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5.2.4.

Copying and Pasting Envelopes..................................................................................................................................................................... 43

5.3.

CZ Envelopes........................................................................................................................................................................ 44

5.3.1.

About Rate...................................................................................................................................................................................................................... 45

5.3.2.

Editing a CZ envelope............................................................................................................................................................................................ 45

5.4.

DADSR Envelopes .............................................................................................................................................................. 47

5.5.

MSEG envelopes................................................................................................................................................................. 48

5.5.1.

Editing an MSEG envelope................................................................................................................................................................................... 48

5.5.2.

Points................................................................................................................................................................................................................................ 48

5.5.3.

Adjust the Time.......................................................................................................................................................................................................... 48

5.5.4.

Time-shifting multiple points ............................................................................................................................................................................ 49

5.5.5.

Levels ............................................................................................................................................................................................................................... 49

5.5.6.

Slopes............................................................................................................................................................................................................................... 49

5.5.7.

Bipolar (Pitch and Mod envelopes only) .................................................................................................................................................. 50

5.5.8.

Looping envelopes ................................................................................................................................................................................................... 51

5.5.9.

Sync .................................................................................................................................................................................................................................. 52

5.5.10.

Grid and zoom ........................................................................................................................................................................................................ 53

6.

MODULATIONS .......................................................................................................................................................... 55

6.1.

Modulation matrix .............................................................................................................................................................. 55

6.1.1.

How signal flows through the matrix ........................................................................................................................................................... 56

6.1.2.

Mod Source to multiple destinations ............................................................................................................................................................ 56

6.1.3.

Mod destination controlled by multiple sources.................................................................................................................................... 57

6.1.4.

Connecting Mod Sources to Mod Destinations ....................................................................................................................................... 57

6.1.5.

The 9-16 tab................................................................................................................................................................................................................... 59

6.2.

Combos / Lfo / S&H tab ................................................................................................................................................ 59

6.2.1.

LFOs ................................................................................................................................................................................................................................... 59

6.2.2.

Sample and Hold...................................................................................................................................................................................................... 63

6.2.3.

Combinate .................................................................................................................................................................................................................... 65

6.3.

Modulations: Envelopes tab ........................................................................................................................................ 68

6.3.1.

Mod Envelope Poly ................................................................................................................................................................................................... 69

7.

FX (Effects).................................................................................................................................................................... 70

7.1.

Series and parallel module configuration.......................................................................................................... 70

7.2.

Selecting an effect .............................................................................................................................................................. 71

7.3.

Enabling / disabling an effect ..................................................................................................................................... 71

7.4.

Editing the effects............................................................................................................................................................... 72

7.4.1.

Reverb ................................................................................................................................................................................................................................ 72

7.4.2.

Delay.................................................................................................................................................................................................................................. 73

7.4.3.

Chorus............................................................................................................................................................................................................................... 74

7.4.4.

Phaser............................................................................................................................................................................................................................... 75

7.4.5.

Flanger.............................................................................................................................................................................................................................. 76

7.4.6.

Multimode Filter .......................................................................................................................................................................................................... 77

7.5.

Overdrive.................................................................................................................................................................................. 77

7.6.

Compressor ............................................................................................................................................................................ 78

7.7.

Bitcrusher ................................................................................................................................................................................. 79

8.

Preset Browser........................................................................................................................................................... 80

8.1.

Searching presets.............................................................................................................................................................. 80

8.2.

Using tags as a filter ........................................................................................................................................................ 81

8.3.

Tag category windows ................................................................................................................................................... 81

8.4.

Results window................................................................................................................................................................... 82

8.5.

The Preset Info section.................................................................................................................................................. 83

8.5.1.

Making new tag categories ................................................................................................................................................................................ 84

8.5.2.

Edit information for multiple presets .......................................................................................................................................................... 84

8.6.

Preset selection: other methods .............................................................................................................................. 85

8.7.

Playlists .................................................................................................................................................................................... 85

8.7.1.

Add and name a playlist....................................................................................................................................................................................... 85

8.7.2.

Delete a playlist .......................................................................................................................................................................................................... 87

9.

MIDI CONTROLLERS AND CONFIGURATIONS....................................................................................... 88

9.1.

MIDI Learn controller assignment.......................................................................................................................... 88

9.1.1.

Assigning / unassigning controls..................................................................................................................................................................... 89

9.1.2.

Min / Max value sliders.......................................................................................................................................................................................... 89

9.1.3.

Relative control option .......................................................................................................................................................................................... 90

9.1.4.

Reserved MIDI CC numbers............................................................................................................................................................................. 90

9.2.

MIDI controller configurations .................................................................................................................................. 91

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Summary of Contents for CZ V

Page 1: ...USER MANUAL ...

Page 2: ...oseph HOLLO Lyli JORDY Maxime DANGLES Maxime AUDFRAY Minim MUSIC NewLoops Paul SCHILLING Thomas KOOT Simon GALLIFET DESIGN Baptiste LE GOFF Pierre PFISTER Morgan PERRIER Shaun ELLWOOD Jonas SELLAMI SPECIAL THANKS Andrew CAPON Bernd WALDSTÄDT Chuck ZWICKY Daniel TINEN Fernando Manuel RODRIGUES Gustavo BRAVETTI Jeffrey CECIL Marco CORREIA Koshdukai Peter TOMLINSON Terry MARSDEN Jay JANSSEN Mat HERBE...

Page 3: ...ement 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 Pr...

Page 4: ...e 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 permanen...

Page 5: ...t sounds tweak a few controls skim through the features or dive as deep as you like it is easy to understand and use We are confident that the CZ V will be a valuable addition to your instrument collection and that you ll have a lot of fun with it Be sure to visit the www arturia com website for information about all of our other great hardware and software instruments They have become indispensab...

Page 6: ...e display 19 3 3 4 Pitch Bend 19 3 3 5 Modulation Wheel 19 3 3 6 Macro faders 1 4 20 3 3 7 Wave scope 20 3 3 8 Vibrato 20 3 3 9 Arpeggiator 21 3 3 10 Rate and Sync 21 3 3 11 Pattern 22 3 3 12 Line Select Ring and Noise Modulation switches 23 3 3 13 Portamento 23 3 3 14 Poly 23 3 3 15 Lower toolbar 24 4 SYNTHESIS SECTION TAB 29 4 1 Lines 1 and 2 29 4 2 Selecting and controlling waveforms 30 4 2 1 W...

Page 7: ...ions Envelopes tab 68 6 3 1 Mod Envelope Poly 69 7 FX Effects 70 7 1 Series and parallel module configuration 70 7 2 Selecting an effect 71 7 3 Enabling disabling an effect 71 7 4 Editing the effects 72 7 4 1 Reverb 72 7 4 2 Delay 73 7 4 3 Chorus 74 7 4 4 Phaser 75 7 4 5 Flanger 76 7 4 6 Multimode Filter 77 7 5 Overdrive 77 7 6 Compressor 78 7 7 Bitcrusher 79 8 Preset Browser 80 8 1 Searching pres...

Page 8: ...10 SOFTWARE LICENSE AGREEMENT 92 ...

Page 9: ...one In the original hardware you had a choice of eight different waveforms the CZ V gives you those plus the ability to draw your own waveform In the original keyboards you couldn t combine two resonant waveforms our modern software instrument doesn t have that limitation There are two Lines available to generate sound in the CZ and each Line has its own waveforms Pitch DCW and Amplitude envelopes...

Page 10: ...ulation sources to any of the 51 modulation destinations Three Combinate mod sources each of which acts as a mathematical combination of two other mod sources Four definable assignable Macro sources for complex simultaneous modulations Two syncable LFO sources with 6 waveshapes up to 20 seconds of delay and key retriggering Preassigned Vibrato LFO with simple easy to access top panel controls Two ...

Page 11: ...lves a different software program the Arturia Software Center that is included in the installation package but appears as a separate app 2 2 1 The Arturia Software Center ASC If for some reason the ASC wasn t installed with your CZ V package please go to this web page Arturia Updates Manuals The Arturia Software Center is at the top of the list Once you ve located it download the version of the in...

Page 12: ...ee the Audio MIDI settings window This works in the same way on both Windows and macOS although the names of the devices available to you will depend on the hardware you are using Starting from the top you have the following options Device lets you choose which audio driver you want to use to route sound out of the instrument This might be your computer s own driver like Windows Audio or an ASIO d...

Page 13: ...by confirming whether sound can be heard through the correct device Your connected MIDI devices will appear in the MIDI Devices area Click the check box to accept MIDI from the device you want to use to trigger the instrument In All mode CZ V listens for all MIDI channels so there s no need to specify a channel You can specify more than one MIDI device at once 2 3 2 Audio and MIDI settings macOS T...

Page 14: ...rk the same way as in standalone mode with a few differences The instrument will now synchronize to your DAW s host tempo bpm rate when tempo is a factor e g when a parameter is in SYNC mode You can automate numerous parameters using your DAW s automation system You can use multiple instances of CZ V in a DAW project In standalone mode only one instance is available Any additional audio effects yo...

Page 15: ...pper toolbar Configuration Presets and MIDI The upper toolbar of the CZ application window is where you ll find controls for saving and recalling presets a few configuration controls and the MIDI configuration window Note that the upper toolbar is NOT the computer system s toolbar at the top of the computer screen which contains the standard application features like About Preferences and Exit PC ...

Page 16: ...e You can import a single preset an entire bank of presets or a playlist This command will bring up a popup directory window for your computer simply navigate to a valid file it MUST be in either the czvx format or as a MIDI System Exclusive syx file and click Open These features let you share sounds between systems and with other users 3 1 1 3 Export When you want to share a preset you ve made wi...

Page 17: ...the controls and graphics The controls work the same at any zoom level but the smaller ones can be harder to see at the smaller zoom values See Maximize View p 28 in the lower menubar section for another way to change the window zoom If your computer has a number keypad on the side you can zoom in and out by holding Control and pressing the and keys on that keypad 3 1 1 5 Tutorials This feature gu...

Page 18: ...Z V on the Arturia website 3 1 1 7 About At the bottom of the upper left CZ menu is About Click on this to see a list of the extremely talented people who built this software for you and to see what version of the software you have Click anywhere on the CZ window to close the popup 13 Arturia User Manual CZ V QUICK TOUR OF THE ARTURIA CZ V ...

Page 19: ...brary icon was 3 1 2 Preset List The icons and data fields across the center of the upper tool bar all give you quick access to presets also known as patches or programs The TYPE filter preset number and name and left right arrows here give you easy access to the hundreds of presets in memory so you can get up and playing quickly without doing any programming The Preset Library in SEARCH mode The ...

Page 20: ...rowse presets with MIDI controller At the bottom of the Preset browser window on the left side is a field labeled Browse presets with MIDI Controller It will configure the CZ V to work with an Arturia controller so you can browse the preset search results without having to map any controllers to those functions The CZ V will detect which Arturia controller you are using and will be configured auto...

Page 21: ...ller CC commands will be highlighted in purple on the screen Click on any parameter then send the CC message you want this parameter to be controlled by from your hardware or DAW sequencer to the CZ V The two are automatically linked and the control image turns red For more details on this see Chapter 9 p 88 You won t be able to modify any settings as long as you re in this mode Click the MIDI ico...

Page 22: ... you ll see four tabs labeled SYNTHESIS ENVELOPES MODULATIONS and FX You could think of the process of making a new sound in the CZ as moving from left to right You start with SYNTHESIS the most important window in the software Here you select the basic waveforms that actually produce the sound and the balance between sound generators The synthesis window also includes graphic displays of the enve...

Page 23: ...lso drag the cursor across the keys to hear a glissando Clicking near the front edge of the key results in a higher velocity note clicking near the back of the key produces a soft velocity To use velocity in a program use it as a Mod Source in the modulation matrix and assign it to a Mod Destination For example assigning Velocity to Line 1 Level will make the sound louder the harder you play the k...

Page 24: ... return to zero when it is released This automatically bends the Pitch of both Lines without requiring any patching in the MODULATIONS tab The amount of maximum pitch bend is determined by the Bend Range p 24 parameter in the lower toolbar The pitch bend wheel is also a modulation source which can affect any modulation target that it s assigned to It will also respond to the appropriate MIDI pitch...

Page 25: ... vibrato which retriggers each time you play a key The controls in the VIBRATO section give you convenient access to these common parameters Clicking on the WAVE window displays a pop up menu that lets you select the waveform of the low frequency oscillator that can vary the pitch of the sound Sine Triangle Square Saw Down Saw Up and S H Sample and Hold The RATE control sets the speed of the vibra...

Page 26: ...improvisational than a step sequencer because you can decide on the spur of the moment to change which notes the arpeggio will produce by changing which notes you are holding and how many The creative possibilities are endless To turn on the Arpeggiator press the ON button As you hold a note or notes on the keyboard it will arpeggiate according to the current PATTERN Press the HOLD button to keep ...

Page 27: ...r The highest and lowest notes are triggered twice and then the direction is reversed Up down 2 Held notes are played back in ascending order and then descending order The highest and lowest notes are triggered only once and then the direction is reversed Random Held notes are played back in random order 3 3 11 1 Octave When 1 is selected the arpeggiator will play just the notes in the keyboard ra...

Page 28: ... current note even if you release the key between notes Generally speaking when POLY is on and you release the keys between notes there won t be a portamento effect but if you play legato there will be This depends on the length and type of envelopes as well When you are using the Arpeggiator there will always be a glide between notes if the PORTAMENTO control is above zero regardless of the POLY ...

Page 29: ...stands for Digital to Analog Converter At the time the original Casio instruments were built DACs weren t as advanced or as quiet as they are today But they were part of the sound of the instrument so we modeled the sonic performance of the old CZ series DAC as an option on the output of the CZ V Click on the On logo to turn it off it and bypass this DAC modeling for a cleaner sound 3 3 15 2 Bend ...

Page 30: ...y out of tune character of early analog oscillators As you increase the setting of DETUNE each unison voice is panned to a slightly different place in the stereo output Increased values of Unison use up polyphony of course when Unison is set to 1 the polyphony value displayed just to the right in the toolbar can be a maximum of 32 voices when Unison is set to 2 it goes down to a maximum polyphony ...

Page 31: ...he preset Depending on the number of voices being used in unison mode explained in the paragraph above you can set the polyphony from 1 to 32 voices A check mark indicates the currently selected Poly setting Of course this has no effect if the POLY switch on the right hand side is off and the CZ V is in legato mode In that case this field is greyed out If you experiment with multiple unisons but t...

Page 32: ...rols This essentially sends an all notes off message to the CZ V 3 3 15 7 CPU gauge The final item on the right side of the lower toolbar is a gauge of how hard your computer s processor is working at the moment If you re running many different instrument plug ins at the same time or doing complicated tasks with other programs the central processing unit CPU of your computer may reach the limits o...

Page 33: ...per left corner When you click this button CZ V will make the most of the available screen space by re centering the CZ V window and expanding it downward toward the bottom of your display But if you still can t see everything at the same time then you may want to select a smaller magnification value using the Resize Window p 12 feature in the CZ V menu Naturally there s a balance to be struck Res...

Page 34: ...n keyboard The options are Line 1 Line 2 1 2 or 1 1 Alternatively you can turn each Line on or off by clicking on the power button icon in the upper left hand corner of each line To enter 1 1 mode you can click on the DUPLICATE icon at the top of the LINE 1 section In 1 2 mode Line 2 can be detuned from the frequency of Line 1 using the DETUNE settings in the center of the screen OCT ave NOTE semi...

Page 35: ...tom clicking this opens a pop up window allowing you to draw your own waveform then click in the waveform selection box again to confirm your choice For reference a picture of each of the eight standard waveforms is displayed at the top right side of the CZ V window You can also select waveforms without the popup menu by clicking on the arrows on either side of the waveform selection box 4 2 2 DCW...

Page 36: ...t in phase distortion synthesis the waveform you ve selected is more of a destination than a starting point The basic carrier wave for non resonant waveforms in PD synthesis is a sine wave with no overtones at all like a single drawbar tone on a Hammond organ Only after that carrier is modulated either by turning up the DCW control or by modulating the carrier with a DCW envelope or something else...

Page 37: ... It modulates the waveform s shape by a constant fixed amount You turn it up to make it sound more and more like the waveforms you chose in the waveform selection boxes the higher the DCW level the more overtones in the sound When your cursor is over the DCW control a text balloon next to the cursor shows the current numeric level of the control for example 60 0 The current DCW level is also displ...

Page 38: ...l envelope parameters go to the Envelopes tab p 39 Generally click and hold any point on the envelope Moving the point upwards will increase the level of modulation moving it downwards decreases modulation Moving a point to the left makes that stage of the envelope happen sooner to the right later When you trigger the envelope by pressing a key on the onscreen keyboard or your external controller ...

Page 39: ... doesn t matter what type or function of envelope is on either side it will copy the shape and type from DCW to Amp for example 4 2 7 AMP envelope The amplitude envelope is the final gatekeeper of the Synthesis section It determines how loud the signal is at any particular stage of time A sound can fade in attack and decay sustain at a different level and either stop immediately or fade away slowl...

Page 40: ...ontrols are active only if both Lines are turned on in 1 2 or 1 1 modes as set by the LINE SELECT section on the upper right side of the on screen keyboard Changing the pitch of one of the sound generators relative to the other can lead to quite dramatic sound effects The Detune parameters apply only to the right side sound generator Edit these parameters by clicking and dragging up or down on the...

Page 41: ...on the Amp envelope of Line 1 and a short attack and decay on Line 2 the ring modulation doesn t take place The effect of Ring modulation is subtle if the Detune settings are all at zero because the sum and difference frequencies of the two generators are in the same harmonic series Changing the OCTave setting increases the impact of ring modulation but the ring frequencies stay in harmony The cla...

Page 42: ...dulation source to the Color control If the noise source Level is increased from 0 you will hear the noise as you play the keyboard The Color control affects the tone of this noise Low settings of Color 0 00 emphasize low frequency noise Mid settings to 50 have broadband noise pink noise Higher settings accentuate upper frequencies and cut lower ones creating what most people perceive as hiss 4 4 ...

Page 43: ...gs like fast chorusing in fact this detuning is the effect that a digital chorus effect emulates Higher settings of DETUNE also widen the stereo effect The original Casio instruments had a maximum unison setting of two In our updated version you can have as many as eight copies stacked on top of each other in which case the maximum polyphony is four notes at a time Arturia User Manual CZ V SYNTHES...

Page 44: ...e generators The entire center section of the display shows a single envelope so there is more detail as you edit and there are several controls not available in the SYNTHESIS window 5 1 Navigating the ENVELOPES window To select the envelope you d like to see or edit Click on the envelope name in the left hand column of the window The envelope and its points will be highlighted in light blue and t...

Page 45: ...e MSEG is Arturia s multiple segment envelope with up to 16 points adjustable slope curves and sync capability You can select a different mode for each envelope However if you use the same mode for all envelopes in a patch you ll be able to see them in the background 5 2 2 Top Line Envelope Parameters Different data fields will appear on the top line just above the Ruler Bar depending on the envel...

Page 46: ...d higher octaves will have fewer overtones In both cases the higher the Kbd Follow number the greater the difference will be between the lower and upper notes of the scale The maximum value is 9 with a value of 0 having no effect Double click the field to reset it to 0 5 2 2 3 Zoom and Drag To zoom in and out on the envelope display Click and hold on the gray area at the top of the envelope displa...

Page 47: ...raphic envelope display towards the right side is a parameter labeled Depth The Depth control allows you to lessen or invert the effect of the envelope It acts as a multiplier of all the Levels of the envelope At a Depth of 100 the default level the envelope has full positive effect for example opening up the DCW or raising the pitch Click and drag down on the number to decrease how much the envel...

Page 48: ...d Pasting Envelopes For some sounds you may need to copy an envelope for example from one Line to the other Line or from a DCW to a Mod This function is available on the left side of the Envelopes window I Click on the name of the envelope you want to copy on the left side of the Envelopes window When it is highlighted the copy paste icon will appear on the right side of the name as shown below II...

Page 49: ...ortion synthesizers Unique for its time CZ envelopes had up to eight definable points Any point can be defined as a sustain point and each point has its own rate and level The minimum CZ envelope has two points a starting point which can be either a sustain or attack point and an endpoint In the illustration above the selected point with a halo around it is Point 1 the Sustain point as indicated b...

Page 50: ... point except the End Point may be defined as the Sustain point When you release a key the envelope will jump to the last stage If nothing is defined as a sustain point the envelope will progress through all its stages as you hold the key In the illustration above notice the halo around Point 5 indicating that it is the currently selected Point for the Point Rate and Level data fields In the cente...

Page 51: ...ackpad as a secondary click function then click drag the point To select a point for editing Click on the point or Click on the Point data field at the bottom of the window and drag up or down To make a point the Sustain point Double click on the point or Click on the Sustain data field at the bottom of the window and drag up or down To make an envelope without a Sustain point Double click on the ...

Page 52: ... Decay time is the amount of time it takes for the envelope to reach the Sustain level after the Attack phase is completed Sustain level is the level of the envelope as you hold down the key in a range between 0 and 1 000 Note that the Sustain level can be higher than the Peak level Release time is how long it will take for the envelope level to decay to 0 after the note is released When you relea...

Page 53: ... graphic hold the Control key or right click as you drag for fine tuning 5 5 2 Points Click a point to select it or click the Point number field and drag it up and down to select the point to be edited To add another point click anywhere in the envelope field Up to 16 points are possible Right click a point to remove it If you double click a point it will become the Sustain point To zoom in and ou...

Page 54: ...l the points that are located to the right of the point being modified The shift click adjustment technique works only in the graphic window It is not allowed in the Time data field 5 5 5 Levels The relative strength of the selected point is set using this parameter The graphic will change as the level is moved 5 5 6 Slopes Each point has an adjustable slope that governs the shape or curve of the ...

Page 55: ...ative The level of each point in a non bipolar envelope will always be a value between 0 00 and 1 00 In contrast with the previous illustration here is the same Pitch envelope with the Bipolar button pressed Now the same Pitch envelope has points that are both above and below the center point Values can be anywhere from 1 00 to 1 00 Arturia User Manual CZ V ENVELOPES 50 ...

Page 56: ...ough the release stage In the above picture the envelope will start at point 1 progress to point 10 the End flag return to point 2 the Start flag and then loop between points 2 and 10 until the key is released When the Loop button at the bottom of the ENVELOPES window is first pressed the Sustain point of the envelope automatically becomes the end point of the loop If the End point of the loop is ...

Page 57: ...ed but hidden A different set of preset envelopes are available at the top of the window This is what you will see the first time the Sync button is pressed The default envelope will become very interesting when more points are added The same procedures are used to add points and adjust their times levels and slopes as in a non synced MSEG envelope p 48 However a synced envelope is different in on...

Page 58: ... to the grid keeping the envelope in relation to tempo However you re not restricted to placing them on the grid you can drag them anywhere you want Each stage of a synced envelope corresponds to a rhythmic value If you are using CZ V as a plug in these values are derived from the master tempo of your DAW What the zoom setting of the envelope window does is determine the resolution of the grid tha...

Page 59: ...d envelopes are explained here p 52 Unsynced MSEG Preset templates There are ten templates available when the MSEG envelopes are not synced Click on a blue arrow to display more presets These provide basic envelope shapes as well as some other useful shapes that would take longer to create Synced MSEG Preset templates There are nine templates available when the MSEG envelopes are synced Click the ...

Page 60: ... is basically a software patch bay that allows you to route one or more sources to one or more destinations The CZ V offers 16 sets of modulation routings on two different tabs labeled 1 8 and 9 16 with 8 mod routings available per tab Here s an example of a simple routing that assigns the modulation wheel to the vibrato depth and each of the four Macro faders to a separate effect level The modula...

Page 61: ...u can map one source to multiple destinations or have one destination modulated by multiple sources like this Each of the 16 mod routings allows up to 8 different sources to be routed to a single destination or as many as 8 destinations to be modulated by a source 6 1 2 Mod Source to multiple destinations In the illustration above raising the ModWheel will simultaneously increase the vibrato depth...

Page 62: ...ght each other when mapped to the same destination or they can add together But in any case they can t make a value go greater than the maximum or lower than the minimum In the above example if the Macro 2 fader is up full and Line 1 is panned hard right already moving the pitch bend wheel can t make it go any farther 6 1 4 Connecting Mod Sources to Mod Destinations To select a Mod Source and a Mo...

Page 63: ...own the amount of modulation will be adjusted To fine tune the setting hold down the control key as you drag Mod matrix levels can be positive or negative Positive levels do things like increase DCW modulation pitch or vibrato level negative levels decrease them Notice that the color of the square that represents the connection between source and destination will brighten the higher the level is i...

Page 64: ...n used to modulate other parameters like pitch or amplitude resulting in vibrato or tremolo Sample Hold which takes a momentary snapshot of a signal and holds on to that level for a specific period of time then takes another sample and holds that and so on Combinate which combines two different mod sources mathematically 6 2 1 LFOs The CZ V has two independent low frequency oscillators in addition...

Page 65: ...d filter effect was used by Keith Emerson at the beginning of the song Karn Evil 9 An LFO with a S H waveform assigned to a closed DCW has a similar effect 6 2 1 3 To change the rate of the LFO Click on the Rate data field and drag up or down to increase or decrease the LFO speed The range is from 0 010 to 200 Hz cycles per second if the Rate Type is in Hertz mode The range is from 1 32 to 8 1 of ...

Page 66: ...ed quarter note per beat slower 6 2 1 5 LFO Delay Turn on the Key Trig switch to turn on the Delay Click and drag the Delay data field to introduce a gradual fade in of the LFO level The range is from 0 001 seconds to 20 seconds 6 2 1 6 Mono Poly buttons When the Poly polyphonic button is lit the LFO waveform is independent for every note that is played so that the modulation stage of each note de...

Page 67: ...ty means that the LFO will not stop as long as the key is held The other possible values range from 1 only one LFO cycle when a key is played to 8 the LFO will perform 8 cycles then stop In the illustration above LFO 1 s Rate Type is Sync Binary at a Rate of 1 8 Key trig is on with a Key trig setting of 3 When a key is pressed LFO 1 outputs three Saw Down waves at the speed of three 1 8th notes LF...

Page 68: ...and so on The resulting signal can then be used as a modulation source in the Mod Matrix Mod Source SampleAndHold To use the sample and hold generator in the CZ V the first step is to choose the signal that you want to sample by clicking on the box just underneath the graphic display Then a pull down menu appears with the available choices The Sample Hold module is sampling random noise into a cla...

Page 69: ...ld Rate Type This functions in the same way as the Sync features elsewhere in the CZ V when it is in a Sync mode the Rate is synchronized with tempo See Rate Type p 61 above 6 2 2 3 S H Rate The Rate control in the Sample and Hold module is similar to the LFO Rate controls with the exception that when it is in Hertz mode the range is from 0 010 to 40 Hz instead of 200 Hz maximum 6 2 2 4 S H Key tr...

Page 70: ...ns TYPE Decides the math process that will be applied 5 options AMT Controls how much the Mod affects the Source 0 00 1 00 in steps of 0 001 with CNTL key pressed 6 2 3 1 Combinate Source and Mod options The pulldown menus of sources and mods contain elements you re probably already familiar with all the envelopes LFOs controllers even the other Combinates Keyboard Follow is unique to this menu ho...

Page 71: ...serve the waveform it leads with a sharp saw edge then curves down as a sine wave Change the TYPE to Diff Difference and observe now the wave curves up and ends with a sharp drop down Mathematically the results are at opposite extremes as are the results here Try changing the TYPE to Multiply and to Divide The differences in the math processes are even more extreme and though the results are too t...

Page 72: ... formula differs from the others Type Formula Sum Source Mod Amount Diff Source Mod Amount Multiply Source Mod Amount Source 1 Amount Divide Source Amount Mod Crossfade Amount crossfades Source and Mod The output of the equations is not allowed to exceed the values of 1 00 and 1 00 67 Arturia User Manual CZ V MODULATIONS ...

Page 73: ...velopes tab offers the ability to select the envelope type CZ DADSR or MSEG without having to open up the Envelopes page Remember this is just another way to work with the envelopes for Mod 1 and Mod 2 they are the same envelopes shown on the Envelopes page Changes made here will be reflected there and vice versa All of the parameters here have already been explained in the Envelopes section p 39 ...

Page 74: ...ing played For example suppose you assign Mod 1 to Pitch of Line 1 in the Mod Matrix Mod 1 s envelope has a long rise sending the pitch sharp If Poly is off each time you play and hold a note the Mod 1 envelope will retrigger sending all notes being played sharp by the same amount maintaining their harmonic relationship If Poly is on and you play successive notes of a chord the notes will independ...

Page 75: ...ur in series with both Line 1 and Line 2 being processed by all the modules or two parallel chains with each Line going through its own two modules It may be necessary to adjust the Wet Dry balance of an effect in order to hear it or the original signal all the way through the FX signal path FX page with a serial chain of four digital effects a Reverb into a Chorus into an Overdrive into a Multimo...

Page 76: ...o remove an effect from the signal path either disable it with its on off button or select None for that FX slot 7 3 Enabling disabling an effect To enable or disable an effect toggle the on off button to the right of the effect name This is sometimes referred to as a bypass switch Audio will still pass through the disabled effect to the next effect or the mix output but the effect itself will not...

Page 77: ...reverb from zero to 200 milliseconds Decay Determines the length of time the reverb effect will last Appears as a Mod Destination in the Mod Matrix Width Adjusts the reverb from mono to an increasingly wide stereo space In Lp filter Input Low Pass filter Reduces the high frequency content before processing Range 100 Hz to 20 kHz Default 15 kHz In Hp filter Input High Pass filter Filters out low fr...

Page 78: ...iption of the Sync binary Triplets and Dotted options see Rate Type p 61 Appears as a Mod Destination in the Mod Matrix Feedback Adjusts how many times the delay will repeat HP Freq High pass filter Higher values reduce low frequency content with each echo Range 20 Hz to 10 kHz LP Freq Low pass filter Higher values reduce high frequency content with each echo Range 200 Hz to 20 kHz Spread Width Hi...

Page 79: ...ach voice Delay Sets the amount of delay applied to the input signal from 0 6 to 20 ms Depth Controls the depth of the chorus e g how far above and below the incoming pitch by adjusting the range of time that will be scanned Shape Toggles modulation LFO between sine and square waveforms Frequency Adjusts the speed of the chorus the frequency of the scanning LFO Feedback Controls how much of the ou...

Page 80: ...d which is an independent random S H Frequency Sets the harmonic center for the modulation effect Feedback Controls the amount of phaser resonance LFO Rate Controls the speed of the phaser effect with sync options and without Appears as a Mod Destination in the Mod Matrix LFO Amount Determines the depth of the modulation effect If depth is 0 the filter frequency stays in one position Poles Determi...

Page 81: ...gle waveforms Polarity Changes flanger feedback to subtractive negative rather than additive Feedback Adds feedback for a harsher or ringing sound similar to a resonant filter Maximum is 99 to avoid runaway feedback Delay Sets the base delay frequency which changes the spacing and frequency of the resulting comb filter Depth Sets the range of delay time that will be scanned around the base frequen...

Page 82: ...izes the cutoff frequency Wet Dry Amount Controls the balance between the input signal and the effected signal Note if you want to use this as a pass filter in the FX chain this effect that should be 100 Wet fader all the way to the top 7 5 Overdrive The Overdrive effect will add a certain fuzziness to the sound The tone control will adjust the brightness of the output This is modeled after a soli...

Page 83: ...is greater than the threshold and the ratio is greater than 1 1 Control Description Attack Adjusts the speed with which the compression will be applied after the threshold is reached from 0 01 to 1000 ms Release Sets the release time of the compressor from 1 to 2000 ms Threshold Sets the level where compression will begin from 60 dB to 20 dB Ratio Determines the amount of compression to be applied...

Page 84: ...reduced aliasing is introduced in the higher harmonics which can produce sub harmonics as well For a truly lo fi experience the sample rate can be reduced to as low as 1 80th of the original Control Description Bit Depth Reduces the number of bits used to render gradations in amplitude Range 1 50 to 16 0 bits Downsample Lowers the sample rate used to represent harmonic content Range 1 00x to 80 0x...

Page 85: ...it return and the Results column will be updated to show the results of your search In the example above the word organ was typed into the Search field This displayed all presets in the Factory bank that have that word in the preset name because the other filters beneath it TYPES STYLES and the User banks were not selected Search terms can be any letters or numbers they don t have to be words Note...

Page 86: ...own arrow at the right side of this column heading to show these in reverse order The tag fields in the SEARCH window TYPES STYLES and BANKS can be shown or hidden by clicking on the up or down arrow on the left side of their title fields You can use multiple search fields to perform narrower searches By entering a text search and also specifying the Types Styles and Banks options you will see onl...

Page 87: ...the display results by Type Designer or Bank tags Click the sort arrow to reverse the alphabetical order As you explore and create presets you can mark them as Favorites by clicking the heart next to their names in the Preset Info section Afterwards you can click on the heart icon in the Results window to put all of your favorites at the top of the Results list Use as many of the sorting and filte...

Page 88: ...lay the current choices If none of them fit see Making new tag categories p 84 To select Styles click on the sign to open a popup window with the current choices If none of those Styles fits define a new style by clicking on the sign inside the popup window Comments can be very useful for example entering the search term Home would result in the patch above being listed in the Results column since...

Page 89: ...et info column After you ve made a new tag category it will appear as an option in the search window To delete a tag category from the list uncheck it from every preset that has it You cannot delete tag categories that are used in factory presets To delete an entire bank right click on the bank name and a pull down menu will appear with the options to delete or export the bank If you click on Dele...

Page 90: ... Filter menu and clicking on any preset in the submenu will clear all the Search criteria and show the entire list of presets each time you click on the Name field of the upper toolbar The left and right arrows in the toolbar cycle up and down through the preset list either the full list when the filter field says All Types or the filtered list that resulted from the use of one or more search term...

Page 91: ...aylist name 8 7 1 2 Re order the presets Presets may be reorganized within a playlist For example to move a preset from slot 1 to slot 3 drag and drop the preset to the desired location This will cause the other presets to be bumped up in the list to accommodate the new location of the preset being moved 8 7 1 3 Remove a preset To delete a preset from a playlist move the cursor to the preset and c...

Page 92: ... To delete an entire playlist click the Trash icon on the right side of the playlist name This will only delete the playlist it will not delete any of the presets inside the playlist 87 Arturia User Manual CZ V Preset Browser ...

Page 93: ...e the preset from your hardware keyboard While the CZ V is in MIDI learn mode you can t edit any parameters Click on the MIDI icon to leave MIDI learn mode In the image above the Master Volume control is red That means it has already been assigned to an external MIDI control It can be reassigned p 89 though There are MIDI assignable parameters inside all four advanced programming tabs In the Envel...

Page 94: ...pup window notice the minimum and maximum value sliders Min and Max that you can use to restrict the range of the parameter response to something other than 0 100 For example you might want to limit the master volume slider to a range of 30 90 If you made this setting Min set to 0 30 and Max set to 0 90 your physical knob would be unable to alter the volume lower than 30 or higher than 90 no matte...

Page 95: ...p its MIDI assignments When configured this way movements of the physical control usually a knob will change the software parameter by starting at its current setting rather than being an absolute control and snapping it to some other value as soon as you start to move it This can be a great feature when controlling things like volume filter or effect controls since you won t usually want them to ...

Page 96: ... export the currently active one This is a quick way to set up different hardware MIDI keyboards or controllers with the CZ V without having to build all the assignments from scratch each time you swap hardware There are several options shown in the graphic above Default gives you a starting point with predetermined controller assignments Empty removes the assignments of all controls the check mar...

Page 97: ... 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 ...

Page 98: ...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 ret...

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