Arturia modular v User Manual
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Arturia modular v User Manual

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USER MANUAL
ARTURIA – Modular V – USER MANUAL
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  • Page 1 USER MANUAL ARTURIA – Modular V – USER MANUAL...
  • Page 2 Dennis Hurwitz Daniel Saban Clif Johnston Carlos Tejeda, Koshdukai Scot Todd-Coate Joop van der Linden © ARTURIA S.A. – 1999-2016 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Modular V – USER MANUAL...

  • Page 3: Table Of Contents

    2.2.1 Audio and MIDI settings: Windows ....................17 2.2.2 Audio and MIDI settings: Mac OS X ....................19 2.2.3 Using Modular V in plug-in mode ....................20 USER INTERFACE ......................21 The virtual keyboard ..........................21 Toolbar ..............................21 3.2.1 Save Preset .............................
  • Page 4 Re-order the presets .............................. 34 3.3.5.4 Remove a preset ..............................34 3.3.5.5 Delete a playlist ..............................34 Overview of the 4 sections of the Modular V ................. 34 3.4.1 The synthesis section ........................35 3.4.2 The other three sections ......................... 35 Modular synthesizer ..........................
  • Page 5 More stereo width ..............................126 6.3.4.2 Electronic percussion sequence ........................127 6.3.5 The Envelope Follower ........................128 6.3.5.1 Trig by an external audio source........................129 6.3.5.2 Create your LFO form ............................130 ARTURIA – Modular V – USER MANUAL...
  • Page 6 6.3.6 The sample and hold........................131 END USER LICENSE AGREEMENT ................133 ARTURIA – Modular V – USER MANUAL...

  • Page 7: Introduction

    INTRODUCTION Arturia would like to thank you for purchasing our synthesizer model: the Modular V. We are confident it will prove to be an extremely valuable addition to your music production studio. If you’ve purchased our products before, you know we pride ourselves in faithfully recreating the sound and feel of the original instruments, down to the smallest detail.
  • Page 8 In 1967, Bob decided to release different machines each with a certain number of modules. This marked the birth of modular systems I, II and III. This same year, Paul Beaver for the first time used a modular system of the brand on a record. ARTURIA – Modular V – USER MANUAL...
  • Page 9 (it was in the American “Classical” charts for 94 weeks) and fans of pop. It won three Grammy awards. “Switched-On Bach” by W. Carlos ARTURIA – Modular V – USER MANUAL...
  • Page 10 In 1969-70, the company which now has around forty employees was building up to three modulars per week and the order book was always full. The modular had 5 years of high sales, and sold around 200 models in the United States. ARTURIA – Modular V – USER MANUAL...
  • Page 11 Berkley, Jim Scott, and the advice from numerous musicians he was about to create another mythic synth: its famous 1971 monosynth… System 55, the last version of the Modular (1974) (Courtesy of Roger Luther, MoogArchives.com) ARTURIA – Modular V – USER MANUAL...

  • Page 12: A Modular Synthesizer, Why

    If we now take 9 oscillators, 6 envelopes, a modulation wheel and a velocity setting, we would need… 216 setting buttons. What can we therefore say for the Modular V, which on top of this has three filters, a noise generator, a sequencer and two control pads? Connections in a modular synthesizer can sometimes seem difficult, but the often- unexpected results are always a source of great musical inspiration.

  • Page 13: Arturia's Secret Ingredient: Tae

    ’s software algorithms result in spot-on emulation of analog hardware. This is ® why Modular V offers an unparalleled quality of sound, as do all of Arturia’s virtual synthesizers. combines three major advances in the domain of synthesis: ®...

  • Page 14: A Better Reproduction Of Analog Oscillator Waveforms

    ® 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 filtering.

  • Page 15: Direct Filter Circuit Modeling

    But you’ll notice there are two lines on the graph: Those are the superimposed frequency domain plots for both one of Arturia's virtual instruments and the hardware filter being emulated. They are practically indistinguishable, both on the graph and to the human ear.
  • Page 16 So here’s the bottom 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 Modular V.

  • Page 17: Activation And First Start

    Register and Activate Modular V works on computers equipped with Windows 7 or later and Mac OS X 10.8 or later. You can use the stand-alone version or use Modular V as an Audio Units, AAX, VST2 or VST3 instrument.
  • Page 18 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. Audio and MIDI settings window ARTURIA – Modular V – USER MANUAL...

  • Page 19: Audio And Midi Settings: Mac Os X

     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 standalone mode, Modular 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.

  • Page 20: Using Modular V In Plug-In Mode

    2.2.3 Using Modular V in plug-in mode Modular 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- in instrument and its interface and settings work the same way as in standalone mode, with a couple of differences.

  • Page 21: User Interface

    In this chapter we will give an overview of the features available to you with Modular V. As with every Arturia product, we have gone to great lengths to make the use of this software instrument as simple and as much fun as possible, while also striving to make sure you never run out of new things to do with it as your knowledge expands.

  • Page 22: Save Preset As

    3.2.6 Resize window options The Modular 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 ARTURIA – Modular V – USER MANUAL...

  • Page 23: Audio Settings

    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. ARTURIA – Modular V – USER MANUAL...

  • Page 24: Midi Learn Assignment

    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. ARTURIA – Modular V – USER MANUAL...

  • Page 25: Assigning / Unassigning Controls

    There’s a popup window that displays which two things are being linked and a button to unassign the two from each other. Pulse width knob selected and assigned ARTURIA – Modular V – USER MANUAL...

  • Page 26: Min / Max Value Sliders

     Ctrl Mod Wheel (CC #1)  After Touch  Ctrl Sustain On/Off (CC #64)  Ctrl All Notes Off (CC #123)  Ctrl Omni Mode Off (CC #124)  Ctrl Omni Mode On (CC #125) ARTURIA – Modular V – USER MANUAL...

  • Page 27: Midi Controller Configuration

    This is a quick way to set up different hardware MIDI keyboards or controllers with Modular V without having to build all the assignments from scratch each time you swap hardware.

  • Page 28: Midi Channel Setting

    (All, 1-16). 3.2.11.3 Panic button and CPU meter The Panic button can be pressed to reset all MIDI signals in the event of stuck notes or other issues. The Panic button is also MIDI-assignable. ARTURIA – Modular V – USER MANUAL...

  • Page 29: The Preset Browser

    The Preset Browser The preset browser is how you search, load and manage sounds in Modular V. It has a couple of different views but they all 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).
  • Page 30 The second Results column can be switched to show Type, Sound Designer, Favorite or Bank tags depending on how you like to search. Click on its options menu button just next to its sort arrow. ARTURIA – Modular V – USER MANUAL...

  • Page 31: The Preset Info Section

    The pull-down menu to the right of the Search menu provides a different way to select presets. The first option in this menu is called Filter, and it will display the presets that fit the search terms you used in the Search field. So if you ARTURIA – Modular V – USER MANUAL...
  • Page 32 Selecting the All Types option in the pull-down menu will bypass the Search criteria and show the entire list of presets. The Categories below the line also ignore the Search criteria and display the presets based on their Type. ARTURIA – Modular V – USER MANUAL...

  • Page 33: Selecting A Preset By Its Type

    To create a playlist, click the plus sign at the bottom: Give the playlist a name and it will appear in the Playlists menu. You can rename the playlist at any time; just click the pencil icon at the end of its row. ARTURIA – Modular V – USER MANUAL...

  • Page 34: Add A Preset

    Click the X to delete a playlist. Overview of the 4 sections of the Modular V The Modular V is made up of four distinct sections:  The first at the top is for working on the sound synthesis with the different inter-connectable modules.

  • Page 35: The Synthesis Section

    The first, situated at the top of the synthesizer, contains the step sequencer and 4 effects (the right hand effect can be either a chorus or phaser). The two others are found under the synthesis section. One is a small extension ARTURIA – Modular V – USER MANUAL...

  • Page 36: Modular Synthesizer

    The modular synthesizer cabinet contains 28 modules, which will help you to create an infinite variety of sounds. These 28 modules can be broken down into different categories and will be connected by cables. ARTURIA – Modular V – USER MANUAL...

  • Page 37: Description Of The Synthesis Section Modules

    3 “slave” oscillators. These 3 “slave” oscillators can be tuned and modulated separately. They deliver 4 waveforms that can be simultaneously used. An oscillator bank: 1 “driver” and 3 “slave oscillators” ARTURIA – Modular V – USER MANUAL...

  • Page 38: The White And Pink Noise Generator

    White and pink noise generator 3.5.1.3 The filters The Modular V possesses 3 filters. Each of these filters can be chosen between 4 types:  Low pass 24 dB/octave (type 904A) ...

  • Page 39: The Auxiliary Adsr Modulation Envelopes

    They are 6 in total, allowing the evolution of the sound in time. The auxiliary envelope 3.5.1.5 The dual trigger delay A module with two trigger delays allows the management of the signals used to trigger envelopes and sequencer. ARTURIA – Modular V – USER MANUAL...

  • Page 40: The Lfos

    The “slave” oscillators can also be used as LFOs when they are brought to low frequency positions when they are switched in low frequencies (“low freq”). This gives a total availability of 11 LFO modules. The LFO module ARTURIA – Modular V – USER MANUAL...

  • Page 41: The Vcas

    When two amplifiers are regrouped, the output signal of the first corresponds to the sum of the output signals of the two amplifiers, while the second remains as it was before the regrouping. The mixer VCAs ARTURIA – Modular V – USER MANUAL...

  • Page 42: The Other Sections

    “Chain” selector: This allows the linking sequences to create variations. For example to link lines 1, 2 and 3 to obtain a 24 step on the same controller. ARTURIA – Modular V – USER MANUAL...

  • Page 43: The Effects

    The second section also has three effects, which will allow you to bring more color and space to your sound or sequence. These are on the right of the sequencer; the chorus can be replaced by a phaser. The 3 effect modules ARTURIA – Modular V – USER MANUAL...

  • Page 44: The Fixed Filter Bank

     Stereo delay (Dual Delay): allows the repetition of the incoming signal independently for the left and right, which explains the presence of 2 control columns, one for each side. 3.6.2.1 The fixed filter bank The fixed filter bank ARTURIA – Modular V – USER MANUAL...

  • Page 45: The "Dual Delay

    You can also enrich your sound and give it more stereo space; for this, add stereo delay. The delay effect As is the case for all of the Modular V effects, the Dual Delay works in “real” stereo in the sense that it possesses an independent input and output for both sides.

  • Page 46: The Chorus

    Here you will find all of the settings applied to the 4 key followers, the pitch bend and modulation wheels, as well as velocity and aftertouch. The controller connection jacks ARTURIA – Modular V – USER MANUAL...

  • Page 47: The Play Modes

    3.6.4 The play modes The play modes provide a choice between the different manners of playing the MIDI keyboard. These different settings are situated underneath the pitch bend settings. The play mode parameters ARTURIA – Modular V – USER MANUAL...

  • Page 48: The Sound Design Controllers

     Eight sliders that allow control of the envelopes of the output VCA 1 and  Two 2D controllers that can be assigned to the parameters of your choice  Three knobs for the setting of cut-off frequency off the 3 filters. ARTURIA – Modular V – USER MANUAL...

  • Page 49: The Envelope Control Sliders

    These 2 XY pads can be assigned to any destination using the four output connections present in the real-time controller connection module as shown below. The connection of modulation inputs of filter1 to the 2D controller Using the 2D controller ARTURIA – Modular V – USER MANUAL...

  • Page 50: The Filter Cutoff Frequency Controller

    V. Now try to go a little deeper using the rest of the documentation. You will find all of the details concerning the modules, the sequencer and the many different modes of use of the Modular V. ARTURIA – Modular V – USER MANUAL...

  • Page 51: The Modules In Details

    The modules in details The Modular V can be broken down into 4 parts, from top to bottom, a section containing sequencer and effects, a section dedicated to the sound programming, a small extension where the external cables are regrouped (velocity, after-touch, external signals...) and finally a section containing the...

  • Page 52: Controller 921A

    4.1.2.1 Controller 921A Frequency State Impulse width PWM Inputs FM Inputs Keyboard Sequencer follow choice Oscillator 921A Frequency: General tuning of the 3 slave oscillators ARTURIA – Modular V – USER MANUAL...
  • Page 53 In the “no” follow position, the oscillator is set to the note C3, irrespective of the keyboard notes. In the same manner, when set to the “no” sequencer position, this group of oscillators is disconnected from the sequencer output. ARTURIA – Modular V – USER MANUAL...

  • Page 54: Slave Oscillator 921B

    The 921B type slave oscillators possess four outputs that can be used simultaneously: sawtooth, sinusoid, triangle, square. There is also an output generating a trigger signal synchronous with the square signal and with an identical width, which lets us trigger envelopes and ARTURIA – Modular V – USER MANUAL...
  • Page 55 Connected to an oscillator functioning in the same audible spectrum, they can obtain sonorities with FM characteristics. synchronization input associated interrupter allow synchronization of the slave oscillator on one of the other oscillators. In this ARTURIA – Modular V – USER MANUAL...

  • Page 56: Filters

    4.1.3 Filters The Modular V possesses 3 filter modules. It is possible to choose one of four types of filter for each of the modules: a low-pass 24 dB/octave (type 904A), a high-pass 24dB/octave (type 904B), a band-cut and band-pass 24 dB/octave (type 904C) and finally a multi-mode 12 dB/octave filter.

  • Page 57: Low Pass 24 Db/Octave Filter (904A)

    +/- 9 octaves. When it is necessary to have a stronger modulation, an amplifier module must amplify the signal of the generator. The following image represents the spectrum of a low-pass resonant filter with a cut-off resonance of 500 Hz. ARTURIA – Modular V – USER MANUAL...

  • Page 58: High-Pass 24 Db/Octave Filter (904B)

    Unlike the low-pass 904A filter, the high-pass 904B filter does not possess resonance. The cut-off frequency can be set with the rotating “frequency” dial or by the 3 modulation inputs which function in the same manner as the inputs of the low-pass. ARTURIA – Modular V – USER MANUAL...

  • Page 59: Band-Pass 24 Db/Octave Filter (904C)

    Audio Input: Filter input connection jack FM Inputs: Frequency modulation input jacks Mod. Width input: Bandwidth modulation input connection jack Keyboard follow: Keyboard follows choice tuning the filter (no follow, follow 1, 2, 3 or 4). ARTURIA – Modular V – USER MANUAL...

  • Page 60: Multimode 12 Db/Octave Filter

    Band-pass 24 dB/octave filter Band reject 24 dB/octave filter 4.1.3.4 Multi-mode 12 dB/octave filter Type Frequency Resonance Gain Audio Input Audio Output ModRes Input FM Inputs Multimode 12 dB/octave filter Type: Choice of filter type ARTURIA – Modular V – USER MANUAL...
  • Page 61 Three modulation inputs allow the dynamic modification of the cut-off frequency. The following images represent the different spectrum of the different filters, the cut-off frequency is constant at 500 Hz. Low-pass 12 dB/octave High-pass 12 dB/octave Notch 12 dB/octave Bell 12 dB/octave ARTURIA – Modular V – USER MANUAL...

  • Page 62: Modulation Envelopes

    “attack” followed by “decay” and remains in the “sustain” state as long as the input trigger remains active. When it goes to an inactive state, the envelope begins ARTURIA – Modular V – USER MANUAL...
  • Page 63 The time of the different periods are controlled by the “Attack”, “Decay” and “Release” knobs. The “Sustain” knob is to set the level of the envelope output during the sustain period. Trigg Representation of the envelope ARTURIA – Modular V – USER MANUAL...

  • Page 64: Output Amplifiers (Vca)

    Input Trigg: Input trigger signal connection jack Envelope out: Envelope out connection jack Audio Input: VCA input connection jack Panoramic: Sets the position in stereo space Soft Clip: Use of gentle saturation AM Input: Audio modulation Input jack ARTURIA – Modular V – USER MANUAL...
  • Page 65 A jack allows the connection of the output of the associated envelope to other modulation inputs. A button applies the simulation of the current regulation present in the original amplifiers (soft clipping). Soft saturation is heavy on CPU calculation. ARTURIA – Modular V – USER MANUAL...

  • Page 66: Low Frequency Oscillators (Lfo)

    The oscillation frequency can be statically set with the rotating “frequency” button dynamically with the associated modulation input. The impulse width can also be statically set with the “width” button and by its modulation input. ARTURIA – Modular V – USER MANUAL...

  • Page 67: Controlled Amplifiers / Mixers

    When 2 amplifiers form a group, the output signal of the first corresponds to the sum of their collective outputs, whereas the output of the second remains identical to the signal before grouping. ARTURIA – Modular V – USER MANUAL...

  • Page 68: Trigger Delay

    Trigg 1 Input: Choice of trigger input for the first delay Mode: Choice of mode (independent, parallel, series) Time 2: Sets the time for the second delay Trigg 2 Input: Choice of trigger input for the second delay ARTURIA – Modular V – USER MANUAL...
  • Page 69 In the series position, the second counter only begins when the output of the first delay moves to an active state. Independent mode Parallel mode ARTURIA – Modular V – USER MANUAL...

  • Page 70: Noise Generator

    Low Pass Frequency: Sets the Low Pass filter cut-off frequency High-pass Output: High-pass filter output connection jack High-pass Input: High-pass filter input connection jack White Noise: White noise output connection jack Pink Noise: Pink noise output connection jack ARTURIA – Modular V – USER MANUAL...

  • Page 71: Sample And Hold

    Output: Output connection jack Input: Input connection jack This module lets you sample the signal connected as input. The values are taken for every trigger where the source can be external (trigger source ARTURIA – Modular V – USER MANUAL...

  • Page 72: Envelope Follower

    “Threshold” dial and the signal connected to the “Comparator in”. If no signal is connected to this input, an internal connection will link the follow output to the comparator. ARTURIA – Modular V – USER MANUAL...

  • Page 73: Ring Modulator

    “Depth” button. Once connected, “Mul Signal Input” becomes the source of the multiplicative signal. The depth and the frequency of the internal sinusoid can be modulated with the corresponding modulation inputs. ARTURIA – Modular V – USER MANUAL...

  • Page 74: Formant Filter

    “vowel” selection window. This preselection can also be modulated with the associated modulation input. The preselection is done before the filter settings. It is thus possible, during a modulation, to make the vowel evolve, and to gently change the settings. ARTURIA – Modular V – USER MANUAL...

  • Page 75: Bode Frequency Shifter

    In the exponential position, the translation goes from 2 Hz to 1024 Hz, the modulation being exponential. In the other positions (5,50,500,5k), the translation will be of a maximum of 5 Hz, 50 Hz, 500 Hz or 5000 Hz, in positive or negative. ARTURIA – Modular V – USER MANUAL...

  • Page 76: Second Section

    4.2.1 Description The second section of the Modular V regroups all of the effect modules and the sequencer. The outputs and inputs of this page needing connections with the modules of the first section are moved to the latter, in a small extension.

  • Page 77: Chorus

    A button allows the resetting of the default values and a rotating button sets the output level after filtering. 4.2.3 Chorus Types Rate Depth Time Stereo Rate Stereo Width VCA1-VCA2 Chorus Types: Sets the 3 chorus Types ARTURIA – Modular V – USER MANUAL...

  • Page 78: Phaser

    A selector presents the choice of chorus type: simple, medium, complex. The input signal level and treated signal can be respectively set with the “gain direct” and “gain effect” knobs. 4.2.4 Phaser Sweep Amount Stages Rate Resonance Stereo width VCA1- VCA2 Phaser ARTURIA – Modular V – USER MANUAL...
  • Page 79 “type” selector. A 6-stage phaser has 3 notches, and a 12-stage has 6. The rotating “dry” and “wet” buttons are respectively used to set the amplitude of the original signal and the treated signal. ARTURIA – Modular V – USER MANUAL...

  • Page 80: Stereo Delay

    VCA1-VCA2 : Connection of the delay to the output of VCA1 or VCA2 A stereo delay module treats the signal coming from the 2 output amplifiers, eventually treated by the equalizer and chorus, in function with the state of the interrupters “VCA1” and “VCA2”. ARTURIA – Modular V – USER MANUAL...

  • Page 81: Sequence Generator

    Also called sequencer, this module is similar to the original 960 sequencer while simplifying the programming with internal connections. This module has 3 parts: low frequency oscillator, the 8-step sequence manager and the output controller. ARTURIA – Modular V – USER MANUAL...
  • Page 82 The starting and stopping can be done dynamically with the associated trigger inputs. The “length” knob sets the trigger signal width coming from the sequencer. ARTURIA – Modular V – USER MANUAL...
  • Page 83 At every change of step, a general trigger signal from the sequencer is activated. This output will be activated at every clock impulse if the ARTURIA – Modular V – USER MANUAL...
  • Page 84 “smooth”. The fourth output, for which the smooth can also be set with a “smooth” knob, is managed in the following manner. It takes the value of one of the 3 outputs ARTURIA – Modular V – USER MANUAL...

  • Page 85: Third Section

    The output jacks “External audio” are used to treat the external signals and use the Modular V as an effect. The “Out” jacks correspond to the two left and right output jacks on the Modular V. It is thus possible to loop it to itself and obtain special effects. Internal connections Fourth section...

  • Page 86: Keyboard Follow Management

    There are four independent keyboard follows. Each possessing a slope setting with the “Slope” knob, a pivot note chosen in the “pivot” display and a threshold note chosen with the “threshold” display begin from which the slope is null. Keyboard follow management ARTURIA – Modular V – USER MANUAL...

  • Page 87: General Settings

    Nbr Release: Select the number of release notes Poly: Gives the number of polyphonic tracks (16-32-64) The Modular V responds to the pitch bend depending on the position of the “tune” selector. This selector sets the amplitude of this response to +/- four octaves per semi-tone.
  • Page 88 (portamento) whether the notes are linked or not. The rotating “Volume” button sets the general volume of the Modular V, while the rotating “tune” button allows us to set the tuning with amplitude of 1 tone.

  • Page 89: The Basics Of Subtractive Synthesis

    80’s. The origninal modular systems, and your Modular V, represent the best illustration of the immense possibilities of subtractive synthesis.
  • Page 90 LFO). This variation of impulse width is translated by a spectrum modification, not unlike a waveform change. Unlike classic analog synthesizers, the Modular V allows you to change the impulse width through not only the square waveform, but also the sawtooth and triangle.
  • Page 91  The sinusoid is the purest waveform of them all. It is composed of a single fundamental harmonic and produces a very “damper” sound (the tonality of a telephone is sinusoid). It will be used to reinforce the low ARTURIA – Modular V – USER MANUAL...
  • Page 92 On the Modular V, if you turn the modulation rate ring, you will obtain a sound richer in harmonics. If you introduce a square or sawtooth signal, the result can be quickly distorted…...

  • Page 93: The Filter Or Vcf

    (Voltage Controlled Filter). It is this module that allows the modeling of the sound by filtering (by subtraction, explaining the name of this type of synthesis) the harmonics situated around a cut-off ARTURIA – Modular V – USER MANUAL...
  • Page 94 24 dB/octave or 12 dB/octave. The 24 dB/octave offers a more efficient filtering than the 12 dB/octave. On the Modular V, you have access to 7 different types of filtering. Let’s have a look at their respective properties.
  • Page 95 This filter is above all else interesting when we want to vary this band of frequencies (with the “frequency” on the Modular V filters or the modulation of an LFO on this same parameter). You will thus obtain a sound close to a “phasing”...
  • Page 96 These 4 types of filtering are more often used on analog synthesizers. The Modular V offers 3 other types of filters, unheard of on synthesizers, but very much used on high quality mixing consoles or professional equalization modules: The bell filter amplifies or dampens a frequency band (in function with the gain knob).

  • Page 97: The Amplifier Or Vca

    (or directly the one from the oscillator if it is not filtered) to adjust its volume with a knob, before the signal is directed to the speakers. ARTURIA – Modular V – USER MANUAL...

  • Page 98: Complementary Modules

    (replacing the 1Volt/octave control present on most analog synthesizers). To play the Modular V with a MIDI keyboard, click on the “trigg in” plug of the output VCA and select the “keyboard trigger” function. For more detail, see chapter 5 paragraph 1.1.5 “Output Amplifiers (VCA)”.

  • Page 99: The Low Frequency Oscillator

     The Release is the decline time after the key has been released. The ADSR envelope On the two VCA of the Modular V, the envelopes include 2 supplementary settings: The Slope Time is the time of intermediary decline situated after the decay, once a key is pressed.
  • Page 100  1 mixer (mixing the 3 VCO and the noise module towards 2 filters)  2 filters (VCF)  2 amplifiers (VCA, can be placed in stereo with the pan knobs)  3 envelopes (ADSR)  3 LFO  1 keyboard ARTURIA – Modular V – USER MANUAL...
  • Page 101 Synthesizer scheme ARTURIA – Modular V – USER MANUAL...

  • Page 102: Few Elements Of Sound Design

    The fourth and last part will guide you through the use of three of the new modules in the Modular V 2.0: the Bode Shifter, the envelope follower and the Formant Filter. Modular sound synthesis 6.1.1...
  • Page 103 (See the “saving a sound” chapter) Turn the filter cut-off frequency button progressively to the left to change the brilliance of the sound. It will become increasingly “soft”. ARTURIA – Modular V – USER MANUAL...

  • Page 104: Simple Patch #2

    Patch #2 complete For more clarity, reuse the “Blank” preset. As previously, connect the “saw” output of oscillator1 to the first mixer VCA input. Next, connect the oscillator2 “saw” waveform to the second VCA. ARTURIA – Modular V – USER MANUAL...
  • Page 105 Click on the link button to create a link between the 2 VCA To connect the audio output coming from the 2 mixed VCA to the filter1 input, drag a cable from the first VCA “out” to the filter1 “in”. ARTURIA – Modular V – USER MANUAL...
  • Page 106 (to increase the height of its tone) or the left (to decrease it). You will thus progressively hear a beating resulting from the light difference in tuning of the 2 oscillators. This beat will create a chorus effect, which will give more life and “warmth”. ARTURIA – Modular V – USER MANUAL...
  • Page 107 Turn the resonance button to the right to create a supplementary “brilliance” that is very “electronic” in your sound. By increasing the oscillation speed of LFO1 (“frequency” button), you will thus obtain a typical 70’s “wah-wah” effect. ARTURIA – Modular V – USER MANUAL...

  • Page 108: Complex Patch #1

    Notice that filter1 is still connected to the audio output of the first slice of the mixer. As a result, it now receives the signals coming from the 3 oscillators. ARTURIA – Modular V – USER MANUAL...
  • Page 109 Connect the audio output of this filter to the input of the second output VCA and turn the pan buttons of VCA1 to 9 o’clock and those of VCA2 to 3 o’clock to widen the stereo field. The connections to the two VCA ARTURIA – Modular V – USER MANUAL...
  • Page 110 You can also create light fluctuations in the change of speed of LFO1. For this, connect the LFO2 output to the “FM” input (Frequency Modulation) of LFO1. Turn the jack ring to dose the modulation. The evolution of the 2 filters will be less linear. ARTURIA – Modular V – USER MANUAL...

  • Page 111: Complex Patch #2

     3 LFO (the 2 principal LFO + 1 low frequency) This sound is stereo and uses delay and chorus effects. It can be as easily used in monophonic and polyphonic mode to create a very expressive ambient sound. ARTURIA – Modular V – USER MANUAL...
  • Page 112 Now let’s make another modulation appear given by the of LFO2 which will be provoked by the aftertouch. For this, connect the “Tri” output of this LFO to the sixth audio input of the mixer. ARTURIA – Modular V – USER MANUAL...
  • Page 113 The white noise module connected to the band pass filter Set the third filter output towards the fifth slice of the mixer and link slices 3, 4 and 5 to direct them towards the first and second filters. The mixing ARTURIA – Modular V – USER MANUAL...
  • Page 114 (filter “Cutoff”, FM, PWM etc…), try to vary the different levels of modulation in order to create as many different variations in the evolution of the final sound. This is one of the strongest points of modular synthesizer. ARTURIA – Modular V – USER MANUAL...

  • Page 115: The Sequencer

    Connection of the “driver” oscillator to the first sequence line Select the “Seq Trig” output by clicking on the “Trig” input of VCA1. ARTURIA – Modular V – USER MANUAL...
  • Page 116 This is normal. Start the sequencer Set each knob corresponding to the first sequencer line (the one to which the sequencer oscillator had been directed). You can now hear a melody. ARTURIA – Modular V – USER MANUAL...

  • Page 117: Sequence #2

    Select the “L1-2” function on the line selector on the right of the sequencer. Once you have created a melody on the second line, you will alternately hear the melodies played by these two lines. ARTURIA – Modular V – USER MANUAL...
  • Page 118 Now try to “force” the trigger of a step by clicking on the “ON” button underneath. The sequence will interrupt its course and continue from this one. This is interesting for creating other types of sequences. ARTURIA – Modular V – USER MANUAL...
  • Page 119 In the same manner, you can switch lines or columns by selecting the same function on the “Trigg” “Chain” output. Select “Keyboard trigger” on the “Trigg” output ARTURIA – Modular V – USER MANUAL...

  • Page 120: Sequence #3

    2 knobs lines corresponding to filter1 and VCO4. Finally, choose the type of sequence chaining with the fourth column. If you wish to add a little “portamento” to a melodic line, turn the “Smooth” knob corresponding to your sequence line. ARTURIA – Modular V – USER MANUAL...

  • Page 121: Bonus Features

    6.3.1 Creative use of key follows The Modular V provides you with settings for 4 independent key follows. These key follows are mainly used to tune the oscillators in relation to the keyboard range but can also be used for different applications.
  • Page 122 To obtain an inverted slope (the higher you go in the scale on your keyboard, the faster the filter will close), connect the key follow1 output to the filter modulation input and turn the modulation jack ring counter clockwise. Turn the modulation jack ring counter clockwise. ARTURIA – Modular V – USER MANUAL...

  • Page 123: Creative Use Of Triggers And Trigger Delays

    6.3.2 Creative use of triggers and trigger delays All of the Modular V envelopes are triggered by specific signals. These signals can be generated by the keyboard (note On, note Off), by each of the 4 key follows, by the sequencer or by the trigger delay module.

  • Page 124: Stereo Without The Effects

    Sequencer startup through a MIDI keyboard 6.3.3 Stereo without the effects Obtaining a stereo sound comes down to treating 2 independent channels. Each of the output VCA is positioned in stereo space using the “pan” knob. ARTURIA – Modular V – USER MANUAL...
  • Page 125 For a right to left movement, you can also modulate the output VCA with an auxiliary envelope, once connected, set the modulation level to a positive value for one and negative for the other. Connection of an auxiliary envelope for the output VCA ARTURIA – Modular V – USER MANUAL...

  • Page 126: The Bode Frequency Shifter

    These patches, you will have noticed have very different levels of difficulty. We hope that they will have allowed you to see some of the possibilities that the Modular V has to offer. But don’t hesitate in testing the programming yourself, this is how we learn and progress and develop more originality.

  • Page 127: Electronic Percussion Sequence

    The first two sequencer lines modulate two Bode Shifter modulation inputs (the first at a value of 0.3247 and the second at – 0.4588). The two sequences complement one another setting the “amount of shift” parameter. ARTURIA – Modular V – USER MANUAL...

  • Page 128: The Envelope Follower

    (A drum line is very appropriate for this type of use.) The result: obtain a complex envelope following the evolution of an audio signal. ARTURIA – Modular V – USER MANUAL...

  • Page 129: Trig By An External Audio Source

    Let’s have a closer look at these two situations: 6.3.5.1 Trig by an external audio source. In the first case, the Modular V will be used as a VST insert effect for an audio track in Cubase SX. If you don’t have Cubase, know that the procedure remains globally the same for any other sequencer.

  • Page 130: Create Your Lfo Form

    (LP Filter 24dB), an envelope follower and 3 oscillators (two sine and one sawtooth) which are used as a base for creating a complex wave form that will modulate the filter cut-off frequency. ARTURIA – Modular V – USER MANUAL...
  • Page 131 (1974). It is widely used for the creation of random modulations (the famous sounds from R2D2 in Star Wars were created in this manner). It can also be used for more rhythmic cyclic modulations. The sample and hold module ARTURIA – Modular V – USER MANUAL...
  • Page 132 If you want to soften these variations there are two solutions: o variations will be smoother. The new modules included with the Modular V 2.0 will add a large number of editing possibilities. They were difficult to create (impossible in some cases) before.
  • Page 133 1.4 If you do not approve these terms and conditions, please return the complete Product (including all written matter, packaging and similar material) to the dealer from whom it was originally bought within 14 (fourteen) days after the day of purchase. For purchases from the Arturia Online Store, please contact...
  • Page 134 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...
  • Page 135 The provided samples, instruments and presets can be used for commercial or non-commercial music and audio Productions without the prior permission from Arturia under the terms of this Agreement. The usage of this Product (in particular samples, instruments and presets) for the creation of a sound library or as a sound library for any kind of synthesizer, virtual instrument, sample library, sample-based Product or other musical instrument is strictly prohibited.
  • Page 136 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. ARTURIA – Modular V – USER MANUAL...

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