Arturia Matrix-12 V, User Manual

Page 1: ...ARTURIA Matrix 12 V USER MANUAL 1 USER MANUAL ...

Page 2: ...hard Sound Design Jean Baptiste Arthus Jean Michel Blanchet Glen Darcey Richard Devine Ed Ten Eyck Boele Gerkes Frank Greiner Victor Morello Erik Norlander Greg Savage Paul Schilling Stephane Schott Nori Ubukata Manual Antoine Back Tomoya Fukuchi Jason Valax Special Thanks Paul Beaudoin Bill Cameron electrowizard Chuck Capsis Richard Courtel Dwight Davies Ben Eggehorn David Farmer Jeff Haler David...

Page 3: ...AE 15 1 4 1 Aliasing free oscillators 15 1 4 2 A better reproduction of analog oscillator waveforms 16 1 4 3 Direct Filter Circuit Modeling 17 2 ACTIVATION AND FIRST START 19 2 1 Register and Activate 19 2 2 Initial setup 19 2 2 1 Audio and MIDI settings Windows 19 2 2 2 Audio and MIDI settings Mac OS X 22 2 2 3 Using Matrix 12 V in plug in mode 22 3 USER INTERFACE 23 3 1 The virtual keyboard 23 3...

Page 4: ...3 4 1 Page bar 37 3 4 2 Parameter window 38 3 4 2 1 The Main page 38 3 4 2 2 The Voices page 38 3 4 3 Nameplate 39 3 4 4 Bottom panel 39 3 5 The tool bar Managing presets 40 4 SINGLE MODE 41 4 1 Front Panel Functions 41 4 1 1 Overview of the parameter organization 41 4 1 1 1 Parameter groups 41 4 1 1 2 Tabs 42 4 1 1 3 Parameters with and without mods 43 4 1 2 The nameplate 43 4 1 3 The bottom pane...

Page 5: ... Chorus 60 4 3 6 Reverb 61 4 4 The Modulation Page 61 4 4 1 The MOD list 62 4 4 1 1 Resetting part of a mod 63 4 4 1 2 Clearing a mod 64 4 4 1 3 Quantizing a mod 64 4 5 Page 2 65 4 6 Single mode the Voices page 65 4 6 1 First of all What s a Voice 65 4 6 2 The Voice page 66 4 6 3 Voices 67 4 6 4 Zones 68 4 6 5 Vibrato VIB 69 5 MULTI MODE 72 5 1 How to switch modes 72 5 2 Single mode vs Multi mode ...

Page 6: ...ARTURIA Matrix 12 V USER MANUAL 6 5 5 Multi Mode the Main page 80 6 END USER LICENSE AGREEMENT 82 ...

Page 7: ...esizer manufacturers with any notoriety Bob Moog and his eponym company and ARP These two companies rode a crest of technological and musical innovations for nearly a decade with a rivalry akin to that of the Beatles and the Rolling Stones some liked one some liked the other and the serious collectors owned both And it seemed the more these companies divided the pie of market share the larger the ...

Page 8: ...lic band called The United States of America Word got around one thing led to another and the next thing he knew he was being contacted by the Chicago Musical Instruments Company CMI CMI wanted Tom to develop a ring modulator which he did the Maestro RM 1A Good for them and even better for us this odd little box led directly to the formation of Oberheim Electronics The Maestro RM 1A circa 1969 The...

Page 9: ...med like a lot at the time The beauty of this device was that it allowed users to enter notes from a keyboard in real or step time as opposed to dialing them in with a knob Memory was shared by up to three sequences which could be played back individually or chained and played back one after the other Unfortunately there was no way to preserve the sequences for later use all memory would be lost w...

Page 10: ...SEMs at a time And the SEMs didn t have to have identical settings either so each preset could contain wildly different sounds from SEM voice to SEM voice But the parameter controls on the Programmer also allowed the user to program all eight SEMs at the same time so they would sound like a single instrument if desired Cassette backup was possible too which allowed for the creation of a potentiall...

Page 11: ...rding a universal protocol that could be adopted by all manufacturers Third and possibly most importantly those three companies pitched this new idea to other major instrument manufacturers and convinced them it was a commercially viable concept The course of the music world was forever changed through the efforts of Tom Oberheim and his colleagues 1 2 The Oberheim synth family a genealogy Few pro...

Page 12: ...nnectors to trigger the SEM Pictured below is Arturia s SEM V our reverently rendered DSP model of the SEM The center panel of Arturia s SEM V modeling software Patch cables had been replaced by internal connections giving the unit a clean and simple appearance But on close inspection you will see there is a lot of power behind that pretty face Among other things people began to take notice of the...

Page 13: ...985 1 2 3 Crowning achievement the Matrix 12 Though based on the same voice architecture as its predecessor the Matrix 12 was definitely more than just two Xpanders soldered together In addition to the 5 octave keyboard and two modulation levers some important new features were added while a few significant hardware features were not included But at an original retail price of almost 5 000 no doub...

Page 14: ...Matrix 12 V offers you all of the original features and many many more 1 2 4 Where the sound is found The list of albums made using the various Oberheim synthesizers could fill an encyclopedia They have certainly filled the airwaves over the years Styx The Grand Illusion Rush Moving Pictures The Police Synchronicity Prince 1999 Queen The Game Jean Michel Jarre Magnetic Fields Bruce Hornsby The Ran...

Page 15: ... reproduction of the analog circuits used in vintage synthesizers TAE s software algorithms result in spot on emulation of analog hardware This is why Matrix 12 V offers an unparalleled quality of sound as do all of Arturia s virtual synthesizers TAE combines three major advances in the domain of synthesis 1 4 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequ...

Page 16: ...he discharge of a capacitor results in a slight bend in the original waveform most notably for sawtooth triangular and square waveforms TAE reproduces the result of this capacitor discharge in software Below is the analysis of a waveform from one of the five original instruments Arturia s software emulates followed by one made by TAE They are both equally deformed by the low pass and high pass fil...

Page 17: ...vidual hardware components of the filter circuit the warm nuances synonymous with analog sounds are recreated The following graph shows a single example of direct circuit modeling in action The peaks represent the generation of harmonics at multiples of the resonant frequency when a particular filter is in self oscillation mode These harmonics are characteristic of hardware synthesizer filters and...

Page 18: ...tom line when you bring together a bunch of music lovers who also have a deep understanding of the characteristics of electronic circuits you wind up with Arturia And Arturia now offers you our most impressive software model yet the Matrix 12 V We take great satisfaction in knowing this great synthesizer will help you explore previously unknown musical territory ...

Page 19: ...d with the product In order to proceed go to this web page and follow the instructions http www arturia com register Note If you don t have an Arturia account yet you will need to create one The process is quick but it does require that you can access your email address during the registration process Once you have acquired an Arturia account you will be able to register the product 2 2 Initial se...

Page 20: ...ANUAL 20 Matrix 12 V main menu You will then see the Audio MIDI settings window This works in the same way on both Windows and Mac OS X although the names of the devices available to you will depend on the hardware you are using ...

Page 21: ...g a key and hearing the note A larger buffer means a lower CPU load as the computer has more time to think but can result in a small latency Find the optimum buffer size for your system A fast modern computer should easily be able to operate at 256 or 128 sample buffer size without creating pops or clicks in the sound If you are getting clicks try raising the buffer a little The latency is display...

Page 22: ...ence is that OS X uses CoreAudio to handle audio routing and the audio device selection is made in the second dropdown menu Apart from that the options work the same way as described in the Windows section 2 2 3 Using Matrix 12 V in plug in mode Matrix 12 V comes in VST AU and AAX plug in formats for use in all major DAW software such as Cubase Logic Pro Tools and so on You can load it as a plug i...

Page 23: ...Lever 1 is available as a modulation source while spring loaded Lever 2 is usually dedicated to pitch bend purposes Either can be routed to other destinations on the Modulation Page though 3 2 Toolbar The toolbar that runs along the top edge of the instrument both in standalone and plug in mode provides access to many useful features Let s look at them in detail The first seven of these options ca...

Page 24: ... s useful for creating variations on patches but still keeping individual copies of each one 3 2 3 Import preset This command lets you import a preset file which can be either a single preset or an entire bank of presets Both types are stored in the matrix 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 u...

Page 25: ...w options The Matrix 12 V window can be resized from 60 to 200 of its original size without any visual artifacts On a smaller screen such as a laptop you might want to reduce the interface size so it doesn t dominate the display On a larger screen or a second monitor you can increase the size to get a better view of the controls The controls work the same at any zoom level but the smaller ones can...

Page 26: ...d receives MIDI See section 2 2 of the manual for full details on this 3 2 7 Preset browser overview The Preset browser is invoked by clicking the toolbar button that has four vertical lines See section 3 3 of the manual for full details on this The Filter name field and left right arrows in the toolbar all assist with preset selection ...

Page 27: ...t can be assigned to MIDI controls will be shown in purple and the idea is that you map physical buttons knobs faders or pedals from hardware MIDI controllers to specific destinations inside the instrument A typical example might be to map a real expression pedal to the virtual volume pedal or buttons on a controller to the effect switches so you can change the sound from your hardware keyboard ...

Page 28: ...ontrol into learning mode Move a physical knob or fader and the target goes red indicating that a link has been made between the hardware control and the software parameter There s a popup window that displays which two things are being linked and a button to unassign the two from each other Filter cutoff frequency selected and assigned ...

Page 29: ...and speed at which a knob is turning as opposed to sending a full range of values in a linear fashion 0 127 for example To be specific a relative knob will send values 61 63 when turned in a negative direction and values 65 67 when turned in a positive direction The turn speed determines the parameter response Refer to the documentation of your hardware controller to see if it has this capability ...

Page 30: ...ration file or export the currently active one This is a quick way to set up different hardware MIDI keyboards or controllers with Matrix 12 V without having to build all the assignments from scratch each time you swap hardware 3 2 10 The lower toolbar At the left hand side of the lower toolbar you will see a readout showing the value or state of whatever control you are modifying It will also dis...

Page 31: ...access the same banks of presets To access the search view click on the browser button the icon looks a bit like books on a library shelf The Preset Browser button 3 3 1 Searching presets The Search screen has a number of sections By clicking on the Search field at the top left you can quickly enter any search term to filter the preset list by patch name The Results column is updated to show the r...

Page 32: ...s to perform narrower searches So by entering a text search and also specifying type bank and characteristics options you could see only the presets that match those exact criteria Deselect any tag in any area to remove that criteria and widen the search without having to go back and start again Using Ctrl click Windows or Cmd click Mac will allow you to select multiple elements in the same area T...

Page 33: ... alter the information for a Factory preset you must first use the Save As command to re save it as a User preset After this the Info section will gain Edit and Delete buttons at the bottom of the window Click Edit and then make the desired changes either by typing in one of the fields or by using a pull down menu to change the Bank or Type You can even add new Characteristics by clicking the sign...

Page 34: ... So if you searched for Love in the main search area the results of that search will appear here Similarly if you previously selected a Type in the Search field you would see the results of that search in this area instead Filter results may differ based on Search criteria Selecting the All Types option in the pull down menu will bypass the Search criteria and show the entire list of presets The C...

Page 35: ...ts that match that tag The left and right arrows in the toolbar cycle up and down through the preset list either the full list or the filtered list that resulted from the use of one or more search terms 3 3 5 Playlists In the lower left corner of the Preset Browser window is a feature titled Playlists This is used to collect presets into different groups for different purposes such as a set list f...

Page 36: ...m the Search Results list onto one of the playlists To view the contents of a playlist click on the playlist name 3 3 5 3 Re order the presets Presets may be reorganized within a playlist For example to move a preset from slot 2 to slot 4 drag and drop the preset to the desired location This will move the preset into the new location 3 3 5 4 Remove a preset To delete a preset from a playlist click...

Page 37: ...p called the Page bar The Main Voices and Program Chain pages are accessed through their respective labels Note that two of these pages Main and Voices have slightly different capabilities depending on the mode of the selected preset The page bar will look a bit different in each mode too but these are the basic items you will always see Also constant to this region are the Master Volume and Fine ...

Page 38: ... page and mode you have selected 3 4 2 1 The Main page Chances are high that you ll spend a majority of your Matrix 12 V time on the Main page both in Single and Multi modes The other pages are very useful and have lots of great features but the Main page is at the center of it all The parameter window of the Main page 3 4 2 2 The Voices page As with the Main page the Voices page exists in both Si...

Page 39: ...e nameplate Each button on the right side of the nameplate will change what is seen in the bottom panel 3 4 4 Bottom panel The nameplate has four buttons which alter the contents of the bottom panel Main page only KBD Keyboard Click it and the virtual keyboard and levers show up FX Effects MOD The Mod lists i e lists of modulation routings PAGE2 The Page 2 parameters These are not often changed wh...

Page 40: ...th as many types and presets as you like The type designation can help you categorize your presets into groups such as Leads Pads etc There s no limit on the number of presets within a type so use these features in the way that works for you Matrix 12 V ships with several banks of factory presets each containing a number of types and presets These cannot be overwritten but they are great starting ...

Page 41: ...d behavior of this marvelous instrument 4 1 1 Overview of the parameter organization When you first move to a new city its buildings streets lights and signs present themselves all at once which can seem bewildering But eventually the sights will become organized in your mind often with the aid of a map And at first Matrix 12 V may resemble an aerial view of a small city at night But the following...

Page 42: ...level Lag Input rate mode switches Ramps Rate control x4 Env Delay attack decay sus rel amp x5 Track Input track point levels 1 5 x3 LFO Speed wave input retrig amp x5 Many of those parameter groups have additional members that are available when you press the Page 2 button 4 1 1 2 Tabs The next level of organization are the tabs inside certain parameter groups For example you can only see one env...

Page 43: ...e of the knobs or toggling a switch depending on the parameter One more thing There are some lesser used but very important parameters available on a sort of sub page too These are found by pressing the Page 2 button on the right side of the nameplate 4 1 2 The nameplate As mentioned previously the function of the nameplate is to allow easy access to the four different aspects of the bottom panel ...

Page 44: ... these are master effects only two are available at one time in any of the modes This means that all the Voices in a Multi will share two FX modules not twenty four 4 1 3 3 Mod This is the very heart of the power of Matrix 12 V Here you can route any one of 27 sources to any one of 47 destinations and do it 40 times over The refinements and spur of the moment decisions the Modulation Page puts at ...

Page 45: ...s VCO stands for Voltage Controlled Oscillator the most basic building block of sound in an analog synthesizer The quickest way to make a large change in the tone of a Voice is through its waveforms In this section we ll cover some of the simpler ways to do that In the upper left hand area of the Parameter window is a blue bar labeled VCO 1 All of the parameters under that bar are part of the VCO ...

Page 46: ...hen to a sort of inverted thin in a range from 0 to 63 with 32 as the midpoint The value of 32 is a full square wave with a 50 duty cycle and the requisite hollow sound caused by the presence of only the odd numbered harmonics Note again the presence of a Mod button meaning the pulse width can be modulated by a source such as an LFO This is a great way to bring a sound alive by causing its harmoni...

Page 47: ...e for the VCO parameter groups To access these press the Page 2 button in the nameplate The bottom panel will show the Page 2 parameters for six different parameter groups two of which are identical VCO 1 and 2 We ll cover only those parameters in this section the rest will be covered with their own parameter groups Keyboard This decides whether the VCO frequency will change when different keys ar...

Page 48: ...cture below the red arrow traces one of the paths for the output of VCO 2 thanks to a hardwired connection it has to the FM input To hear this effect most clearly set the VCO 2 VOL parameter to zero VCO 2 being fed into the FM input As you trace the blue line past the red arrow and through the FM AMP box note the connection from FM DEST to OSC 1 in the second blue box This establishes the connecti...

Page 49: ...routing to change the VCO 2 frequency with an envelope for example will cause the harmonic content of VCO 1 to change over time in ways an analog filter would not be able to produce either 4 2 2 1 Filter FM A similar path exists between the FM output and the Filter section Simply press the FM DEST toggle button at the bottom of the FM parameter group and the blue line will point downward making th...

Page 50: ...lexibility Take a look at the parameters 4 2 3 1 Filter Frequency Freq This is probably the first knob anyone tries on any synth How do the filters sound The amount and type of change you hear depends on a number of factors but rest assured the Matrix 12 V filters provide just about anything you could want from an analog filter Turning the knob changes the location of the corner point s of the fil...

Page 51: ...er mode knob to dial up the one you want Click the Close button to exit without making a change or select one of the graphics and the window will close itself 4 2 3 4 Filter Page 2 As with the VCOs there are other parameters available for the Filter parameter group To access these press the Page 2 button in the nameplate The bottom panel will show the Page 2 parameters for six different parameter ...

Page 52: ...n envelope being triggered by the keyboard which is the most predictable way of controlling how quickly the sound begins and how long it sticks around So why are there two VCAs Wouldn t it be simpler just to control one Simpler yes but also much less flexible For example velocity aftertouch a tracking generator and or a couple of LFOs can be routed to VCA 1 for certain types of level control while...

Page 53: ...mps What a ramp generator does is provide a simple mod source that can be routed positively or negatively to affect a mod destination such as VCO Frequency or the rate of an LFO The source rises from 0 to maximum in a linear fashion then remains at its maximal value There are four independent Ramp sources each with its own rate control and Page 2 settings You can specify whether the Ramp will rise...

Page 54: ...elope Reset Reset will cause the envelope to start again each time a new trigger event occurs Freerun Forces the envelope through all of its stages when triggered regardless of whether the source gate has closed for example even after the key has been released DADR Further simplifies the envelope by removing the Sustain stage Trigger Selects single or multiple trigger response LFO Trigger Allows a...

Page 55: ...is the easy way to say Low Frequency Oscillator Matrix 12 V has five of them available per Voice which can make for some very interesting modulation routings Each LFO has seven waveform choices that range from rounded Triangle to potentially abrupt Square Saw Up Down to nearly unpredictable Random Noise Sample Let s look at the waveforms before we talk about the other parameters in the LFO group T...

Page 56: ...are wave LFO and least noticeable when using the Triangle waveform It is actually not related to the Lag processor and has a predetermined impact If a greater Lag effect is desired the LFO can be routed through the Lag processor directly and then routed to the VCO through the Modulation Page Retrig Mode Selects single or multiple trigger response Off provides the LFO with a freerun setting Remembe...

Page 57: ...learn the controllers on your external USB MIDI device What follows is a description of each available FX device 4 3 1 Delay Sync Locks the delay to the current tempo of the DAW and or the rate of the Phaser These are the only two FX modules with a Sync button Link Makes the delay mono after which the top row of Time and Feedback controls are used to adjust the effect Time A clockwise turn increas...

Page 58: ...tage 2 is on the right With Dual both stages process both sides the Phaser output is mono Mix Alters wet dry mix The phase shifter was one of the most popular effects used with electric instruments in the 1970s It works by splitting the incoming signal changing the phase of one side and recombining it with the unaffected signal This creates a notch comb filter which can be swept through the freque...

Page 59: ...ms and 1000ms The Feedback Amount knob sets the feedback level The Tone knob controls a feedback filtering effect low pass to the left high pass to the right You can set the delay modulation by changing the LFO rate and LFO depth values The Wet Dry slider sets the ratio between the original and modified signals 4 3 4 Flanger Delay Sets the delay time which changes the harmonic content Depth Sets t...

Page 60: ... Sets the amount of delay applied to the input signal Wet Dry Changes the balance between the input signal and processed signal A chorus module recreates the sound of multiple takes of an instrument being combined in a mix Even with the best of performances there are always differences in tuning or timing and when taken to either extreme the results can range from slow and lush to a wobbling quick...

Page 61: ...e Delay Controls the onset of the initial burst of reverb by delaying it for up to 2 seconds Wet Dry Allows you to decide the balance between the input signal dry and the effect wet In summary we think you ll find that these six FX modules provide some extremely useful effects for building great analog synth sounds Have fun 4 4 The Modulation Page You ll notice many items in the Parameter window h...

Page 62: ... the example above there are four unused mod routes As for the buttonless parameters the ones that can t be used as modulation destinations can still be edited by their respective controls and also can be controlled by incoming MIDI data 4 4 1 The MOD list Another way to view the modulation routings is to press the MOD button in the nameplate This will change the bottom panel to display the Mod li...

Page 63: ...on to use so you ll have to click a second item like ENV1 or VCO1 FREQ Once the selection is made the Mod list will close After making your selections use the associated SRC knob at the bottom of the Modulation Page to dial in the modulation level Or if the Mod page is open on the bottom panel you can use the appropriate AMT knob to set the value instead 4 4 1 1 Resetting part of a mod When you re...

Page 64: ... DEST names will be replaced by three dashes and the AMT value will return to 0 12 00 4 4 1 3 Quantizing a mod The Quantize feature can be used to force an otherwise smooth modulation transition to happen in steps Imagine a sweeping LFO an envelope a Lever or any other mod source can be made to move in discreet increments rather than gliding through the values Here s a cool example When a mod to t...

Page 65: ...stinations in the Modulation Page so they do not have additional buttons beneath their names All Page 2 parameters are MIDI assignable Page 2 will remain in the bottom panel until one of the other nameplate buttons is selected KBD FX or MOD or until one of the other pages is selected Voices or Program Chain 4 6 Single mode the Voices page 4 6 1 First of all What s a Voice There are two uses of the...

Page 66: ... a look at the Parameter groups on the Voices page and see what they can do in Single mode The first step is to select a preset that s a Single not a Multi If you re not sure then click the word Voices to access the Voices page You should see a page that looks like this A portion of the Voices page in Single mode with the name of the Single preset in the Page bar and also greened out in the displa...

Page 67: ...u to change the pitch of a voice in chromatic increments within a range of 2 3 octaves You could use this for semi random octave jumps for example Detune With this you could put some voices slightly flat and others slightly sharp or make them way out of tune The range is 31 to 31 and in combination with the Transpose parameter you could set the pitch of a voice to pretty much whatever you want Vol...

Page 68: ...s possible with the Zone parameter group Input Ch Assign the Zone to MIDI Channel 1 16 or Omni Mode Determines how voices will be triggered The first three modes are polyphonic Rotate Reassign Reset and the last three are monophonic Uni Low Uni High Uni Last Click the field and a window will open with the choices A check mark indicates the current mode Note assignment modes Below is a description ...

Page 69: ...d by the last note played in the Zone whether it is above or below the previous note V steal Voice stealing helps maximize the voice allocation within a Zone For example if five voices have been assigned to a Zone and all five notes are playing what happens if a sixth note is played Ordinarily nothing the sixth note is ignored But with V steal enabled the first note that was played is stolen and m...

Page 70: ...of control the Source will have on the VIB speed Click and drag to edit the value The modulation can be positive or negative with a range 63 Wave Six options Triangle Up Down Saw Square Random and Noise no Sample Hold Click the field to reveal the choices VIB waveform options Lag Click the button to use the Lag generator as an additional mod for the VIB effect Amp The overall output of the VIB sec...

Page 71: ...t The amount of control the Source will have on the VIB output Click and drag to edit the value The modulation can be positive or negative with a range 63 One more thing as with almost every Matrix 12 V parameter everything in the VIB parameter group is MIDI assignable ...

Page 72: ...ck to Single mode 5 2 Single mode vs Multi mode Visually Single mode and Multi mode seem very similar but functionally they are quite different The focus of Single mode is the Main page where practically every synthesizer parameter known to man resides for the express purpose of creating a Voice The Voice can stand on its own or become the basis around which a Multi is constructed The focus of Mul...

Page 73: ...ings later but those factors indicate that Matrix 12 V is in Multi mode But in Single mode the Page bar only has the name of a Single preset in the middle like so The Main page view of the Page bar in Single mode All other parameters on the Main page are the same in either mode so it is always possible to switch to the Main page and edit the parameters of a Voice And since the focus of Multi mode ...

Page 74: ...is section of the manual The Voices page is divided into three parameter groups Voices Zones VIB with each section offset by a thick blue line Let s focus on each parameter group one at a time 5 3 1 Voices In Multi mode each of the Voices in Matrix 12 V can be assigned its own Single preset But it doesn t stop there each Voice can be transposed detuned and panned independently and then placed into...

Page 75: ...f the six Zones where its note range keyboard mode and other settings can be defined Or select one of the 16 MIDI channels and bypass the Zone parameters Trans Allows you to change the pitch of a Voice in chromatic increments within a range of 2 3 octaves Detune Tune a Voice flat or sharp The range is 31 to 31 and can be used in combination with the Transpose parameter Volume Use this to adjust th...

Page 76: ...able and you can assign any one of the Voices to either group As soon as one of the Voices has been assigned to group 2 it is possible to select a different Single mode preset for it without affecting the first Voice In the picture below this has been done and Voices 1 and 2 are now independent However Voice 3 is still assigned to group 1 You can assign it to group 2 if you like by following the s...

Page 77: ...eo field All five Voices are assigned to Zone 2 Voices 8 12 5 Voices are in group 3 sharing a Single mode preset But in addition to different Transpose Detune Volume and Pan settings they are also assigned to MIDI channel 3 not a Zone so they will respond to incoming MIDI data on that channel without being additionally constrained by the settings of a Zone You can create up to 12 groups inside the...

Page 78: ...modulation source very similar to LFOs 1 5 although it doesn t have as many options available Saving an edited Multi As soon as you change one of the Multi parameters an asterisk will appear next to the name of the Multi This is to remind you to save the Multi before selecting another one or else you will lose the edits you have made The process is basically the same as that described previously S...

Page 79: ...e and made a few tweaks to one of the Voices an asterisk will appear next to its name on the Voices page This means you can extract the single assigned on a voice to save it into a single preset Just click the small green SAVE button next to the Voice name and the Save window you ve seen in Single mode will appear Saving an edited Single mode preset from within a Multi Once you ve selected the Ban...

Page 80: ... also Click the OK button and your work will be preserved 5 4 Import Export The process of exporting and importing banks or presets is fairly straightforward click the appropriate button and then either 1 navigate to the folder where the items are or 2 create a folder where they will be 5 5 Multi Mode the Main page The Main page in Multi mode is almost identical to the Main page in Single mode wit...

Page 81: ... the group to which the Voice has been assigned see section 5 2 2 for information about this The cool thing is that those blue arrows will switch the selection from Group 1 to Group 2 etc which calls up the Voice that has been assigned to that Group Then the preset can be edited immediately from the Main page and you didn t have to go back to the Voices page to select the Voice you want to edit De...

Page 82: ...r purchases from the Arturia Online Store please contact Arturia on the internet website www arturia com support askforhelp purchase 1 5 Arturia reserves all rights not expressly granted in the EULA 2 Right of use 2 1 The Product is protected by copyright The Licensee may not lease loan or sub license the software The Licensee is not authorized to modify the software 2 2 Owning any product provide...

Page 83: ...s long as only one installation is used at any given time The Licensee must register the Product to Arturia to get access to client support and to activate his Product An internet connection is required to register and activate the Product either on the computer on which the Product is installed either on another device able to exchange files with the computer on which the Product is installed The...

Page 84: ... be repackaged in whole or in part as audio samples sound libraries or sound effects 6 Data Protection Arturia attaches great importance to compliance with legislation on data protection The User data collected are used exclusively for performing its contractual obligations No data is passed on to third parties Further information can be obtained from our Privacy Policy at www arturia com privacy ...

Page 85: ...ions 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 the Licensee in this case This warranty gives the Licensee specific legal rights and the Licensee may also have other rights which vary from state to state ...