warranty is void if failure of the software has resulted from accident, abuse, modification,
or misapplication. Any replacement software will be warranted for the remainder of the
original warranty period or thirty (30) days, whichever is longer.

10. No other Warranties The above warranties are in lieu of all other warranties, expressed
or implied, including but not limited to, the implied warranties of merchantability and fitness
for a particular purpose. No oral or written information or advice given by Arturia, its dealers,
distributors, agents or employees shall create a warranty or in any way increase the scope
of this limited warranty.

11. No Liability for Consequential Damages Neither Arturia nor anyone else involved in
the creation, production, or delivery of this product shall be liable for any direct, indirect,
consequential, or incidental damages arising out of the use of, or inability to use this product
(including without limitation, damages for loss of business profits, business interru ption, loss
of business information and the like) even if Arturia was previously advised of the possibility
of such damages. Some states do not allow limitations on the length of an implied warranty
or the exclusion or limitation of incidental or consequential damages, so the above limitation
or exclusions may not apply to you. This warranty gives you specific legal rights, and you
may also have other rights which vary from state to state.

34 Arturia - User Manual Pre V76 - Software License Agreement