The CS-80V is the reproduction of the legendary Yamaha® CS-80, which was considered by many as the "ultimate polyphonic synthesizer", back in the late 70’s.
It has been popularized by artists and groups like Toto, Jean-Michel Jarre, Keith Emerson, Stevie Wonder, Vangelis, Ultravox, and, Peter Gabriel, to name a few; they all helped to turn this synthesizer into a real myth. More than twenty five years after its release, the time has come to rediscover a sound that has extensively contributed to the history of music.
2.0 FEATURES:
- Switch to Syncrosoft copy protection ( V 2.0 )
- VCF audio quality improvements ( V 2.0 )
- Ring modulator audio quality improvements ( V 2.0 )
- A revolutionary preset navigation system called the SoundMap ( V 2.0 )
- Lower CPU utilization on Mac OSX( V 2.0 )
- Better Audio Unit compatibility (Digital Performer most notably) ( V 2.0 )
- Ability to use NRPN midi messages for automation ( V 2.0 )
- Better handling of control surfaces while changing preset ( V 2.0 )
- Added presets ( V 2.0 )
- Midi RPN "pitch bend range" message is now recognized ( V 2.0 )
- Bug fixes
MAIN FEATURES:
- All the original parameters of the Yamaha CS-80: 2 oscillators, 4 filters (high pass, low pass), 2 LFOs, 4 envelopes, 2 VCAs, 1 sub-oscillator (LFO), 1 ring modulator, chorus and tremolo
- Added effect: Delay
- Multi Mode: assign a different sound to each of the 8 voices of polyphony!
- Modulation Matrix with 12 sources to modulate a choice of 38 destination parameters
- More than 400 presets made by a selection of the most famous sound designers
- Polyphonic aftertouch
- 1 Arpeggiator
- Expression and sustain pedals
- Ribbon controller
- No aliasing from 0.1 Hz to 16 kHz
- 64-bit floating point precision
- Sampling rate: up to 96 kHz
FROM THE ORIGINAL MYTH...
In 1976, Yamaha introduced the CS-80, a synthesizer based on the same circuits as the GX1. The price tag ($6900) put it out of the reach of most musicians, and the weight (83kgs with stand) made it sometimes hard to use on stage. But the qualities of this synthesizer, considered Japan’s first great synthesizer, made it immediately famous in the Music Industry.
The CS-80 was popularized in the late 70’s and early 80’s by a number of pop groups, including Electric Light Orchestra, Toto, Paul McCartney and Wings. Other artists and bands like Vangelis, Bon Jovi, Jean-Michel Jarre, Geoffrey Down, Stevie Wonder and some others turned the CS-80 into a real myth.
Peter Forrest (in the A-Z of Analogue Synthesizers, Susurreal, First published 31/10/96) says: “When it comes to trying to decide which of the top-flight synths is the best ever, it’s not easy. (…) But if you are looking at richness of sound coupled
with performance power, and sheer overkill, maybe nothing can touch it”.
... TO THE EVOLUTION OF THE SPECIES
The CS-80V is the reproduction of the legendary Yamaha® CS-80, which is considered by many as the "ultimate polyphonic synthesizer". More than 25 years after its release, the time has come to rediscover a sound that has extensively contributed to the history of music.
Sound MAP: Explore hundreds of sounds using Arturia’s revolutionary Sound MAP. Locate areas you like and pick a sound that will stimulate your creativity. Morph sounds on the MAP by clicking anywhere you like. Add filters to make your search easier, or get back to the traditional list of presets, by sound-designer or by type. Be creative, be funky, be a sound-traveler.
The CS-80V offers all the features of the original synth, plus a fresh generation of innovative features, taking the original design to an elevated level:
- A modulation matrix to rebuild all circuits: a choice of 12 sources and 38 destinations for 10 additional modulations
- A Multi Mode: allowing you to assign a different sound to each polyphonic voice. 4 different keyboard sections for "multitimbrality", with the possibility to direct each voice (4 polyphonic modes, and 3 unison modes from 2 to 8 voices).
- An arpeggiator and a stereo delay
Benefit from the experience of the best sound designers! The CS-80V comes loaded with more than 400 presets made by a selection of talented sound designers.
True Analog Emulation
TAE is "True Analog Emulation" - Arturia's exclusive technology which accurately reproduces, tone, waveshape, tuning and other detailed characteristics of an analog synthesizer.
What are the main characteristics and advantages of the TAE technology ?
Better reproduction of analog oscillators
TAE recreates the characteristics of analog oscillators in amazing detail. The transparency and clarity of Arturia’s analog synthesizer emulations give the musician a freedom to be inspired by classic sounds or explore new textures with the expectation that previous limitations of digital oscillators will not interrupt the creative flow.
Better reproduction of analog filters
Filters are a major element in substractive sound synthesis. It is important to reproduce the exact characteristics of analog filters in the digital domain, as well as the individual characteristics of classics instruments that give them each their characteristic sound.
Implementation of soft clipping
Soft clipping can give the sound more punch and deeper basses, together with limiting the amplitude of the sound. It is another important point that gives analog synthesis its sound and "attitude".
Better Reproduction of Analog Oscillators
TAE oscillators are very similar to their analog counterparts for several important reasons.
One of the main reasons is that they are "free", i.e. they are not sampled or wavetable based - or generated from a 0-point when a note is played. Each waveform generated dynamically, allowing the waveform to be in constant adaptation regarding sampling "cutting" and quantization, avoiding one of the major "tell-tale" signs of digital waveform generation and provides a certain level of "liveness" found in the classic analog synthesizers of the past.
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse Width Modulation or Frequency Modulation. TAE allows the production of oscillators that are totally aliasing-free in all contexts (PWM, FM,…), at no extra CPU cost.
Also, all of Arturia’s oscillators are highly optimized for the particular working frequency. That means that you can play with an instrument exactly as if you played a real analog synthesizer. Again, the waveforms are not presampled and or regenerated with digital perfection, allowing each note to have a life of its own.
In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. It is also true that due to analog hardware sensitivity, new period trigger times varied with the temperature and other environmental conditions.
TAE allows the simulation of the oscillator's instability, helping to create warmer and fatter sound.
Original analog oscillators used condensers' unloading to produce common wave shapes (saw tooth, triangle, square). This means that wave forms were slightly curved or distorted in other ways that are considered highly desirable in a musical context. TAE allows the reproduction of condenser's unload in order to give you the original analog sound.
Because TAE oscillators are "free" and "alive", when you play a simple chords with raw oscillators, you don't have a digital impression of "fog" or a "blocked" sound, but you have a pleasant feeling of transparency and clarity.
PWM
With TAE, you can even produce complex PWM sounds with unprecedented quality and, of course, free of any aliasing. This is true for all the TAE waveforms (square, triangle, saw…). This produces sounds which are unique on the market, because PWM is very difficult to achieve on certain waveforms like triangle or saw/ramp. Arturia brings you new levels of reality in a virtual analog synthesizer, so that you can achieve new levels of creativity in your music.
Better Reproduction of Analog with Direct Filter Circuit Modeling
TAE® produces the characteristics of the analog filters in the digital domain.
Let’s take the Prophet V for example. Due to advances in computer processing power, the Prophet V can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of the original's analog 4 pole low pass filter. By modeling the operation of the individual hardware components of the filter circuit, the warm nuances synonymous with the original's analog sounds are recreated. The harmonics generated add to the richness and warmth of the sound produced by the filter. As a result of the direct recreation of the analog circuitry in the Prophet V, the same characteristics of the sound are present, thus giving the user a truly analog sound.
Implementation of soft clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping).
TAE allows the reproduction of this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do.
Also, soft clipping can be a kind of saturation effect, but with a very particular shape. Common shapes can't give good results compared to analog soft clipping which is very particular to output amplification stages of analog synthetisers, and is a critical component to "the analog sound".
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